Mujitsu and Tairaku's Shakuhachi BBQ

It is true that the key of a shakuhachi can change in the hands of different players. A meri position can easily produce a key a semitone below.

Makers are aware of what type of kari head position and blowing produces the best sound and the one used for tuning. Beginners and experienced players can play more meri than necessary because this makes the high notes come out easier.

It is a good idea to get an experienced teacher or player to test the tuning of a new shakuhachi. Makers will tell a buyer if the key is not exactly on a pitch. However, these shakuhachi may be perfect for blowing solo honkyoku.

I have blown selections of 1.8s by different makers in shops and found small differences in the basic pitch. This may be due to my playing or the subtle differences between the shakuhachi.

There is an interesting article on http://www.navaching.com about the '2.2 shakuhachi' which explains some of the nomeclature difficulties with shakuhachi lengths.

Hi Amok,

amokrun wrote:

Most makers say that a particular shakuhachi is tuned to something in particular. Typically this would be D for 1.8 and often something fuzzy for larger and/or cheaper flutes. Yet, we all know that shakuhachi allows you to bend the tone so much that you can usually play in slightly different key as well by just making consistent minor adjustments.

Thanks for your great question. I have been experiencing some very illuminating tuning thoughts recently. I have been rehearsing shakuhachi with a classical Indian singer for a performance and I know that my shakuhachi are in Western tuning. I know that my intervals are at proper Western intervals. When I play with the singer, however, I find that I have to adjust because what I think of as a 4th,  5th or 7th is not matching her understanding of these intervals. I defer to her because she is a master performing classical work. I am playing "new" shakuhachi music. I understand that I am maneuvering between Just Tuning and Equal Temperament Tuning.

...Thus the question. How does one determine the absolute key of the flute? Is it just something fuzzy that the maker tests and writes down? I see it being useful in cases where a flute has an unusual size/key pairing like 1.8 that plays near C instead.

Most jinashi makers determine the key at what ever length the bamboo is cut at. There are things we do to make it slightly sharper or flatter, but the length dictates the key. After the length and fundamental pitch are established, the holes are calculated and drilled so that he entire flute will play in tune with the fundamental. Because of nature, all the pitches may be very close but rarely perfectly in tune when blown with a neutral embouchure. Afterwards, the holes can be adjusted by enlarging or shrinking and the length can be adjusted but cutting or adding material. How much is done depends upon the maker's goal for that particular shakuhachi. If it is close to Western standards, it can be adjusted to meet the requirements and the maker decides whether there are sacrifices or benefits in tone. If the flute is in between Western pitches but has a wonderful tonal character, balance and response (we could only be so lucky), it would probably be finished as is.

Tuning is a complex concept in general. It is often used a big criteria for judging the quality of a shakuhachi. That would be a modern criteria based on a Western approach to playing a musical instrument. Most experience shakuhachi players seek tone color and flexibility. They would balance out tone color with tuning when examining a flute. If a shakuhachi requires more effort to play in "acceptable" tuning, experienced players usually explores the reason, especially if the flute seems masterfully made. If a note seems out of tune in relationship to others, one may want to blow harder or softer to  hear what the tone color can be. It could be that the maker wanted that particular sound on that note and made it that way, or it could be that the note is just out of tune. Everything has to be judged on an individual basis since shakuhachi are hand made.

Also, can one compare values from two different makers? Say, if two guys both make a 1.8 and both tell me that they are tuned spot on to D, would it be reasonable to assume that they are in tune with each other?

Any two decently made modern jiari 1.8s by two different makers can play in tune by any two competent players. If they switched flutes, they may have to adjust to play in tune again.  But, two beginners will not be able to play in tune with each other nor will they be able to access the tonal dynamics and potential of the flutes.

This is the reason we are supposed to copy our teacher's sound and pitch.

Namaste, Perry