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June 19, 2005
What is a Functional Shakuhachi?
What is the criteria that defines a functional shakuhachi?
I've asked several experienced players in Japan and the US and the unanimous answer pertains to fingering techniques. Most, however, still touched upon pitch and octave problems as being secondary.
Traditional shakuhachi music of different schools require specific fingerings that plays specific notes for individual tone colors. At some point in time, shakuhachi masters decided that they would do things differently and started their own schools, or, ryu. They heard the music differently and started their own fingering techniques. Along with this technical playing developement, makers began to develope flutes to facilitate these new techniques. This combination produced beautiful new shakuhachi music. Even in Japan today, virtuoso players work with makers to make flutes play in ways that commercial shakuhachi can not handle.
Back to what makes the flute functional:
If the shakuhachi can not play a specific note with the desire timbre in it's fingering (or a secondary alternate fingering that will produce a similar tone color in the same pitch), then the flute is considered nonfunctional because it can not play the music it supposed to play. This means that the player needs to know all the fingerings of their style of music. This is why students must rely on their teachers when purchasing a shakuhachi. A flute may work for one style of traditional shakuhachi music, but may actually not work for another.
What prompted me to write this email was a repair I recently had. It was actually for a crack near the top utaguchi but after the repair, I noticed the Chi kan was difficult. I mentioned my discovery to the owner. He said he knew of the difficulty and we proceeded to analyze the problem together. He said his teacher also pointed out the difficulty in that one note. Together we played all the fingerings of the Jin Nyodo style to see if we had the same results. All the fingerings worked for both of us and when ever we played Chi or Chi Meri in Kan, the note was stuffy but acceptable. Then the owner asked me to run through some Dokyoku style fingerings. As soon as I hit Chi Ru, there was no sound. I tried variations of Chi Ru and still, there was no sound. And that's when it became clear to me why experienced players must be used to judge flutes. If I was to teach a Dokyoku piece to the owner, I would say that this flute is not usable for lessons since the first Dokyoku piece, CHOSHI, uses Chi Ru. Although the flute was functional for Jin Nyodo style, it would not work for Dokyoku. The flute costs $3,000. Of course, judging a shakuhachi is much more than simpley seeing if all the fingerings work. The most experienced players listen to the sound the flute produces under the different embroucher pressures. Many players and teachers would probably find this flute acceptable if it had a very desirable tone. Other's may not, they may prefer technical access for all the fingerings over the timbre and response.
We've just discussed the top criteria on what makes a flute fully functional - fingering issues. I'll have to wait for a free weekend to talk about pitch problems.
Last thought;
A simple five hole, natural bore, non root bamboo flute can be a great flute. It all depends upon the level of the player and whether or not she is playing for simple enjoyment or indoctrination into a culture.
Who knows what that simple bamboo flute is capable of...someone with time on their hands will sure find out!
Ask questions when you buy a shakuhachi.
Enjoy the deep, full lung breathing.
Namaste,
Perry
Posted by Perry Yung at June 19, 2005 11:18 AM