Is the shakuhachi an instrument of two halves?
Is the shakuhachi an instrument of two halves?
When the joint of my shakuhachi became loose, I took button thread and wound it sparingly, like a corkscrew, around the joint and pushed it gently but firmly together again. The shakuhachi now feels "well connected". Once you have your shakuhachi in one piece, can I suppose that there is no good reason to separate the halves, if I don't need to? All cleaning can take place with it as one piece. I always transport it as one piece. Is the two piece shakuhachi an unnecessary state? Why were they made in two pieces? I could understand it if the bigger ones were so designed but it seems they never are.
Good questions.
Shakuhachi traditionally has a certain node configuration. Sometimes makers create two piece flutes, omitting some of the bamboo, to artificially create the ideal node configuration. The other reason is to be able to break them apart for ease of carrying.
Yes can can keep it together and never separate it, as long as you don't mind carrying it around like that. Just because it comes apart doesn't mean it must be taken apart.
The reason most of the long ones you see are one piece is because they are being made that way by people who are into jinashi (no putty in the bore) and nobe (one piece) construction as part of their making philosophy. One practical reason to prefer jinashi is that putty (ji) weighs more than bamboo and when you fill a 3.0 for example with ji it's quite heavy. Some people also prefer the sound. Others are just purists or think unadulterated bamboo is closer to a natural ideal.
However I have a few jinashi long flutes which are 2 or 3 pieces and that's nice when you travel.
Shakuhachi traditionally has a certain node configuration. Sometimes makers create two piece flutes, omitting some of the bamboo, to artificially create the ideal node configuration. The other reason is to be able to break them apart for ease of carrying.
Yes can can keep it together and never separate it, as long as you don't mind carrying it around like that. Just because it comes apart doesn't mean it must be taken apart.
The reason most of the long ones you see are one piece is because they are being made that way by people who are into jinashi (no putty in the bore) and nobe (one piece) construction as part of their making philosophy. One practical reason to prefer jinashi is that putty (ji) weighs more than bamboo and when you fill a 3.0 for example with ji it's quite heavy. Some people also prefer the sound. Others are just purists or think unadulterated bamboo is closer to a natural ideal.
However I have a few jinashi long flutes which are 2 or 3 pieces and that's nice when you travel.
Hi Felix,
I will add a little to Tairaku's answer.
Historically, the beginning of making shakuhachi in two happened at the same time as when shakuhachi began to be made with ji (which is a paste or putty). The reason was for the maker, it was much easier to do this work adding ji in the bore when the shakuhachi was cut in two halves. Also that gave the makers the freedom to adjust the length of the flute.
The cutting of the shakuhachi into two and the adding of ji happened during the latter half of the 19th century and beginning of the 20th century. Before then the shakuhachi was made in one piece. Of course there may be exceptions even among the old jinashi.
If you read old documents from the turn of the century or just in the magazine sankyoku which was published around the 1920-30s, you can still read discussion about this method.
I will add a little to Tairaku's answer.
Historically, the beginning of making shakuhachi in two happened at the same time as when shakuhachi began to be made with ji (which is a paste or putty). The reason was for the maker, it was much easier to do this work adding ji in the bore when the shakuhachi was cut in two halves. Also that gave the makers the freedom to adjust the length of the flute.
The cutting of the shakuhachi into two and the adding of ji happened during the latter half of the 19th century and beginning of the 20th century. Before then the shakuhachi was made in one piece. Of course there may be exceptions even among the old jinashi.
If you read old documents from the turn of the century or just in the magazine sankyoku which was published around the 1920-30s, you can still read discussion about this method.
Thanks for the answers! So the first maker to think of cutting them in two for ease of bore lining must have been some kind of ji-nius! Sorry!!!!!
"felix martens""felix martens"Thanks for the answers! So the first maker to think of cutting them in two for ease of bore lining must have been some kind of ji-nius! Sorry!!!!!
No worries, some shakuhachi players, due to the isolation from a mediative priactice and solo playing, can be a little bore - ing.
Party like it's 2014!
- Perry
Yamaguchi Shiro 1.8.
I notice that this shakuhachi for sale on Trading Post is one piece, and it's tone is described as "sublime", and its price suggests something very special. Is there a link to the fact that it is one piece, and do such shakuhachi realise a prime position/price in the minds of master players?
Are there too many variables to ask such a question as "What makes for a "sublime" shakuhachi?" Is it a question that I may know the answer to 20 years down the line, or can someone offer any answers. Maker? Bamboo? Serendipity?
Are there too many variables to ask such a question as "What makes for a "sublime" shakuhachi?" Is it a question that I may know the answer to 20 years down the line, or can someone offer any answers. Maker? Bamboo? Serendipity?
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