Having returned from Japan yesterday where I spent two weeks harvesting and
otherwise acquiring madaké for shakuhachi, this discussion continues of one
I was having just the other day with a maker in Osaka.
>
>Does anybody know how exactly to describe the sizes of various
>shakuhachi? Is it strictly by length, or is pitch a consideration as
>well? If two flutes are the same length, but different pitches are they
>called the same way? Everyone knows the standard shakuhachi is called
>1.8 and the pitch is D. However I've seen two flutes of same length
>called 2.4, but one is A and one is Bb. Other Bb flutes may be called
>2.3. This can be confusing when looking for a flute of a specific pitch
>since pitch is determined not only by length, but also by bore.
Traditionally a solo instrument, the shakuhachi has historically been
referenced by the length of bamboo rather than by pitch. The latter became
a consideration rather late in the game when processes used in fabrication
became more refined allowing the maker to build up the bore and hone in on
precise pitch. One may detect a western influence in this historical
transition. Undoubtedly the founding and immense popularity of the Tozan
Ryu at the turn of the century, along with its focus on sankyoku or
ensemble playing, contributed to a growing concern with having the
shakuhachi tuned to a standard pitch. Old shakuhachi are notoriously out of
tune. Less of an issue and easier to adjust if one blows honkyoku, i.e.
solo.
The method for tuning shakuhachi in the old days was known as "towari-ho."
It was based on a system which correlated hole placement with the nodal
relationship of the bamboo. Comprised of seven nodes (four joints and three
rings of roots) which diminished in length from top to bottom of the
instrument, towari-ho defined hole placement on a foundation of bamboo
aesthetics. Hardly a basis for precision tuning.
The shakuhachi or, more accurately, an end-blown bamboo flute of similar
design which evolved into the hitoyogiri, entered Japan in the 6th C. But
it was not for a millennium that the instrument was redesigned from the the
root of the bamboo. This too has implications for pitch as the upper
section of the bamboo is essentially cylindrical inside rather than the
root-end which is conical in shape. A cylindrical bore will compromise
pitch in the upper part of the second and third octaves whereas the conical
bore has a shot a being in tune if the maker succeeds in buiding up the
inside walls with some accuracy. I have long regarded the evolution of the
shakuhachi in Darwinian terms: a process of natural selection toward
acoustical precision guided by dominance of western paradigms. (What else
is new?!)
>Since length seems to be the main factor in determining what to call
>your instrument, does anyone know exactly how many centimeters or inches
>is a shaku? A sun?
Getting back to the issue at hand, the length of the instrument is defined
using a traditional Japanese measuring system. The system is still used in
other traditional crafts as well. To correct David, a shaku is about 33 mm.
or just shy of one foot. (I learned recently that the shaku length varied
historically in a way analogous to western pitch.) This unit of lenth is
divided into ten parts, each called a "sun" which itself is divided
decimally with each fraction called a "bu."
The 1.8' shakuhachi flute is approximately 54.5 cm. long, but varies by as
much as one cm. depending upon overall bore diameter and slope of the
smaller conical bore at the root end. Starting with a 1.3' and going up the
scale, one discovers a fairly accurate correlation between length of the
instrument and pitch. Each "sun" increase in length results in a semi-tone
lower ptich. This correclation, however, begins to breakdown after 2.1'
(Key of B). A Bb instrument can be 2.2' or 2.3'. By 2.4' (Key of A),
everything goes to hell. The Ni Shaku Yon Sun which I make are actually
closer to 2.5' in length. The Key of G flute I have recently developed is
84 cm. in length, nearly 2.8'!
The confusion, to my understanding, is a function of long-held historical
connotations being leapfrogged by modern innovation and ensuing standards
which developed in the music and craft. Perhaps, another aspect of the
mystery that seems endemic to shakuhachi.
All the best.
Monty
Monty H. Levenson
Tai Hei Shakuhachi Flutes
P.O. Box 294
Willits, CA 95490
Tel.:707-459-3402
FAX: 707-459-3434
e-mail: monty@shakuhachi.com
Web Site: http://www.shakuhachi.com
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