Mujitsu and Tairaku's Shakuhachi BBQ

1.8 then 2.4, 1.6, 2.0, 2.7. After that the other lengths.

As you can see they are all related by fourths so orchestrating western harmonies would be easy.

I'd start with 1.8 and 2.4 to be safe then think about the other ones.

In the traditional repertoire there are some precedents for shakuhachi of varying lengths.

Nezasaha has songs arranged for 2.0 and 1.5 (a fourth apart) which you can also play on any two flutes with that pitch relationship.

Kinko honkyoku and gikyoku (not gaikyoku) has some duets for 1.8 and 2.0.

There are also gaikyoku in Kinko and Tozan which can be played in the honte on 2.4 and kaede on 1.8. Or I suppose any two lengths a fourth apart, but the koto players like 2.4 and 1.8.

I think what Tairaku was getting at was a selection that'd work well as an ensemble of shakuhachi, say, a trio, or a quartet.

One of the living exponents of doing this beautifully is Kineya Seiho, who has written some great shakuhachi ensemble pieces.

eB

edosan wrote:

I think what Tairaku was getting at was a selection that'd work well as an ensemble of shakuhachi, say, a trio, or a quartet.eB

Actually I was listing the popularity of lengths according to my observations as a performer and dealer in shakuhachi. Luckily for Bruce most of the popular lengths are related harmonically. James Nyoraku Schlefer has written several pieces for mass shakuhachi, usually using 1.8 and 2.4. We did one of his pieces at the festival in NYC which had numerous 1.8's and John Neptune and I did 2.4. Even using just those 2 lengths you can get a very wide range.

edosan wrote:

A genuinely musical and facile three FULL octaves would be a stretch for anyone, pro or no. I'd say one would be doing well to
hit a clean and predictable Chi dai kan on a regular basis.

eB

John Singer told me a dog was annoying him on the beach so he played Ri dai kan and scared the mutt away! Shakuhachi is versatile.