Shakuhachi

Japanese: 尺八 - しゃくはち

A non-reed vertical flute found in Japan and ancient China. The name shakuhachi comes from the Chinese Tang Dynasty rule of 1 shaku 8 sun (about 43.7 cm) in terms of the ryū shaku. In the narrow sense it refers to the current Fuke shakuhachi, but in the broad sense it includes ancient shakuhachi, tenpuku, hitoyogiri, and takanō shakuhachi. In principle it is made of bamboo. The diameter, length, and number of finger holes and nodes of the tube vary depending on the type. However, they all share the same mouthpiece, which is a part of the top end of the tube carved outward at an angle, and the characteristic feature is that sound is produced by blowing directly into the sharp corner.

[Tsukikawa Tsuneko]

Ancient Shakuhachi

Also known as gagaku shakuhachi or Shosoin shakuhachi. It was introduced to Japan in the latter half of the 7th century as an instrument for gagaku (Tang music). According to the Tang Shu (Book of Tang), in the mid-7th century, the musician Lu Cai improved and refined the existing vertical flute, creating 12 different lengths of flute to match the twelve notes of the Chinese tune. The name shakuhachi seems to have come from the length of the longest flute (a flute whose tube tone is the huangzhong, the standard tone of the Chinese tune), which was 1 shaku 8 sun. Of the shakuhachi that were introduced to Japan, eight remain in Shosoin and one at Horyuji Temple (now in the Tokyo National Museum), for a total of nine.

There are six finger holes, five on the front and one on the back. The length of the tube varies, with the longest being 1 shaku 8 sun (for the Yellow Bell tube). There are three sections, and even materials other than bamboo, such as gyoku, seki, and ge, have three sections in imitation of bamboo tubes.

It was used in gagaku ensembles up until around the 10th century, but was eventually removed from that ensemble. After that, it was used outside of gagaku until the end of the Heian period, but because no musical scores or other records were left behind, nothing is known about the music, such as how it was played or the scales.

[Tsukikawa Tsuneko]

Fuke Shakuhachi

Shakuhachi in the narrow sense. The name comes from the fact that it was a religious implement of the Fuke sect throughout the Edo period. All shakuhachi currently in production are of this type, and to distinguish them from other types, they are called Fuke shakuhachi or komuso shakuhachi. Although the name Fuke shakuhachi has become common, historically it is more appropriate to call it komuso shakuhachi. It is also used to mean "music played by komuso during the Fuke sect era," to distinguish it from modern and later pieces.

[Tsukikawa Tsuneko]

Shape and playing style

It uses madake bamboo, and uses the root part for the butt (lower end), as opposed to the Ichisetsukiri, which uses the part closest to the root for the mouthpiece (upper end). It has five finger holes, four on the front and one on the back. There are seven nodes, three in the middle and four at the mouthpiece and butt, but like ancient shakuhachi, the three in the middle are thought to be the basic form. The inside of an old shakuhachi is left in a nearly natural state, with some of the removed nodes left as protrusions, but modern shakuhachi are polished smoothly, coated with whetstone powder or gypsum, and finished with lacquer, resulting in a uniform tone and volume. The former is called "ji-nashi shakuhachi" and the latter "ji-nuri shakuhachi," and although they look the same, the characteristics of the instruments are completely different. The former is said to be suitable for classical honkyoku (traditional Japanese music), while the latter is suitable for sankyoku ensemble and modern pieces. Also, since it is difficult to obtain the ideal relationship between the nodes and the finger holes in natural bamboo, many of them have joints that are convenient for adjustment. A plectrum-shaped or crescent-shaped gutter made of buffalo horn or ivory is embedded in the mouthpiece to reinforce it, a modern innovation.

The standard length of the instrument is 1 shaku 8 sun (approximately 54.5 cm) on the Kanejaku scale. There are various lengths in 1-sun increments, from about 1 shaku 3 sun to about 3 shaku, and an increase or decrease of 1 sun raises or lowers the fundamental tone (the tone of the instrument when the finger holes are fully closed) by about a semitone. In addition to the basic tone sequence (Re, Fa, So, La, Do) that can be achieved by opening and closing the finger holes in combination, derivative tones can be freely produced by finger manipulation such as half-open, three-quarter open, one-quarter open, and kazashi fingering, and by jaw manipulation such as meri-kari. In addition, a variety of techniques are used, such as microtones and portamento playing (merikomi, suriage, nayashi, etc.) using subtle finger and jaw movements, tremolo playing (koro-koro, karakara) using fine finger movements, vibrato playing (vertical yuri, horizontal yuri, diagonal yuri) using continuous jaw movements, and special playing using the throat and breath (tamane, mura-iki, komi-buki).

[Tsukikawa Tsuneko]

Notation

The notation is a performance notation in which the names given to fingerings are written in katakana characters. These characters are called fuji, and there are two types: "Fuho style" (old notation) and "Rotsure style" (new notation). Fuho notation was used for one-section cutting in the 17th century, and was used in Fuka shakuhachi by the lineage of Ozaki Shinryo (1820-1888), the Myoan Shinpo school, and the Soetsu school (both now defunct). It is only used in the Chikuho school, a descendant of the Soetsu school. Rotsure notation was also used for one-section cutting (Kotake) for a time, but from the 18th century onwards it was established as Kinko school shakuhachi notation and remains so to this day. Most current scores are in the Rotsle style, but the methods of notating derived notes and note values vary from school to school, such as the Nezasaha Kinpu style, Seien style, Myoantaizan style (or Myoantaizan school), Tozan style, and Ueda style, and the fingering techniques are also complex with subtle differences.

[Tsukikawa Tsuneko]

school

During the Edo period, when shakuhachi was played as training for komuso monks, instruction was given by shakuhachi instructors (fukiawase) at Fuke sect temples, and no organization like a school existed. It is believed that many shakuhachi masters and makers were active throughout the country, mainly in Kyoto and Edo, but only a few remain in records. Kurosawa Kinko (1710-1771), who was active as a fukiawase in Edo, is one of the few whose name remains in history, and the family art was passed down to four generations, laying the foundation for today's Kinko school. However, it was not until the abolition of the Fuke sect (1871) that schools were established as head schools, with the Tozan school being born in 1896 (Meiji 29), and the modern Ueda and Takeyasu schools being born in 1917 (Taisho 6). On the other hand, there are schools that continue the traditions of the Fuke sect era, such as the Nezasa-ha Kinpū-ryū, Nishizono-ryū, and Meian Taizan-ryū, but they do not have the organizational power of the modern schools.

[Tsukikawa Tsuneko]

Type of music

Shakuhachi music is classified into the terms honkyoku (honkyoku) and gaikyoku (gaikyoku). Honkyoku means "music for the shakuhachi only," and gaikyoku means "arrangements of pieces for other instruments (other disciplines) for the shakuhachi." During the Fuke sect era, all music was honkyoku, so even this classification was unnecessary, but after the abolition of the sect, a distinction arose when music was incorporated into sankyoku ensemble. Furthermore, the terminology has expanded, with modern schools of ryukoku being called "Tozanryu honkyoku," leading to a distinction between classical honkyoku and modern honkyoku, and further division of modern honkyoku into solo honkyoku and ensemble honkyoku based on the performance style.

In terms of content, the majority of Koten Honkyoku is religious music of the Fuke sect, some Koten Honkyoku, Gaikyoku and Kindai Honkyoku are considered art music, and apart from these, it also includes folk music known as minyo shakuhachi, and popular music such as jazz and pop. In this way, the shakuhachi is used widely from folk to art, from classical to modern, and from solo performances to ensembles in various combinations.

[Tsukikawa Tsuneko]

Multi-hole Shakuhachi

A modified Fuke shakuhachi with an increased number of fingering holes. Three types were invented in the early Showa period: the seven-hole shakuhachi, the nine-hole shakuhachi, and the okurauro. They never gained much popularity, with only the seven-hole shakuhachi being used by a small minority.

[Tsukikawa Tsuneko]

"The History of the Shakuhachi" by Ueno Katsumi (1983, Kyowa Publishing)

Fuke Shakuhachi
19th century, bamboo, total length 55.2 cm, owned by the Metropolitan Museum of Art, Japan

Fuke Shakuhachi

Names of the parts of the Fuke Shakuhachi
©Katsuya Nishikawa ">

Names of the parts of the Fuke Shakuhachi

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

日本と古代中国の無簧(むこう)（ノン・リード）の縦笛。尺八の名称は、中国唐代の律尺による1尺8寸（約43.7センチメートル）に由来する。狭義には現行の普化(ふけ)尺八をさすが、広義には、古代尺八、天吹(てんぷく)、一節切(ひとよぎり)、多孔尺八をも含む。原則として竹製。管の太さ、長さ、指孔および節の数は、種類により異なる。ただし、管の上端の一部を外側に斜めに削りとった形の歌口は共通で、その鋭い角に直接息を吹き付けて音を発するのが特徴である。

［月溪恒子］

古代尺八

雅楽尺八、正倉院尺八ともいう。雅楽（唐楽）の楽器として7世紀後半以後日本に伝来した。『唐書(とうじょ)』によれば、7世紀中ごろ、楽人呂才(りょさい)は従前の縦笛を改善整備し、十二律にあわせた12種の長さの管をつくった。その最長管（中国十二律の基準音である黄鐘(こうしょう)を筒音(つつね)とする管）の長さ、1尺8寸から尺八の名称が生まれたらしい。日本に伝わったうち、正倉院に8管、法隆寺に1管（現在は東京国立博物館にある）、計9管が現存する。

　指孔は前面5孔、背面1孔の6孔。管長は1尺8寸（黄鐘管）を最長にさまざま。節は3節で、玉(ぎょく)・石(せき)・牙(げ)など竹製以外の材も、竹管を模して三つの節をもつ。

　10世紀ごろまで雅楽の管絃(かんげん)合奏に用いられたが、やがてその編成から外された。その後平安時代末ごろまでは雅楽以外で用いられたものの、楽譜などの記録を残さなかったため、奏法や音階など音楽についてはまったくわからない。

［月溪恒子］

普化尺八

狭義の尺八。江戸時代を通じて普化宗の法器（宗教の道具）であったことに由来する名称。現行される尺八はすべてこの種で、他種との区別のため、普化尺八または虚無僧(こむそう)尺八とよぶ。普化尺八の名が一般化しているが、歴史的には虚無僧尺八とよぶほうが適切である。また近代以降の楽曲と区別して、「普化宗時代に虚無僧によって吹かれた楽曲」の意味にも用いる。

［月溪恒子］

形態と奏法

真竹を用い、根に近い部分を歌口（上端）にする一節切とは逆に、管尻（下端）に根の部分を使う。指孔は前面4孔、背面1孔の5孔。節は中間に3節、歌口と管尻の4節をあわせて7節あるが、古代尺八と同様、中間の3節が基本の形と思われる。古管の管内は、抜いた節の一部を凸起として残す、ほぼ自然の状態だが、近代以降の尺八は、管内を滑らかに磨き、砥の粉(とのこ)や石膏(せっこう)で地塗りして漆で仕上げるため、均質な音色と音量が得られる。前者を「地無し尺八」、後者を「地塗り尺八」とよび、外観は同じでも楽器の特性がまったく異なる。前者は古典本曲(ほんきょく)に適し、後者は三曲合奏や現代曲に適すといわれる。また、節と指孔の理想的な関係を自然の竹材に求めるのが困難なことから、調節に便利な中継ぎが多い。歌口には、撥先(ばちさき)型や三日月型の水牛角(つの)または象牙(ぞうげ)を細工した箝口(はさみぐち)を埋める。これは歌口補強のためで、近代以降のくふうの一つである。

　管長の標準は曲尺(かねじゃく)の1尺8寸（約54.5センチメートル）。1尺3寸ぐらいから3尺くらいまで、1寸刻みで長短各種あり、1寸の増減で基音（指孔を全閉した筒音）がほぼ半音上下する。指孔の開閉の組合せによる基本音列（レ・ファ・ソ・ラ・ド）のほか、半開・4分の3開・4分の1開・かざし指などの指の操作、メリ・カリなどのあごの操作により、派生音を自由に出すことができる。また指やあごの微妙な運動による微分音やポルタメント奏（メリ込(こみ)、スリ上げ、ナヤシなど）、細かい指の動きによるトレモロ奏（コロコロ、カラカラ）、あごの連続運動によるビブラート奏（縦ユリ・横ユリ・斜ユリ）、のどや息を使った特殊奏（タマネ、ムラ息、コミ吹(ぶき)）など、多彩な技法を用いる。

［月溪恒子］

記譜法

記譜法は、指使いにつけられた名称を片仮名文字で表記する奏法譜。この文字を譜字(ふじ)といい、「フホウ式」（旧譜）と「ロツレ式」（新譜）の2種がある。フホウ譜は17世紀に一節切で用いられ、普化尺八では尾崎真龍(しんりょう)（1820―1888）の系統、明暗真法(みょうあんしんぽう)流、宗悦(そうえつ)流（ともに廃流）などで使用された。宗悦流の末流、竹保(ちくほ)流にのみ現行される。ロツレ譜は一節切（小竹(こたけ)）にも一時使われたが、18世紀以降琴古(きんこ)流尺八譜として定着し今日に至る。現行譜のほとんどがロツレ式だが、派生音や音価表記の方法は根笹派錦風(ねざさはきんぷう)流、西園(せいえん)流、明暗対山(みょうあんたいざん)流（または明暗対山派）、都山(とざん)流、上田流など、各流とも異なり、指法も微妙な差があって複雑である。

［月溪恒子］

流派

虚無僧の修行として尺八が吹かれた江戸時代には、普化宗寺院の尺八指南役（吹合(ふきあわせ)）によって教授され、流派のような組織は存在しなかった。京や江戸を中心に、全国に多くの尺八名人や製管師が活躍したと思われるが、記録に残されているのはわずかである。江戸の吹合として活躍した黒沢琴古(きんこ)（1710―1771）は歴史に名をとどめた数少ない一人で、4世まで家芸を継承、今日の琴古流の基礎が築かれた。しかし家元組織としての流が確立するのは普化宗廃止（1871）後で、1896年（明治29）に都山流、1917年（大正6）に上田流と竹保流の近代流派が誕生。一方、普化宗時代の伝統を継承する諸派に、根笹派錦風流、西園流、明暗対山流などの派もあるが、近代流派のような組織力はもたない。

［月溪恒子］

楽曲の種類

尺八音楽の分類概念に、本曲(ほんきょく)と外曲(がいきょく)の用語がある。本曲とは「尺八のみの、尺八のための曲」、外曲とは「他楽器曲（他種目）の尺八への編曲」を意味する。普化宗時代はすべて本曲であったため、この分類すら不要だったが、廃宗後三曲合奏に仲間入りしたことで区別が生じた。また近代流派の流曲を「都山流本曲」などとよんだことから、古典本曲と近代本曲に区別され、さらに演奏形態で近代本曲を独奏本曲と合奏本曲に分けるなど、用語の拡大化がみられる。

　内容的には、古典本曲の大半が普化宗の宗教音楽に、古典本曲の一部と外曲や近代本曲が芸術音楽に入り、その他これらとはまったく別に、民謡尺八とよばれる民俗音楽、ジャズやポピュラーなどの大衆音楽も含まれる。このように尺八は、民俗から芸術まで、古典から現代まで、独奏からさまざまな組合せによる合奏まで広く用いられている。

［月溪恒子］