This is a collection of music I have played, composed and/or improvised over many years.  It's pretty diverse, so choose and play/download all you like.

Birdman

I'm playing a 1.8 and a 2.4 shakuhachi on these recordings.  I learned these pieces by listening to Jin Nyodo and studying his scores.

Beginners' Mind

This set was particularly inspired by a workshop my wife and I attended that was taught by Sri Shyamji Bhatnagar about microchakras, nadi yoga and svara yoga.  Check out their website at The Chakra Institute:  http://www.chakrainstitute.com.

Inner Tuning

"He who blows Ro 10 minutes every day can become a master." Watazumi Doso

Ten Minutes

Mujunshin Kyoku

無住心曲

This is a piece of genre Modern Honkyoku. Also Known As : Jin Nyodo Shokyoku Mujushin Kyoku. This piece was composed for Shakuhachi by the person Jin Nyodo.

History (Jin Nyodo): 

Jin Nyodo Shokyoku: MUJUSHIN-KYOKU

1. About the Title:

This composition was born at the time of Jin Nyodo's trip to mainland China in 12 Showa (1937). Jin Nyodo himself did not regard this as a "composition," but rather called it a shokyoku ("born piece") -- a sort of transcription of a work that emerged naturally by itself. The title derives from a passage in the Diamond Sutra: "Just at the point when one has no place to dwell (muju), such a spirit (shin) is born. For more details regarding the development of this piece please see the article "Jin Nyodo's Musical Lineage -- From his own Writings" which contains a section on "Sakkyoku (composition) and Shokyoku."

2. Structure of the piece:

It has the balanced kisho-denketsu structure (a four-part structure characteristic of classical Chinese verse): [Ki (shirabe) - Sho (honte) - Ten (takane) - Ketsu]. This is a structure that pervades honkyoku of the Tohoku style.

Shirabe - It starts quietly with kyosui playing in a low tone. In the second melody the playing technique called tsuzumi-buki, which is unique to this piece, is utilized. In this method of playing, the melody is blown forcefully; then in the middle of the phrase the tone is weakened as if (echoing) in the interior of a tsuzumi (drum). Then again the breath is blown more strongly. This was a new technique introduced by Jin Nyodo and is used frequently throughout this piece with the result that it lends a uniquely strong dynamic effect to the flow of the composition.

Next, the melody climbs to the middle range with gentle yuri-buki. It ends quietly after descending again to the lower range.

Honte This section begins with resonant blowing in the Ko-no-re tone. The melody which follows is characteristic of this piece in its gentle flow and abundant emotional quality. After this melody is repeated, there is a section forcefully played in the mid-range and rich in modulation.

Takane It begins in a strong Ko-no-re tone, proceeds to a beautiful melody focusing on the hi and ha tones then moves again to the upper range. A soft re-tone in Dai-ko (third octave) leads to the most emotional point. Just then, like a flow bursting through a dam, a melody occurs filled with an infinite sense of sorrow and desolation. This takane then reoccurs once as a kaeshi (return) with some alteration in expression by means of tamane.

Musubi One of the melodies from the honte is repeated in the middle of the Ro-range (first octave), and the piece ends tranquilly.

3. Special features of the piece:

The composition could be said to arise from elements that Jin Nyodo received from classical honkyoku and let crystallize. Uramoto Setcho evaluates it as "the work of Jin Nyodo's lifetime." This may remind us of the Fuke Sect saying: "One temple = one melody." In each of the Fuke temples, there was a tradition that in each temple only one piece was handed down as its seikyoku (true piece). Probably it was felt that in the case of outstanding classical honkyoku, one piece was capable of containing infinitely deep emotion. A composition that could contain such varied mental states was called ichiritsu (one melody). This piece could be called Jin Nyodo's one melody.

Mujunshin Kyoku

These are songs that were improvised in two concerts and published as a record through Jerry Hunt's Irida label in 1978.  They are performed by Davide Anderson - percussion/electronics, Les Gay, - tuba/low brass, Maurice Hood - viola, and Bob Price - clarinet-woodwinds.

Music of BL Lacerta

Estampie

I improvised this for my yoga class while they were lying in savasana. This came out after looking at the notes used for Raag Shyam Kalyan that is often associated with the root chakra, muladhara. The class focused on this chakra.

Muladhara

I played this for my yoga class to stimulate swadisthana chakra (the second chakra)and to cool the liver.

Swadisthana

I played this to help everyone relax in savasana after a rigorous yoga set for balancing Manipura.

Manipura

I improvised this for my yoga class to help stimulate Ajna Chakra for intuition and to connect with the Inner Guru.

Ajna

I improvised this one, during sivasana, after leading a very active and rigorous yoga class, focusing on opening the "tenth gate," known as "sahasara," at the crown of the head. "Sahasara" means "one thousand." In this series I have played each of the chakra pieces using rhythms relative to the numbers of petals on the lotuses that symbolize each respectivechakra. I had to do a little math for this one. The rhythmic section is eight minutes long at 125 beats per minute, equalling a total of one thousand beats.

Sahasara

I improvised this for my kundalini yoga class during savasana. This raga activates vishuddhi, cools and purifies the energy coming from manipura while stimulating creativity.

Vishuddhi

I played this during yoga class to help open our hearts during savasana.

Anahata

This is devotional music from the kirtan at Shanti Om Yoga, with Kat Macmillan, Bhakti Foster, Matthew Hunsinger, Mandeep Singh (Robert H. Price) and the Shanti Om Community, with special guests, Bridget Polk and Kitra Biebighauser.

Om Namah Shivaya - Shiva Shiva Shambo - Shiva Invocation

This is devotional music from the kirtan at Shanti Om Yoga, with Kat Macmillan, Bhakti Foster, Matthew Hunsinger, Mandeep Singh (Robert H. Price) and the Shanti Om Community, with special guests Bridget Polk and Kitra Biebighauser.

Om Shanti Om

This is a recording of our kirtan, dedicated to Devi, at Shanti Om  Yoga on October 10, 2014.

Shakti Ma

Om Jaya Jagadumbe Ma Durga

Jersey

Untitled Song (25)

Untitled Song (27)

S L A U G H T E R H O U S E

Untitled Song (28)

FURY

Art Night (1)

Dior

Sunkissed Coconut

This an intimate kirtan at Shanti Om in St. Johns, Portland, Oregon with Kavita MacMillan, Bhakti Foster, Matthew Hunsinger, Mandeep Singh, and friends.

Om Gam Ganapataye Namaha

Om, Jai Hanuman Bolo

I am playing a traditional Zuni song on the Native American cedar flute, learned from a book and recording by Carlos Nakai.  I'm also doing all the birdsongs by whistling on three tracks.

Kokopelli

I played this many decades ago at the Bath House Cultural Center in Dallas, TX.

Oboe Concerto in G Minor

This is a piece of genre Koten from the Kinko Ryû - 琴古流 School.

History (John Singer): 
Among the Shakuhachi Honkyoku pieces there are the "Sugagaki pieces" and this is one of the so called "Sugagaki Mono". 

The term Sugagaki, when used in Shakuhachi music, simply means pieces which are unrelated to the Fuke legend. The term Sugagaki also refers to a technique used in solo Koto music without voice. Akita is the name of a prefecture in Japan. 

Akita Sugagaki is thought to have been transmitted to Kinko Kurosawa by Biao in Akita Prefecture. However, it may have been a transmitted piece of Koku Zan Dai-Ji Temple.

Akita Sugagaki

This is a piece of genre Koten from the Kyushu Kei School.

History (Jin Nyodo): 
Itcho-ken: AZUMA-NO-KYOKU

1. About the title:

Azuma means east, so that the name can be explained as referring to a person from Western Japan playing his flute while yearning for someone in the East. However, this matter is unclear since there is also another theory that this piece adapted a melody for the higashi-goto ("eastern koto"), a kind of wagon used in kagura.

2. Structure of the piece

It is made up of three sections. The first section begins in the mid-range and ends on a lower tone. In the second section, which forms the main body of the piece, the sound begins in the mid-range and gradually rises until half-way through the piece the tempo becomes brighter and the tone enters the upper range. The third section is a short musubi.

3. Special features of the piece:

Along with Kumoi-jishi, Iyo-renbo, San'ya-Sugagaki, and others, this is a gikyoku ("playful piece"). Gikyoku are not used in religious practice, and as the name indicates they are small cheerful pieces. When the komuso went out to beg for rice, they played these pieces when ordinary people requested such a lighter piece. These pieces are also called hiru-kara ("after midday") from the idea that such music should be played after noon rather than in the more austere morning hours.

Azuma No Kyoku

This is a piece of genre Koten from the Kyushu Kei School.

History (Jin Nyodo): 
Itcho-ken: SASHI

1. About the title:

The sa of Sashi was originally a Sanskrit letter which was the special symbol of Kanzeon (or Kannon) Bosatsu, the Buddhist goddess of mercy. This sa (or satsu) eventually was written in various combinations of Chinese characters pronounced sashi. Therefore this piece is associated with religious austerities connected to Kannon Bosatsu: at the dawn of enlightenment it will be used for the redemption of all living beings according to the divine and universal revelations of Kannon Bosatsu. Jin Nyodo received and passed on this piece from Saito Inokuma and several others.

2. Structure of the piece

It has a binary structure [I (a-b) -- II (a-c)]. Section c is a musubi melody.

3. Special features of the piece:

The piece is played with kusabibuki land has a tight, tense mood. It is brimming with emotion which soars up in a straightforward, resolute manner. The special nature of Kyushu-style honkyoku is quite apparent, and it is one of the representative pieces of Itcho-ken.

Chikuzen Sashi

Daiwagaku

I made this recording in response to a request by a devotee of the the sacred river in India, called Sri Narmada.

Sri Narmada

The following is a piece I performed in New York at the Alternative Museum. Austin singer/composer, Tina Marsh, and I were brought in by Pauline Oliveros and the Good Sound Foundation. I'm doing the bird sounds by whistling and then adding some live electronics effects.  I read the following as an introduction:

Mockingbirds in Dreamland

This piece is dedicated to mentors. Much of the joy that I find in my music has come through the many interactions I have had with great personalities, some of whom have honored me by wearing the guises of peers. Such are the ways of great personalities. It is a great honor for me to be here and perform for you, my mentors, especially for this one that brought me.

This piece utilizes the sounds that I learned from my first musical mentor, the Mockingbird. I am using him as a symbol for all mentors. The Mockingbird is Texas's state bird and is the bird song virtuoso of the South. I started imitating him while I was just three years old until I discovered that I have my own song. My song then intertwined with his (and others) in a spontaneous interaction. This type of interaction has become an integral part of all the music that I play, whatever style it may be. I have been playing with BL Lacerta for eleven years and every concert is totally improvised. My solo performances are never really ever solo performances because I welcome the active participation of the audience. I have trouble with this audience/performer separation. My two-year-old daughter, Rachel, has problems with this also. I invite you to:

1. Watch your thoughts go by like bubbles rising from the bottom of the sea. 
2. Find a transitory dream space (or a dream that was not quite over.) 
3. Listen to the Mockingbird and let him take you to new dream images. 
4. Allow your breathing to become animated by the images. 
5. You are the bird in the forest and have your own song to be utilized at your pleasure.

Mockingbirds in Dreamland

“The breezes at dawn have secrets to tell you
Don't go back to sleep!
You must ask for what you really want.
Don't go back to sleep!
People are going back and forth 
across the doorsill where the two worlds touch,
The door is round and open
Don't go back to sleep!”

― Jalaluddin Rumi

This is me improvising an an ocarina, called a "puny tune," with a YouTube recording of Professor Masood Habibi on the daf.  My sister, Becky Sander-Cedarlof, bought this instrument for me as a birthday present.  This was performed at Jamballa Festival, in Portland, OR, with my daughter, Rachel Shelton, and her dance company, Kali Lila.

Ocarina Call to Meditation at Dawn

This is me singing the first song we listen to at Shyamji's workshops.  This song is dedicated to the guru within as well as the many gurus who are a projection of this inner guru.

Jaya Guru Deva

My singing this is a type of meditation for me.  This one was suggested by Shyamji to help open the fourth (heart) chakra.  The focus of this meditation is on Radha.

Radhay, Radhay

This is three of me singing with Shyamji Bhatnagar, but with his voice taken out.

Shiva Shambu Hara Hara - 2:13:18, 6.14 AM

I decided to let my right brain take over on this one.

Hungry Ghosts

The Clarinet Sonatas, Op. 120, Nos. 1 and 2, are a pair of works written for clarinet and piano by the Romantic composer Johannes Brahms. They were written in 1894 and are dedicated to the clarinetist Richard Mühlfeld. The sonatas stem from a period late in Brahms's life where he “discovered” the beauty of the sound and tonal colour of the clarinet.[1] The form of the clarinet sonata was largely undeveloped until after the completion of these sonatas, after which the combination of clarinet and piano was more readily used in composers’ new works.[2] These were the last chamber pieces Brahms wrote before his death and are considered two of the great masterpieces in the clarinet repertoire. Brahms also produced a frequently performed transcription of these works for viola with alterations to better suit the instrument.

Brahms Clarinet Sonata No.1

Sonata No. 1, II. Andante un poco Adagio

Sonata No. 1, III.  Allegretto Grazioso

Brahms Sonata No. 1, IV. Vivace

On these pages Mozart makes no mention of instrumentation, but expert opinion now favors horns rather than basset-horns.

There is some really important information here, and that is concerning the wonderful Basset Horn, for which in my opinion, Mozart wrote these duets. They are not a clarinet, but are quite similar in sound toa clarinet in the alto tessitura. This is not to say alto clarinet, the kind one finds in bands. Thi is an instrumentfor which Mozart wrote only briefly, but wonderfully, in the Requiem.  They are beautiful in an almost unearthly manner. They look nothing like a clarinet, but like some kind of hybrid between a clarinet and a strange bassoon. I am going to put the address here of the first movement of the Requiem . Actually, it can be found on YOU Tube, complete, conducted by John Elliott Gardener in his youth and it is worth keeping, for the Basset Horns and the performance itself, which was filmed in a beautiful church in Barcelona. I know those interested will find this great work , and I think a great performance of same.

The performance(not to digress) is very Baroque in nature, and for me the best, with the Sussmayer completion. Check it out, clarinetists and music lovers.

The only other works for Basset Horn and Clarinet are the two Concertpieces for Clarinet Basset Horn and Cello, by Mendellsohn, which I’ve played so many times, but always with Cello.

I have played duets by Mozart literally all of my playing life, but almost always arrangements from any number of his works, including operas. These are the only actual duets written for two similar instruments and they had no designation as to specificity. Perhaps there is no real answer to your question.

I would suggest you look up the K487 and check them against your six as it could be that they are one and the same, or at least six of them are.
Mozart has been arranged to death, but these are the only actual instrumental duets with which I’m familiar. As you can see, they have been arranged for pairs of almost anything.

Let us say, he meant Basset Horns.

K. 487, 10. Andante

Description by John Palmer  [-]
Mozart probably composed the Duos for Horn, K. 487, for players within the Jacquin family circle of friends, one of whom was virtuoso hornist Joseph Leutgeb (1732-1811), whom Mozart knew in Salzburg. Leutgeb, the inspiration for Mozart's horn concertos, had been a friend of the Mozart family in Salzburg before moving to Vienna to take over a cheesemonger's shop. After relocating to Vienna in 1781, Mozart renewed his contact with Leutgeb.
Mozart completed the Horn Duos on July 27, 1786, "untern Kegelscheiben" (while playing nine-pins). Legend has it that Mozart composed the Clarinet Trio under the same conditions, but this cannot be substantiated as it can for the Horn Duos. Leutgeb's technique must have been excellent, for the horn parts, especially the first horn, in no way hover around the intervals easily performed on the instrument. Leutgeb's use of his hand in the bell (an innovative technique at the time) enabled him to produce all the pitches of a given scale, as well as a few altered tones, with apparent ease. Thus, the Duos of K. 487 are melodically inventive, with a charm and grace we do not hear in orchestral or wind ensemble horn parts. Few of the individual pieces are more than thirty measures in length, exhibiting a compactness and economy that are the mark of a mature and experienced composer.
A few of the Duos are representative of the set. An Andante in C major shows the typical distribution of material, with the first horn carrying the bulk of the melodic presentation, the second horn providing counterpoint and harmony. Occasionally, the two instruments play in thirds. The piece is in two sections, the first of which is a twelve-measure melody that modulates to the dominant (G major) and is repeated. The second half opens with eight measures of new material then moves to a varied version of the last eight measures of the first theme before closing. Thus, the movement is rounded binary but with some variation. Many of the Duos follow this pattern.
The C major Allegro is also rounded binary, but only one measure of the returning first phrase is recognizable; the rest of the melody is altered fundamentally to create a cadence on the tonic instead of the dominant. Also, the hierarchy of the horn parts is upset. The first horn part is only occasionally more interesting than the second, and in the canonic opening of the second half, the parts are equal.
Chromatic melodic passages in the second part of the ensuing Menuetto attest to the technique of Mozart's horn-playing friends. As one would expect, the form of the Menuetto is rounded binary, but again Mozart alters the "rounding" segment to the point that only a couple of measures remind us of the first phrase. A salient feature of the Trio is Mozart's insistence on a diminished fifth that does not resolve until the end. Even then, the harmony is designed not to sound like a close, but to anticipate the return to the Menuetto.

K.487, 1. Allego

Bach Cello Suite No.1, Sarabande

Bach Cello Suite No. 1, Gigue

Bach Cello Suite No. 4, Sarabande

Gymnopedie No. 1

This is another improvisation for savasana.  Our yoga class was about absorption into the light; light merging with light until all is light.  When I was a kid I used to write in everyone's yearbooks the Peace Chant:

Om. That is full.  This is full.
This fullness has been projected from that fullness.
When this fullness merges with that fullness,
All that will remain is fullness.
Om. Peace! Peace! Peace!

Absorption (Amen)

Tamuke (Offering)

Almost all of the music posted here has me involved in the "musicking" in one way or another.  Most of the pieces are live improvisations.

Br. Euphonious (Atmadhvani Saraswati)

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