SHAKUHACHI FOR COMPOSERS Shawn Renzoh Head
OVERVIEW AND CONSTRUCTION
JINASHI AND JIARI
No Laquer or fine turning Laquer and Fine Tuning (Red)
RANGE (C4 – C7)
Three separate voice types
Chant, Folk, and Nature
FIRST OCTAVE PLUS M2
The lowest register of the shakuhachi (from C4 to D5) is the chant
register and as far as volume is concerned, it can be quite powerful.
It is a very rich and colorful part of the shakuhachi's range and
mimics the sounds of traditional Buddhist chanting. The entire lower
octave can be considered as belonging to this timbral area. In this
range, the shakuhachi can have difficulty competing aurally with
other instruments but it always depends on the context. Particular
care should be exercised when scoring accompaniment for the
shakuhachi in this range.
MINYO (FOLK RANGE)
The middle register (from D5 to D6) has considerably more power.
Here the tone quality is bright and vibrant, with enough sound to
carry over most other settings. This octave also is very rich in
overtones, giving the shakuhachi another unique timbre to work with.
LAST OCTAVE
The upper register (D6 to C7/*D7) has a shrill, airy, and piercing,
but brilliant quality to it. Due to the somewhat awkward fingerings in
this register, the shakuhachi can lose agility, in addition to becoming
a bit more difficult to control in very soft nuances. In loud passages,
this range is an excellent choice. Notes above the highest 'C' on the
flute should only be written in consultation with a competent flutist, as
all notes above E6 are difficult for amateur players to perform.
Note, many shakuhachi can not produce an "F-natural 6;" there is a
method of obtaining F6 but it is not reliable unless used for special
effect purposes (consult musician before writing).
SIZES
(G) 1.3 = Sounds a perfect fourth up
(F#) 1.4 = Sounds a major third up
(F) *1.5 = Sounds a minor third up
(E) **1.6 = Sounds a major second up
(Eb) 1.7 = Sounds a minor second up
(D)***1.8 = C tuning
(C#) 1.9 = Sounds a minor second down
(C) **2.0 = Sounds a major second down
(B) 2.1 = Sounds a minor third down
(Bb) * = Sounds a major third down
(A) ** 2.4 = Sounds a perfect fourth down
ALTERNATE FINGERINGS
Practically all notes can be played in at least two ways. To make
these sort of color decisions, it is best to work one on one with a
shakuhachi player. From there, they can give you fingerings and/or
what you should write in the score.
Example: Eb, D, A, Ab, G.
MERI AND KARI
There are many possibilities for trills and tremolos but be
advised. There are many that do not speak well on
shakuhachi or can not be played easily. It is best to consult the
performer directly on a case by case basis.
TRILLS AND TREMOLO
POSSIBILITIES
Tonguing is not usually used as part
of the traditional repertoire but can
be specified. Repeated notes are
normally articulated by opening and
closing a hole.
A NOTE ON
ARTICULATION The beginning of notes are often
articulated with a finger hit "atari:"
This form of ornamentation is very
typical of traditional music. It can be
notated using grace notes or can be
worked out with the performer
There are two types of vibrato that shakuhachi players
use. Traditionally speaking, shakuhachi players by
default will move their head joint from the meri to kari
VIBRATO position in order to create vibrato. This vibrato is a
very distinct sound compared to western flute. If you
would like the shakuhachi player to vibrate with air
pressure it must be notated in the score.
EXTENDED TECHNIQUES
Muraiki - Muraiki is constructed of two different Chinese characters. Muramu meaning to bellow and iki, note or sound. The
bellowing sound effect sounds like a rolling note jumping between the chanting octave and the middle octave. In traditional
music, it usually represents the sounds of a great wind pushing through a bamboo forest. It can be notated in a variety of ways.
Preferred way: write Muraiki over desired notes and then a dotted line to show how long the muraiki should last.
Option 2: Notate Muraiki over the desired x note-head notes.
Overblown - This is the same as the overblown effect used by western flutes. Japanese flute though is limited in how many
partials it can produce. From the lowest note without dropping the Chin, the Shakuhachi can produce the following pitches (D4 -
D5 - A5 - D 6 - F# 6).
Fuki-kiri - Another technique that has two separate Chinese characters. The first is to blow and the second is to cut. The best was
to imagine this technique is that it is a harsh accent that dramatically ends a note. Phonetically it can be interpreted as a "tsu"
sounds.
EXTENDED TECHNIQUES CONT.
Koro-koro - is one of the hallmark techniques of shakuhachi and should be used carefully. Koro-koro can be used to much or
without significant context. Koro-koro is an onomatopoetic word that can mean rumbling, grumbling, rolling, or growing. The
sound is suppose to represent the sound of bamboo trees hitting each other during a gust of wind.
(C, C#, Cqt)
horo-horo - this is a lighter version of koro-koro that's main difference is having a lot more air. (C, C#, Cqt)
u-ha goro - is a very different sound than all of the other koro-koro on the list. It is found in a traditional piece
called eichigo reibo. In the piece it is used to paint the image of a divine water dragon under water. (Ab/Bb/Bqt)
special goro - a nonstandard way of performing korokoro (the sounds are very light) (Bb/Bqt) * can differ from
instrument.
lower closed koro koro - if the back hole of the shakuhachi is closed you can perform a koro-koro in the lower
octave of the flute. (D/F/F#qt)
upper closed koro koro - Same notes as lower closed koro-koro only an octave higher.
Overblow koro-koro - it is possible to overblow the closed koro-koro version.
AND MORE…
Kara-Kara - It based on the sounds of the buddhist staff used by many monks during travel. The
sounds of the rings on the top of the staff make a clinging sound. The sound was used to let all people
know that they were coming for prayers and blessing. It also had a duel purpose of scaring bugs
away so that the monk wouldn't accidently kill them by stepping on the.
Flutter tongue - same as western flute (not all players can do).
Growling - same as western flute (not all players can do).
Komibuki - is a technique that requires the perform to pulse their breathe in order to create a pulsed
vibrato effect. It can be notated by rhythmically with a slur and staccato marking or can be done
freely by simply writing above the staff "komibuki."
Multi-phonics - Please consult individual players on what their flute can and cannot do. There are some
multi-phonics that all shakuhachi and perform and there are some that only few can.
Sliding and bending - when no holes are closed, the shakuhachi can bend up a whole step and down
a minor 3rd. When all holes are closed: up a minor second, and down a whole step.
Singing and playing - same as western flute.
