Beginner's Guide to Shakuhachi
by Keisuke
Zenyoji
(Translated by Zachary
Braverman)
Preface
The sound of the
shakuhachi is often compared to the human voice. Indeed, it
is a wonderful instrument that lets you play as though you
were singing, and it is my hope that more and more people
learn to play the songs they love on it to their heart’s
content.
However, the image of the shakuhachi makes it hard to
approach. Its status as a traditional instrument seems to
be a hurdle in picking it up even for those interested.
This book is intended for those people. It aims to ease the
first steps in playing to make the shakuhachi as
“approachable” as possible.
The Introduction covers basic information on handling the
shakuhachi. Part I explains how to make sounds and
introduces some elementary songs. Part II covers basic
techniques for mastery of the instrument, while Part III
delves into frequently asked questions. Finally, Part IV
gives a brief overview of the instrument’s history, along
with details about all current schools and genres of
playing that should be of use for those wishing to study
further.
Before we begin, two notes about the notation used here:
1. I have decided to use the western staff along with
fingering charts.
Each school of shakuhachi has its own particularities when
it comes to notation. I cover the major styles of
traditional notation here, but there is no reason for those
for whom this book is intended to master these now.
Choosing one of the many styles of notation for use here,
or instead introducing all the myriad ways there are to
write a single note, would only be confusing. I have opted
instead for simplicity, with the hope that those who
continue in a given school will learn that notation in
depth when the time comes.
2. Either a 1.8 (D) flute or a 1.6 (E) flute can be used
for this book.
The name
shakuhachi derives from shaku, a unit of length of about one foot,
and hachi, or eight, meaning that standard
shakuhachi are 1.8 shaku long. However, actual shakuhachi
range from about 1.3 shaku all the way to 3 shaku and
beyond. I think the 1.6 length flute is a particularly good
size, and I hope that it becomes more popular than it
already is. Its lightness makes it very useful for women
and children who are just beginning to play. Therefore, I
have included both 1.6 and 1.8 versions of all songs played
on the accompanying CD. However, for reasons of space the
staff notation is for the 1.6 alone. Refer to the chart on
p. 2-3 for equivalent pitches on the 1.8.
The shakuhachi
first came to Japan during the Nara period (710-794) from
Tang China, more than 1,000 years ago. It is amazing that
it has survived for so long and remains vital even to this
day. What is the secret to the shakuhachi’s longevity? I
think it’s the instrument’s ability to appeal to the common
people of any age. The instrument has been kept alive
literally over the course of millennia by those for whom it
remains relevant and crucial, and who benefit from its
healing sound anew each generation. These songs have always
been lullabies, folk songs, and other types of music close
to the heart of the everyday person.
One of my motivations for writing this book is to help
ensure the shakuhachi remains a vital part of everyday
life. Recently it has garnered attention both in Japan and
abroad as a concert instrument, and indeed it is capable of
great heights of artistic expression. However, I fear that
it will not maintain its remarkable vitality if it is taken
from its roots as a “mass instrument” and becomes a
rarified instrument solely for professional musicians.
In spite of its reputation for difficulty, everyone can
learn to play the shakuhachi if they practice according to
the logical steps outlined here. I urge you to take up this
wonderful instrument and begin playing the music that
belongs to you, from your heart.
Keisuke Zenyoji
Translator’s Note
I have
endeavored to keep the translation as faithful to the
original as possible. However, since this translation
appears as a print-out alongside the original book and not
as a book in its own right, there are some unavoidable
difficulties. For example, we could not reproduce the
figures, photos, or notation in the translation itself. So,
the reader will have to refer to these in the original text
while reading the translation. I have inserted
place-markers for all these elements so that it should be
easy to follow along, but unfortunately this will require
some work on the part of the reader.
I think the text is worth it, however, as I do not believe
there is another beginning shakuhachi guide in English
which goes into such depth on the core problems likely to
face many beginners.
One note: Many of the photos are labeled with an
○ and an ×. These mean
“Correct” and “Incorrect” respectively. Also, keep in mind
that the names of notes as given in Western notation in the
text refer to the 1.6 length. If you are playing with a 1.8
flute, you’ll have to use the chart on pg. 2-3 of the
original to see equivalences. Or, just use the handy
fingering diagrams. I can’t read Western music, so that’s
what I did when translating the book.
If you notice any errata, or have any feedback as to how
this translation may be improved, please let me know at
shakuhachi@kotodama.net.
Zachary Braverman
Introduction
Before Playing
1. Parts of the
Shakuhachi
2. Handling the
Shakuhachi
Chapter I
Playing Basic Songs
1. Holding the
Shakuhachi
2. Forming the
Embouchure
3. Position on the
Chin
4. Breathing and Sound
Production
5. Playing Simple
Songs
6. Changing
Octaves
7.
Half-Holing
8. Practicing High
Notes
Chapter 2
Understanding Basic
Techniques
1. Basics of Sound
Production
2.
Selecting Shakuhachi According to Shape of the
Mouthpiece
3. Practicing Sound
Production
4.
Holding the Shakuhachi
5. Moving Your
Fingers
Chapter 3
Troubleshooting
1. Cannot Make a
Sound
2. Cannot Stabilize the
Flute
3. Breathing
Techniques
Chapter 4
History
1. Ancient
Shakuhachi
2.
Hitoyogiri in the Early Medieval
Period
3. Komuso and the
Miyogiri
4. Shakuhachi “Boom” in
the Late Medieval Period
5. Abolition of the
Fuke Sect and the Early Modern
Period
6. Revision
of Notation and the New Japanese Music
Movement
7. Modern Japanese
Music and the Shakuhachi
Afterword
Finally, here is a graphic (I spent hours reproducing!)
from the section on shakuhachi history:
