Buying a shakuhachi is a challenge especially if you are not able to assess an instrument yourself. With this guide I hope to make the shakuhachi buying process less intimidating.

Firstly, it is important to be aware that there are people who sell flutes which they call shakuhachi, however, they lack the training and knowledge to truly be able to test their flutes to insure that they can play shakuhachi music and therefore be actual shakuhachi. To put it into perspective, it would be like making a guitar with one less string and claiming it is a guitar. Unlike stringed instruments the flaws of a flute are not readily apparent which makes it very difficult to tell what is an authentic shakuhachi. With this in mind it is best to purchase shakuhachi from those who have classical training and know what it takes to call a flute a shakuhachi.

Anyone selling shakuhachi should offer an auditioning period and ideally they should offer a full 30 days, however, if you are not at the level to really assess a shakuhachi than a 30 day audition is not of much use! The next best thing is to have someone more experienced than you evaluate the shakuhachi such as a shakuhachi teacher. The evaluator can insure that you are getting what you pay for and hopefully offer more insight into the unique characteristics of the shakuhachi in question.

It is important to realise that most everyone finds that their tastes and needs change, even people who have been playing shakuhachi half of their lives. For example, you may find that you prefer longer, shorter or wider shakuhachi. It is for this reason that I offer lifetime trades. If you are fairly new to shakuhachi and you are purchasing shakuhachi from those who do not offer trades it is best to avoid the most expensive shakuhachi because you may very well have to resell it down the road. While you may feel that you will never want or need to sell your shakuhachi keep in mind that most people do especially those who are progressing with a teacher.

1.8 "D" and lessons

If you want to take lessons most all teachers will need you to play on a 1.8 "D" shakuhachi. A 1.8 "D" can come in many forms from cast bores, PVC, plastic, natural jinashi or fully hand pasted bore "jiari". To begin your journey any fully functional in tune shakuhachi will do. You and your teacher will know when you have outgrown any one shakuhachi at which point most teachers can recommend your next 1.8. Think of it like hermit crabs upgrading their shells. Once your skills develop and you know exactly what you want out of a shakuhachi you can confidently audition and commit to buy the shakuhachi that best fits you.

Shakuhachi other than 1.8 "D"

It is both fun and beneficial to have one or more shakuhachi that are either longer or shorter than your 1.8 "D" or main shakuhachi. Other shakuhachi of various keys will provide valuable contrast, break up the monotony of playing one shakuhachi all the time, and help you to develop a dynamic embouchure that can move and adjust.

In summary, acquire a humble 1.8 "D" that is approved by your current or future teacher as well as at least one other shakuhachi that is longer or shorter than said 1.8 "D".

Below is a basic shakuhachi note chart of the six standard shakuhachi notes. Pitches are for a 1.8 "D4".
An "X" is a closed hole, an "O" is an open hole and the horizontal line separates the front four holes from the rear thumb hole.
In my chart "Ri" and "I" (the last two on the right) are played with the 1st hole closed because this works best with jinashi,
however, for most modern jiari it is best to play these two notes with both the 1st and 2nd holes closed.

What is the solution?

There are a lot of ways to clean a shakuhachi. Some people use expensive natural plant extract oil tinctures AKA "Essential Oils" while others may use harsh bleach or chemical cleaners. In the middle of the road are the truly amazing distilled white vinegar, or DWV for short, and Baking Soda or BS. DWV is more effective than Essential Oils at killing mold, fungi and at eliminating odors. DWV does not leave a lasting scent nor does it stain the bamboo unlike some Essential Oils. The same can be said of BS.

DWV and BS are both 100% safe unlike Essential Oils and bleach cleaners. DWV and BS production is far less detrimental to the environment than Essential Oils and bleach/chemical cleaners. Just a 5% solution of DWV and water kills 99% of bacteria, 82% of mold, and 80% of germs (viruses) and there is no reason not to use undiluted 100% DWV on shakuhachi. DWV and BS are great multitaskers. People use DWV to soften hard water in the washing machine, for the rinse cycle in dishwashers and to make pickles. BS is used for deodorizing, scrubbing, baking food, brushing teeth, etc. etc. Although the initial smell of DWV is strong it is harmless and it fades away completely, usually in just a few days.

How to scrub the bore

There are so many ways to go about scrubbing a shakuhachi bore. A dowel rod with a sponge attached to the end works great or you can buy a dryer vent brush from your local hardware store. I dip the end of the brush in DWV and then scrub the bore. If I want to do serious cleaning I sprinkle BS on the brush after dipping the end in DWV.

With these simple safe tools you can keep any natural jinashi shakuhachi or lacquered jiari shakuhachi "as clean as a whistle".

VIDEO SOON!

There is one question about shakuhachi that gets asked more than any other and that is, what makes shakuhachi unique. This question seems to also receive the most varied answers. Rather than go into shakuhachi history or folklore I prefer to show people what makes a shakuhachi unique as an instrument or rather what sets it apart from other flutes. First, shakuhachi are end-blown-flutes played with embouchure which means to direct a pressurized air stream at a sharp edge. There is no mouth-piece or fipple to direct the air-stream on shakuhachi. Fipple-flutes such as The Native American flute are easier than end-blown-flutes like the shakuhachi, however, the shakuhachi provides much more room for expression.

Shakuhachi only have five holes, a tone/fundamental/octave hole at the bottom end, and a hole at the top at the blowing edge or "utaguchi". However, shakuhachi players can access a dizzying array of notes and sounds that far exceed expectations. We are able to get all of these notes from the shakuhachi by slightly covering holes, by moving our heads, and by adjusting our embouchure or "air-flow".

The term "bobble-head" comes up often when I demonstrate shakuhachi for people. It is this movement of the head that gives shakuhachi a large part of its soul. By moving the head down we get closer to the shakuhachi blowing edge which lowers the pitch. We also often match these head movements on the shakuhachi by adjusting or embouchure and by using a special positions such as covering 3/4ths of a hole. Additionally, we move our head in a number of motions to create vibrato and other sound effects. In short, it is the players ability to manipulate the shakuhachi with the breath, head position and hands that makes shakuhachi so unique and expressive.

In this shakuhachi guide I will help you to better understand the differences between jinashi, jiari and hocchiku shakuhachi. Essentially, jiari are fabricated bore two-piece shakuhachi while the ancestore jinashi have a inner bore geography that is all or mostly natural. Hocchiku are modern (20th century) long and or wide jinashi shakuhachi invented by Watazumi which are not to be confused with the jinashi shakuhachi of the Komuso which rarely ever exceeded 2.2 shaku in length and had average sized bores (18th to late 19th century).

Jiari AKA Jinuri - The shakuhachi was almost totally banned during the Meiji restoration, however, it was allowed on the conditions that it was made to "Western" standards and that it was only played with Koto and Shamisen stringed instruments. It was around this time that the "jiari" shakuhachi were created. Jiari shakuhachi have a completely fabricated inner bore and are usually made in two-pieces having a center joint. Jiari shakuhachi used to be made by hand, however, they have since evolved into various "casted-bore" shakuhachi or mandrel made shakuhachi all with precise or predetermined bores. Jiari shakuhachi can exhibit plastic, plasters, and anything that will adhere to the bamboo bore and allow the maker to sculpt it. They usually have a center joint (two-piece) and always have lacquer to cover the sculpting material as well as an inlaid blowing edge.

Jinashi - the ancestors of jiari, jinashi are the original shakuhachi of the Komuso and their predecessors. During The Edo period all shakuhachi were jinashi, mostly "nobe" or one-piece. The jinashi of The Edo period rarely exceeded the length of 2.2 "Bb" and mostly had average sized bores and holes. "Spot tuning" or additions to the bore on jinashi shakuhachi were rare during The Edo period, however, today jinashi shakuhachi range from all-natural to more refined with bore adjustments. The main characteristic of any jinashi is that most of the natural bamboo bore geometry is left intact. A jinashi can be tuned by making subtractions from the bamboo bore or by adding material at key points along the bore. Jinashi can be adjusted by using joints, however, jinashi are more often than not made in one piece or "nobe/whole". Jinashi can also have lacquer applied to the inner bore and still be called jinashi.

Hocchiku - these are modern jinashi invented by Watazumi Do that share little in common with the jinashi of the Edo period. Unlike Edo period Jinashi which rarely ever exceeded the length of 2.2 "Bb" Hocchiku are usually long "choukan" bass shakuhachi. Hocchiku also tend to have a wide bore for the length while Edo period jinashi have medium or average sized bores for the most part.

In summary, jiari have a inner bore geography that is mostly shaped by humans through the use of various non-bamboo materials while jinashi have a inner bore geography that is mostly shaped by nature. With jinashi it is necessary for the maker to describe to what extent they have changed the natural bamboo bore. Hocchiku or Hotchiku are modern jinashi that are longer and or wider than Edo period jinashi, the shakuhachi of the Komuso.

A quick personal note

In my work my goal is to celebrate bamboo and embrace its infinite variety. I seek to make my shakuhachi in the most natural way possible. I incorporate bamboo into every single step. I do not use any lacquer or oils in the bore as I prefer to leave the natural bamboo bare so that it can have its full effect on the sound.

Urushi lacquer and urushiol contact dermatitis commonly known as "poison ivy rash"

Urushi comes from The Lacquer Tree (Toxicodendron vernicifluum or formerly Rhus verniciflua). Toxicodendron is a genus of flowering plants in the sumac family, Anacardiaceae. It contains woody trees, shrubs and vines, including poison ivy, poison oak, mango, cashew and the lacquer tree. You may already recognize the word "urushi" from "Urushiol-induced contact dermatitis" more commonly called "poison Ivy rash". Approximately 70% to 80% of people are allergic to urushiol.

Approximately 80% to 90% of adults will get a rash if they are exposed to 50 micrograms of purified urushiol however some people are so sensitive that it only takes a trace amount of urushiol (two micrograms or less than one ten-millionth of an ounce) on the skin to initiate an allergic reaction. The fumes from urushi lacquer can cause rashes and have been known to send people to the hospital who breath them in.

From en.wikipedia.org/wiki/Toxicodendron_radicans
"If poison ivy is burned and the smoke then inhaled, this rash will appear on the lining of the lungs, causing extreme pain and possibly fatal respiratory difficulty.[18] If poison ivy is eaten, the mucus lining of the mouth and digestive tract can be damaged."

From poison-ivy.org one unlucky person writes
"I was pulling weeds around our house and throwing them on our burn pile. I did not realize that there was poison ivy in the weeds, and I was directly in the line of the smoke. A couple of days later I noticed I had the rash in my mouth, and a week later, was admitted to the hospital with a collapsed lung, compliments of the poison ivy that I had burned, and inhaled. Eventually, they had to remover the top portion of the affected lung, as the condition would not go away, and my lung continued to collapse."

About gaining or loosing immunity from poison-ivy.org FACTS:
"What about immunity? Some people appear to be immune, others become immune. HOWEVER, you can gain or lose immunity, so to assume you can't get it if you never have before is foolish. People change as they age. I would never assume that I was immune at any time no matter what my past experience was. "

Urushi lacquer on shakuhachi

Shakuhachi often exhibit a red or black lacquer painted on the inside bore. Lacquer is sometimes synthetic but most often it is urushi. Urushi can be sourced from China or Japan however in Japan the same tree is grown slower in a different climate zone and produces higher concentrations of the rash causing oil which also means it cures much stronger and adheres better. Japanese urushi is more than ten times more expensive costing as much as $200 for 100g (a toothpaste tube) as apposed to Chinese sourced urushi which cost as low as $20 a tube. The more toxic the lacquer is the less toxic it will be when it cures, however, urushi can always un-cure or reactivate if it becomes too dry. If urushi is not cured properly it may never totally cure.

Facts about lacquered bores

1. Lacquering the bore of a natural jinashi shakuhachi alters the sound but whether it is a negative or positive change is a matter of perspective. Lacquering the bore speeds up the air flow and has a brightening effect on the tone. Imagine that the bore becomes smaller when lacquered. So, lacquer will make a large or medium bore shakuhachi sound and feel more like a smaller bore shakuhachi.

2. Lacquering the bore of a natural jinashi shakuhachi creates a greater imbalance between the inside and outside surfaces of the bamboo making a shakuhachi more susceptible to cracks. Lacquer makes the inside bore impervious to moisture while the entire outside of the shakuhachi is left absorptive or permeable. A fully lacquered shakuhachi, inside and out, is the most stable.

3. A lacquered bore is less susceptible to mold, like shower tiles vs. grout. However, lacquer can still harbour mold. Some people with natural bore shakuhachi have no issues of mold while others experience mold regularly.

4. Lacquered bores require frequent swabbing as moisture and spit bead-up and collect on the lacquer more readily. There is some debate whether or not this collection of moisture on the lacquered bore effects the sound of the shakuhachi, however, there are too many variables to come to a definitive answer. Natural jinashi bores absorb most of the moisture from the breath except in cold winter temperatures in which condensation builds up.

"Ji" pastes and other foreign matter

"Ji" is the name given to an ancient Japanese mixture of "jinoko" which is roasted and crushed diatomaceous earth and "urushi" lacquer. Ji is primarily used for the making of Japanese lacquer ware. However, the term ji when used in the context of shakuhachi making can apply to seemingly any foreign non-bamboo material applied to the bore. Most modern "jiari" pasted bore shakuhachi use "tonoko" which is a mixture of everything from clay to old makeup powder. Dental plasters are also common as well as epoxy resins.

"Utaguchi" blowing edge inlays

Triangular Kinko school inlay in buffalo horn.

A quick personal note

In my work my goal is to celebrate bamboo and embrace its infinite variety. I seek to make my shakuhachi in the most natural way possible. I incorporate bamboo into every single step. I do not inlay the blowing edge or do any inlaid bindings because they compromise the bamboo and provide no benefit beyond esthetics.

utaguchi blowing edge inlays

Today, inlays have two functions which are cosmetics and providing an additional source of income for shakuhachi makers/repair persons. Each player can decide if inlays are worth the cosmetic appeal. If someone likes the look of inlays and they know the facts there is no reason not to indulge. There is not much more to say about inlays. The shape of the inlay used to designate the school or style a shakuhachi was made within, however, in recent times this has become less true and more of a "fashion statement". Since a bamboo blowing edge can be repaired stronger and more easily than an inlaid one there is no advantage. In the old days before the invention of modern glues inlays were the only way to repair the edge, however, today we can almost infinitely repair the bamboo edge using bamboo powder and glue. Furthermore, damage to the blowing edge is very rare and I have yet to receive a single repair for a natural blowing edge. It is perhaps more common for inlays to warp and or fall out then it is for a natural blowing edge to become damaged.

Facts about inlays

1. Inlays are not physically superior but rather inferior to an all natural bamboo blowing edge.

2. Inlays can be damaged and knocked out and are costly to repair. In contrast, a natural bamboo edge with no inlay can be almost infinitely and easily repaired with readily available bamboo powder and glue. Repairing a natural bamboo edge with bamboo and glue is stronger than any commonly used inlay material.

3. Inlays compromise the integrity of the bamboo creating an opportunity for cracks.

4. Inlay material has no effect on the sound of a shakuhachi. This misperception comes from having an inlay inserted and shaped differently from the previous blowing edge and the owner or maker assuming that the material changed the sound and not geometry.

5. Inlays provide income for shakuhachi makers/repair persons.

6. It is common for inlays to warp and or fall out.

Most all of this information was sourced from Riley Lee's PHD thesis on shakuhachi.

honkyoku shakuhachi "music" - are they "Zen"?

"Zen" is quite the buzzword. The Japanese word "Zen" comes from the Chinese word Chan which comes from the Sanskrit word Dhyana. They all mean "meditation" or "meditative state". Zen is also the Japanese name for various forms of Mahāyāna Buddhism which focus heavily on meditation. The shakuhachi has a long history with spiritual activities because of its connection with the breath and naturally the shakuhachi found its way into Buddhism. Honkyoku or "original music" is the genre of shakuhachi "music" that is often considered "meditative" or "spiritual".

Honkyoku are unique in that each phrase is played with one breath with a pause in-between in which no sound is made except the sound of inhaling. This phrasing draws attention to the breath and various body rhythms so it can and often does have profound effect on people. Just like the drumbeat that can excite the heart to dance, the shakuhachi can relax the grip on the mind as well as shock and startle. For this reason honkyoku are usually dynamic pieces that can go from soft to loud without warning.

While many believe that honkyoku are fixed or that new honkyoku pieces should not be composed history shows both of these ideas to be incorrect. The most prominent shakuhachi style Taizan-ha came about when the master Higuchi Taizan changed what he had learned and created his own versions and school. However, if such changes were made today, especially outside of Japan, they would be seen as near sacrilegious. Furthermore, many honkyoku have gone through numerous alterations or evolutions. One could easily apply the modern word "remix" when speaking about the various version that exist of one honkyoku across Japan.

sankyoku ensemble shakuhachi chamber music

"Sankyoku" is ensemble music or chamber music played on the koto, shamisen, and shakuhachi, often with a vocal accompaniment. However, the shakuhachi is the most recent addition. The "shakuhachi" and the solo Zen honkyoku songs were banned during the Meiji restoration and then shakuhachi were allowed back but on the condition that they be made to "Western" standards and played only with Koto and Shamisen.

Sankyoku usually have melodramatic themes centering around sordid love affairs, death and suicide. Pieces are very long and technical and often place unnatural demands on shakuhachi players that can result in repetitive stress injuries. The playing of sankyoku also alters a shakuhachi player's embouchure and technique in order to meet the fast paced demands and aesthetics of sankyoku playing. Sankyoku can provide invaluable training for shakuhachi players when properly managed.