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Shakuhachi

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Shakuhachi
A Tozan schoolshakuhachiflute, blowing edge up. Left: top view, four holes. Right: bottom view, fifth hole.
Woodwind instrument
Classification Woodwind
Hornbostel–Sachs classification421.111.12
(Open single end-blown flute with fingerholes)
Developed
  • 7th or 8th century (kodai shakuhachior ancientshakuhachi)
  • 16th century (fuke shakuhachi,the currently knownshakuhachi)
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Ashakuhachi(Japanese:Xích bát,pronounced[ɕakɯhat͡ɕi])is a Japanese longitudinal,end-blown flutethat is made ofbamboo.The bamboo end-blown flute now known as theshakuhachiwas developed in Japan in the 16th century and is called thefuke shakuhachi(Phổ hóa xích bát).[1][2]A bamboo flute known as thekodai shakuhachi(Cổ đại xích bát,ancientshakuhachi)orgagakushakuhachi(Nhã lặc xích bát)was derived from the Chinesexiaoin theNara periodand died out in the 10th century.[3]After a long blank period, thehitoyogiri shakuhachi(Nhất tiết thiết xích bát)appeared in the 15th century, and then in the 16th century, thefuke shakuhachiwas developed in Japan. Thefuke shakuhachiflourished in the 18th century during theEdo period,and eventually thehitoyogiri shakuhachialso died out. Thefuke shakuhachideveloped in Japan is longer and thicker than thekodai shakuhachiand has one finger hole less. It is longer and thicker thanhitoyogiri shakuhachiand is superior in volume, range, scale and tone quality.[4]Today, since theshakuhachigenerally refers only tofuke shakuhachi,the theory that theshakuhachiis an instrument unique to Japan is widely accepted.[5]

Theshakuhachiis traditionally made of bamboo, but versions now exist inABS,ebonite,anodized aluminum,andhardwoods.It was used by the monks of theFuke ZenofZenBuddhismin the practice ofsuizen(blowing meditation).

The instrument is tuned to theminor pentatonic scale.

Etymology[edit]

The nameshakuhachimeans "1.8shaku",referring to its size. It is a compound of two words:

  1. shaku(Xích)is an archaic unit of length equal to 30.3 centimetres (0.99 ft) and subdivided in ten subunits.
  2. hachi(Bát)means "eight", here eightsun,or tenths, of ashaku.

Thus, the compound wordshaku-hachimeans "oneshakueightsun"(54.54 cm (21.47 in)), the standard length of ashakuhachi.Othershakuhachivary in length from about 1.1shakuup to 3.6shaku.Although the sizes differ, all are still referred to generically asshakuhachi.

Overview[edit]

Ashakuhachishowing its Kinko schoolutaguchi(Ca khẩu,blowing edge)and inlay
Myōan-jishakuhachifingering chart and notation

Shakuhachiare usually made from the root end ofmadake(Phyllostachys bambusoides)bambooculmand are extremely versatile instruments. Professional players can produce virtually any pitch they wish from the instrument, and play a wide repertoire of originalZenmusic, ensemble music withkoto,biwa,andshamisen,folk music,jazz,and other modern pieces.

Much of theshakuhachi's subtlety (and player's skill) lies in its rich tone colouring, and the ability for its variation. Different fingerings,embouchuresand amounts ofmeri/karican produce notes of the same pitch, but with subtle or dramatic differences in the tone colouring. Holes can be covered partially and pitch varied subtly or substantially by changing the blowing angle. TheHonkyokupieces rely heavily on this aspect of the instrument to enhance their subtlety and depth.

Unlike arecorder,where the player blows into a duct—a narrow airway over a block which is called a "fipple"—and thus has limited pitch control, theshakuhachiplayer blows as one would blow across the top of an empty bottle (though theshakuhachihas a sharp edge to blow against calledutaguchi) and therefore has substantial pitch control. The termutaguchi(Ca khẩu)literally translates as "to the mouth that sings", referring to the upper and main hole of the flute where the mouthpiece or blowing edge is created by a natural diagonal cut in the bamboo.[citation needed]

The history of theshakuhachishows a variety of designs of inlaid mouthpieces that vary between certain traditional Japanese schools ofshakuhachi.Thus, the Kinko Ryu, Myoan and Tozan Ryu, differ in different features in their line of mouthpiece design, coinciding in them the total non-use in their inlay of the semi-circumference formed by the natural cut of the mouthpiece in the bamboo. Beyond the fact that these inlaid forms were a hallmark of styles and schools, the fact of inlaying a mouthpiece historically could respond to a way of repairing the instrument due to wear or damage in particular in its blowing edge.[citation needed]

The five finger holes are tuned to aminor pentatonic scalewith no half-tones, but using techniques calledmeri(メリ)andkari(カリ),in which the blowing angle is adjusted to bend the pitch downward and upward, respectively, combined withembouchureadjustments and fingering techniques the player can bend each pitch as much as a whole tone or more. Pitches may also be lowered by shading(カザシ,kazashi)or partially covering finger holes. Since most pitches can be achieved via several different fingering or blowing techniques on theshakuhachi,thetimbreof each possibility is taken into account when composing or playing thus different names are used to write notes of the same pitch which differ in timbre. Theshakuhachihas a range of two full octaves (the lower is calledẤt/Lữotsu,the upper,Giápkan) and a partial third octave (Đại giápdai-kan) though experienced players can produce notes up to E7 (2637.02Hz) on a 1.8shakuhachi.[6][7]The various octaves are produced using subtle variations of breath, finger positions andembouchure.

Honkyokunotation example; first two lines ofKumoijishi(Vân tỉnh sư tử).

In traditionalshakuhachirepertoire, instead oftonguingforarticulationlike many Western wind instruments, hitting holes (oshi(Áp し),osu(オス)) with a very fast movement is used and each note has its corresponding repeat fingerings; e.g., for repeating C5 the 5th hole (D5's tone hole) is used.[7]

A 1.8shakuhachiproduces D4 (D above Middle C, 293.66Hz) as its fundamental—the lowest note it produces with all five finger holes covered, and a normal blowing angle. In contrast, a 2.4shakuhachihas a fundamental of A3 (A below Middle C, 220Hz). As the length increases, the spacing of the finger holes also increases, stretching both fingers and technique. Longer flutes often have offset finger holes, and very long flutes are almost always custom made to suit individual players. Somehonkyoku,in particular those of the Nezasaha (Kimpu-ryū) school, are intended to be played on these longer flutes.

Due to the skill required, the time involved, and the range of quality in materials to craft bambooshakuhachi,one can expect to pay fromUS$1,000 to US$8,000 for a new or used flute. Because each piece of bamboo is unique,shakuhachicannot be mass-produced, and craftsmen must spend much time finding the correct shape and length of bamboo, curing it for more or less of a decade in a controlled environment and then start shaping the bore for almost a year usingJi(Địa)paste—many layers of a mixture includingtonokopowder(Chỉ の phấn)andseshimeand finished withurushilacquer—for each individual flute to achieve correct pitch and tonality over all notes. Specimens of extremely high quality, with valuable inlays, or of historical significance can fetch US$20,000 or more. Plastic orPVCshakuhachihave some advantages over their traditional bamboo counterparts: they are lightweight, extremely durable, nearly impervious to heat and cold, and typically cost less than US$100.Shakuhachimade of wood are also available, typically costing less than bamboo but more than synthetic materials. Nearly all players, however, prefer bamboo, citing tonal qualities, aesthetics, and tradition.

History[edit]

Sketch of akomusō(right) playing theshakuhachi

Theshakuhachiis derived from the Chinese bamboo-flute. The bamboo-flute first came to Japan from China during the 7th[8]or 8th century.[9][3]This style of bamboo flute, also calledkodai shakuhachi(Cổ đại xích bát,ancientshakuhachi)orgagaku shakuhachi(Nhã lặc xích bát),was used for playinggagaku,but died out in the 10th century. Eightkodai shakuhachiremain in theShōsō-inTreasure Repository. There are no records of musical scores related to thekodai shakuhachi,so details such as its playing method and scale are unknown. The average length was 40 cm (16 in), the diameter of the finger holes was 2 cm (0.79 in), and there were 6 finger holes – 5 at the front, 1 at the back.[3][2]

In the 15th century, thehitoyogiri shakuhachi(Nhất tiết thiết xích bát)appeared. It is characterized by a single bamboo joint in the middle of the tube. Although it flourished in the 17th century, it gradually fell into disuse due to the development and popularity of the superiorfuke shakuhachi,and was no longer used by the 19th century. The average length was 33.6 cm (13.2 in), the outer diameter was 3 cm (1.2 in), and there were 5 finger holes – 4 at the front, 1 at the back.[2][4]

The flute now known as theshakuhachiwas developed in Japan in the 16th century and is called thefuke shakuhachi(Phổ hóa xích bát).This style ofshakuhachiis longer and thicker than the oldershakuhachi,and its volume, range, scale, and tone are superior to those of the oldershakuhachi.It is made from the base of the bamboo, and the average length is 54.5 cm (21.5 in), which corresponds to 1shaku8sun;the outside diameter is 4 cm (1.6 in), and there are 5 finger holes – 4 at the front, 1 at the back.[4][1][2]

During the medieval period,shakuhachiwere most notable for their role in theFuke sectof Zen Buddhist monks, known askomusō( "priests of nothingness" or "emptiness monks" ), who used theshakuhachias a spiritual tool. Their songs (calledhonkyoku) were paced according to the players' breathing and were considered meditation (suizen) as much as music.[10]

Travel around Japan was restricted by theshogunateat this time, but the Fuke sect managed to wrangle an exemption from theshōgun,since their spiritual practice required them to move from place to place playing theshakuhachiand begging for alms (one famous song reflects this mendicant tradition:Hi fu mi, hachi gaeshi(Nhất nhị tam bát phản の điều);"One two three, pass the alms bowl" ). They persuaded theshōgunto give them exclusive rights to play the instrument. In return, some were required to spy for the shogunate, and theshōgunsent several of his own spies out in the guise of Fuke monks as well. This was made easier by thewicker baskets(Thiên cái,tengai)that the Fuke wore over their heads, a symbol of their detachment from the world.

In response to these developments, several particularly difficulthonkyokupieces, e.g. "Distant Call of the Deer"(Lộc の viễn âm,Shika no tōne),became well known as "tests": if one could play them, they were a real Fuke monk. If they could not, they were probably a spy and might very well be killed if they were in unfriendly territory.

Performer playingshakuhachiat the 60thHimejioshiro festival, 2009

With theMeiji Restoration,beginning in 1868, the shogunate was abolished and so was theFukesect,[11]in order to help identify and eliminate theshōgun's holdouts. The very playing of theshakuhachiwas officially forbidden for a few years. Non-Fuke folk traditions did not suffer greatly from this, since the tunes could be played just as easily on another pentatonic instrument. However, thehonkyokurepertoire was known exclusively to the Fuke sect and transmitted by repetition and practice, and much of it was lost, along with many important documents.

When theMeiji governmentdid permit the playing ofshakuhachiagain, it was only as an accompanying instrument to thekoto,shamisen,etc. It was not until later thathonkyokuwere allowed to be played publicly again as solo pieces.

Theshakuhachihas traditionally been played almost exclusively by men in Japan, although this situation is rapidly changing. Many teachers of traditionalshakuhachimusic indicate that a majority of their students are women. The 2004 Big AppleShakuhachiFestival in New York City hosted the first-ever concert of international womenshakuhachimasters. This festival was organized and produced by Ronnie Nyogetsu Reishin Seldin, who was the first full-timeshakuhachimaster to teach in the Western hemisphere. Nyogetsu also holds 2 Dai Shihan (Grand Master) licenses, and has run KiSuiAn, the largest and most activeshakuhachiDojo outside Japan, since 1975.[citation needed][promotion?]

Americanshakuhachienthusiast

Theshakuhachihas grown in international popularity in recent decades.[12]The first non-Japanese person to become ashakuhachimaster was American-AustralianRiley Lee.Lee was responsible for the WorldShakuhachiFestival being held inSydney,Australiaover 5–8 July 2008, based at theSydney Conservatorium of Music.[13][14]Riley Lee played theshakuhachiin Dawn Mantras which was composed by Ross Edwards especially for the Dawn Performance, which took place on the sails of the Sydney Opera House at sunrise on 1 January 2000 and was televised internationally.[15]

Acoustics[edit]

Theshakuhachicreates a harmonic spectrum that contains thefundamental frequencytogether with even and odd harmonics and some blowing noise.[16]Five tone holes enable musicians to play the notes D-F-G-A-C-D. Cross (or fork) fingerings, half-covering tone holes, andmeri/kariblowing cause pitch sharpening, referred to as intonation anomaly.[17]Especially the second and third harmonic exhibit the well-knownshakuhachitimbre. Even though the geometry of theshakuhachiis relatively simple, the sound radiation of theshakuhachiis rather complicated.[18]Sound radiating from several holes and the natural asymmetry of bamboo create an individual spectrum in each direction. This spectrum depends on frequency and playing technique.

Notable players[edit]

See also:Category:Shakuhachi players

TheInternational Shakuhachi Societymaintains a directory of notable professional, amateur, and teachingshakuhachiplayers.[19]

Recordings[edit]

Shika no Tōne
Honkyokurecording
Problems playing this file? Seemedia help.

The primary genres ofshakuhachimusic are:

Recordings in each of these categories are available; however, more albums are catalogued in categories outside the traditional realm. As of 2018,shakuhachiplayers continue releasing records in a variety of traditional and modern styles.[21]

The firstshakuhachirecording appeared in the United States in the late 1960s.Gorō YamaguchirecordedA Bell Ringing in the Empty Skyfor Nonesuch Explorer Records on LP, an album which received acclaim fromRolling Stoneat the time of its release.[22]One of the pieces featured on Yamaguchi's record was"Sokaku Reibo",also called"Tsuru No Sugomori"(Crane's Nesting).[23]NASAlater chose to include this track as part of theGolden Recordaboard theVoyagerspacecraft.[24]

In the film industry[edit]

Shakuhachiare often used in modern film scores, for example those byJames Horner.Films in which it is featured prominently include:The Karate KidpartsIIandIIIbyBill Conti,Legends of the FallandBraveheartbyJames Horner,Jurassic Parkand its sequels byJohn WilliamsandDon Davis,andThe Last SamuraibyHans ZimmerandMemoirs of a GeishabyJohn Williams.

Renowned Japanese classical and film-score composerToru Takemitsuwrote many pieces forshakuhachiand orchestra, including his well-knownCeleste,AutumnandNovember Steps.

Western contemporary music[edit]

  • The Australianshakuhachimaster and composer Jim Franklyn has composed a number of works for soloshakuhachi,also including electronics.
  • British composerJohn Palmerincluded a wide range of extended techniques inKoan(1999, forshakuhachiand ensemble)
  • InCarlo Forlivesi's composition forshakuhachiand guitar "Ugetsu"(Vũ nguyệt), the performance techniques were remarked as "[presenting] notable difficulties in a few completely novel situations: an audacious movement of 'expansion' of the respective traditions of the two instruments pushed as they are at times to the limits of the possible, the aim being to have theshakuhachiand the guitar playing on the same level and with virtuosity (two instruments that are culturally and acoustically so dissimilar), thus increasing the expressive range, the texture of the dialogue, the harmonic dimension and the tone-colour. "[25]
  • American composer and performer Elizabeth Brown playsshakuhachiand has written many pieces for the instrument that build on Japanese traditions while diverging with more modern arrangement, orchestration, melodic twists or harmonic progressions.[26][27][28]
  • New York-born musicianJames Nyoraku Schleferplays, teaches, and composes forshakuhachi.
  • Composer Carson Kievman has employed the instrument in many works from "Ladies Voices" in 1976 to "Feudal Japan" in the parallel world operaPassion Love Gravityin 2020–21.
  • Brian Ritchieof theViolent Femmesformed ajazzquintet in 2002 calledThe N.Y.C.ShakuhachiClub.They playavant-garde jazzversions of tradition Americanfolkandbluessongs with Ritchie'sshakuhachiplaying as the focal point. In 2004 they released their debut album onWeed Records.
  • Welsh composerKarl Jenkinsfeatures prominentshakuhachisolos in his 2005Requiem,specifically in the movements where the texts are deathhaikus.[29]
  • American multi-instrumentalist and composerZac Zingeris ashakuhachispecialist, featuring it on hisprogressive-jazzalbumFulfillment,as well as playing it on the score ofJust Cause 4and the promotional album forKamigawa: Neon Dynasty,fromMagic: The Gathering.[30][31]
  • "Nobody's Listening", a 2003 rap rock song from the albumMeteorabyLinkin Park,features theshakuhachiflute.[32]
  • British jazz musicianShabaka Hutchingsperformed shakuhachi on theAndré 3000albumNew Blue Sun

Synthesized/sampledshakuhachi[edit]

The sound of theshakuhachiis also featured from time to time in electronica, pop and rock, especially after being commonly shipped as a "preset" instrument on various synthesizers and keyboards beginning in the 1980s.[33] TheGeneral MIDIstandard assigns the shakuhachi to programm number 78.[34]One of the best known pop songs of the 1980s that uses this sound isSledgehammerbyPeter Gabriel.

See also[edit]

Look upshakuhachiorXích bátin Wiktionary, the free dictionary.

References[edit]

  1. ^abKotobank, Fuke shakuhachi.The Asahi Shimbun
  2. ^abcdKotobank, Shakuhachi.The Asahi Shimbun
  3. ^abcKotobank, Kodai shakuhachi (Gagaku shakuhachi).The Asahi Shimbun
  4. ^abcKotobank, Hitoyogiri shakuhachi.The Asahi Shimbun
  5. ^Tomiko Kojima. (2008)Japanese traditional performing arts course. Music.p.384. Tankosha.ISBN978-4473034892
  6. ^"Getting started | The European Shakuhachi Society".shakuhachisociety.eu.Retrieved2017-06-21.
  7. ^abKoga, Masayuki (July 24, 2016).Shakuhachi: Fundamental Technique Guidance.USA: CreateSpace Independent Publishing Platform; 1 edition. pp. 101, 28.ISBN978-1535460705.
  8. ^Levenson, Monty H."Origins & History of the Shakuhachi".www.shakuhachi.com.Retrieved2018-09-26.
  9. ^Yohmei Blasdel, Christopher; Kamisango, Yuko (June 1, 2008).The Shakuhachi: A Manual for Learning (Includes Practice CD).Printed Matter Press.ISBN978-1933606156.
  10. ^Keister, Jay (2004). "The Shakuhachi as a Spiritual Tool: A Japanese Buddhist Instrument in the West".Asian Music.35(2): 104–105.
  11. ^Keister, Jay (2004)."The Shakuhachi as Spiritual Tool: A Japanese Buddhist Instrument in the West".Asian Music.35(2): 99–131.ISSN0044-9202.JSTOR4098447.
  12. ^"People - The International Shakuhachi Society".The International Shakuhachi Society.Retrieved2022-02-19.
  13. ^"World Shakuhachi Festival - 2008 Sydney, Australia".
  14. ^The Empty Bell – Blowing Zen,Into The Music,ABC Radio National,accessed 24 October 2008
  15. ^"Dawn Mantras (1999)".Ross Edwards.Retrieved2014-07-30.
  16. ^Yoshikawa, Shigeru (2017). "Japanese Flutes and Their Musical Acoustic Peculiarities". In Schneider, Albrecht (ed.).Studies in Musical Acoustics and Psychoacoustics.R. Bader, M. Leman and R.I. Godoy (Series Eds.): Current Research in Systematic Musicology. Vol. 4. Cham: Springer. pp. 1–47.doi:10.1007/978-3-319-47292-8_1.ISBN978-3-319-47292-8.
  17. ^Ando, Yoshinori (1986)."Input admittance of shakuhachis and their resonance characteristics in the playing state".Journal of the Acoustical Society of Japan (E).7(2): 99–111.doi:10.1250/ast.7.99.
  18. ^Ziemer, Tim (2014).Sound Radiation Characteristic of a Shakuhachi with different Playing Techniques(PDF).International Symposium on Musical Acoustics (ISMA).pp. 549–555.Retrieved24 May2018.
  19. ^"People whose speciality is shakuhachi".The International Shakuhachi Society.RetrievedMarch 10,2012.
  20. ^"Shakuhachi Terms – WSF2018".wsf2018.com.Retrieved2018-09-25.
  21. ^Nelson, Ronald."The International Shakuhachi Society".www.komuso.com.Retrieved2018-09-25.
  22. ^"20 Sixties Albums You've Never Heard".Rolling Stone.2014-05-22.Retrieved2018-09-25.
  23. ^Nelson, Ronald."The International Shakuhachi Society".www.komuso.com.Retrieved2018-09-25.
  24. ^"Voyager – Music on the Golden Record".voyager.jpl.nasa.gov.Retrieved2018-09-25.
  25. ^ALM Records ALCD-76
  26. ^Sullivan, Jack. "Elizabeth Brown,Mirage,"American Record Guide,January/February 2014, p. 83.
  27. ^Carl, Robert.Elizabeth Brown – Mirage,liner notes,Brooklyn, NY: New World Records, 2013. Retrieved November 3, 2020.
  28. ^Elizabeth Brown website.Pieces with Shakuhachi or Traditional Japanese Instruments.Retrieved November 9, 2020.
  29. ^"Karl Jenkins - Requiem".www.boosey.com.Retrieved2022-11-12.
  30. ^"Profile".Zac Zinger ザック・ジンガー.Retrieved2022-11-12.
  31. ^"Kamigawa: Neon Dynasty Official Soundtrack".magic.wizards.com.Retrieved2022-11-12.
  32. ^Costantino, Rosanna (January 13, 2022).In the End - A Tribute to Chester Bennington.PubMe.ISBN9791254580837.
  33. ^The "E-mu Emulator IIshakuhachi "is number nine in"20 Sounds That Must Die"by David Battino,Keyboard Magazine,October 1995
  34. ^"GM 1 sound set".www.midi.org.Retrieved2023-11-12.

Further reading[edit]

External links[edit]

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