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I began playing by using the fingering chart from Carl Abbott's book. I also saw the scans on shakuhachi.com, although I didn't pay much attention to them at the time. Now that I read through them again, I noticed that there are few alternatives for certain notes. None of those are mentioned in the book I used to train. Since the charts on shakuhachi.com are apparently scans from something and thus somewhat unreadable, I made my own chart from scratch that I could take with me and which would contain all the fingerings I know of.
Thus, my question. Apart from the list on shakuhachi.com, are there any alternative fingerings that I should know of? Two that I found really useful were high octave ro that is the same as ri but with thumb hole open as well and high octave tsu meri with slight chin tilt and two upmost holes open. I'm really interested in any alternative fingerings that I do not know yet, even if those aren't commonly used or even useful at all.
Furthermore, how come there are no fingering charts on the net, apart from the one at shakuhachi.com? Is it simply because most people traditionally learn with a teacher and thus don't find any use for self-training material? Would I be commiting a etiquette mistake of some sort of I would throw bunch of resources like that online after I'm done with gathering the information? I know that finding good resources like that would have helped me a lot in the beginning.
Here's a chart I like, at Andrew MacGregor's website (JapanWorldMusic.com) (direct link to .pdf):
Here's one from the same site for 7-hole shakuhachi (direct link to .pdf):
Also: Read all the links on this page:
And here's a very good one for Honkyoku, from Al Ramos' website (Bamboo-in):
Page 1 (direct link to .pdf): http://www.bamboo-in.com/pdf/Fingering% … %20pg1.pdf
Page 2 (direct link to .pdf): http://www.bamboo-in.com/pdf/Fingering% … %20pg2.pdf
Particularly useful for Honkyoku because it shows the overlapping fingerings typically used in Honkyoku (most specific to Dokyoku, I believe).
When it comes to alternate fingerings in the upper register: As with all other 'alternate fingerings', each one has a different sonic character which is often used in a particular piece, so they are not always just 'two different ways of playing the same pitch', AND in the far upper register, some shakuhachi perform some fingerings better than others.
Thank you for posting this inquiry.
Many thanks for the sites. The fingering charts are better than anything I have found. I'm revitalized!
That's why I like this forum!
Here's one more fingering chart of interest (in an effort to keep the level of confusion at the very highest pitch...):
Page 1 (direct link to pdf): http://www.shakuhachisummer-soas.com/fi … notice.pdf
Page 2 (direct link to pdf): http://www.shakuhachisummer-soas.com/fi … n%20p2.pdf
This chart is useful because it shows kinko and tozan notation using a chart made by Yamaguchi Goro as a base. With the help of Justin Williams and Okuda Atsuya, the way of notating of KSK (Yokoyama Katsuya's group: Kokusai Shakuhachi Kenshûkai) and zensabo (Okuda Atsuya's group) have been added.
These is very great stuff, thanks for bringing that into the forum!
I had some trouble with some notation lately, now its more clear - it was a mistake in the description i got.
However, thanks! Sakura is now beeing played more beautiful :-)
What do the re-articulation numbers mean in the first chart? Atari notes?
Re-articulation IS atari. Those are the numbers of the holes one hits (atari) to repeat (articulate, or re-articulate, to be redundant) notes.
Where there are are two numbers, one has the option, or sometimes the alternate hole is used more in honkyoku.