Японская бамбуковая флейта сякухати

Japanese end blown flute

A is a Japanese longitudinal, end blown flute that is made of bamboo. The bamboo end blown flute now known as the shakuhachi was developed in Japan in the 16th century and is called the (普化尺八). A bamboo flute known as the or 雅楽尺八; gagaku shakuhachi was derived from the Chinese xiao in the Nara period and died out in the 10th century. After a long blank period, the (一節切尺八) appeared in the 15th century, and then in the 16th century, the fuke shakuhachi was developed in Japan. The fuke shakuhachi flourished in the 18th century during the Edo period, and eventually the hitoyogiri shakuhachi also died out. The fuke shakuhachi developed in Japan is longer and thicker than the kodai shakuhachi and has one finger hole less. It is longer and thicker than hitoyogiri shakuhachi and is superior in volume, range, scale and tone quality. Today, since the shakuhachi generally refers only to fuke shakuhachi, the theory that the shakuhachi is an instrument unique to Japan is widely accepted. The shakuhachi is traditionally made of bamboo, but versions now exist in ABS, ebonite, anodized aluminum, and hardwoods. It was used by the monks of the Fuke Zen of Zen Buddhism in the practice of suizen (blowing meditation). The instrument is tuned to the minor pentatonic scale.

The name shakuhachi means "1.8 [[Shaku (unit of measurement)", referring to its size. It is a compound of two words:
([[wiktionary:尺) is an archaic unit of length equal to and subdivided in ten subunits. ([[wiktionary:八) means "eight", here eight [[cun (unit), or tenths, of a shaku. Thus, the compound word shaku hachi means "one shaku eight sun" , the standard length of a shakuhachi. Other shakuhachi vary in length from about 1.1 shaku up to 3.6 shaku. Although the sizes differ, all are still referred to generically as shakuhachi.

Shakuhachi are usually made from the root end of madake (Phyllostachys bambusoides) bamboo culm and are extremely versatile instruments. Professional players can produce virtually any pitch they wish from the instrument, and play a wide repertoire of original Zen music, ensemble music with [[koto (musical instrument), biwa, and shamisen, folk music, jazz, and other modern pieces. Much of the shakuhachi's subtlety (and player's skill) lies in its rich tone colouring, and the ability for its variation. Different fingerings, embouchures and amounts of meri/kari can produce notes of the same pitch, but with subtle or dramatic differences in the tone colouring. Holes can be covered partially and pitch varied subtly or substantially by changing the blowing angle. The Honkyoku pieces rely heavily on this aspect of the instrument to enhance their subtlety and depth. Unlike a recorder, where the player blows into a duct—a narrow airway over a block which is called a "fipple"—and thus has limited pitch control, the shakuhachi player blows as one would blow across the top of an empty bottle (though the shakuhachi has a sharp edge to blow against called utaguchi) and therefore has substantial pitch control. The term (歌口) literally translates as "to the mouth that sings", referring to the upper and main hole of the flute where the mouthpiece or blowing edge is created by a natural diagonal cut in the bamboo. The history of the shakuhachi shows a variety of designs of inlaid mouthpieces that vary between certain traditional Japanese schools of shakuhachi. Thus, the Kinko Ryu, Myoan and Tozan Ryu, differ in different features in their line of mouthpiece design, coinciding in them the total non use in their inlay of the semi circumference formed by the natural cut of the mouthpiece in the bamboo. Beyond the fact that these inlaid forms were a hallmark of styles and schools, the fact of inlaying a mouthpiece historically could respond to a way of repairing the instrument due to wear or damage in particular in its blowing edge. The five finger holes are tuned to a minor pentatonic scale with no half tones, but using techniques called (メリ) and (カリ), in which the blowing angle is adjusted to bend the pitch downward and upward, respectively, combined with embouchure adjustments and fingering techniques the player can bend each pitch as much as a whole tone or more. Pitches may also be lowered by shading (カザシ) or partially covering finger holes. Since most pitches can be achieved via several different fingering or blowing techniques on the shakuhachi, the timbre of each possibility is taken into account when composing or playing thus different names are used to write notes of the same pitch which differ in timbre. The shakuhachi has a range of two full octaves (the lower is called 乙/呂 otsu, the upper, 甲 kan) and a partial third octave (大甲 dai kan) though experienced players can produce notes up to E7 (2637.02Hz) on a 1.8 shakuhachi. The various octaves are produced using subtle variations of breath, finger positions and embouchure. In traditional shakuhachi repertoire, instead of tonguing for articulation like many Western wind instruments, hitting holes ( (押し), (オス)) with a very fast movement is used and each note has its corresponding repeat fingerings; e. g., for repeating C5 the 5th hole (D5's tone hole) is used. or 8th century. Travel around Japan was restricted by the shogunate at this time, but the Fuke sect managed to wrangle an exemption from the shōgun, since their spiritual practice required them to move from place to place playing the shakuhachi and begging for alms (one famous song reflects this mendicant tradition: (一二三鉢返の調); "One two three, pass the alms bowl"). They persuaded the shōgun to give them exclusive rights to play the instrument. In return, some were required to spy for the shogunate, and the shōgun sent several of his own spies out in the guise of Fuke monks as well. This was made easier by the wicker basket (天蓋) that the Fuke wore over their heads, a symbol of their detachment from the world. In response to these developments, several particularly difficult honkyoku pieces, e. g. "Distant Call of the Deer" (鹿の遠音), became well known as "tests": if one could play them, they were a real Fuke monk. If they could not, they were probably a spy and might very well be killed if they were in unfriendly territory. With the Meiji Restoration, beginning in 1868, the shogunate was abolished and so was the Fuke sect, in order to help identify and eliminate the shōgun's holdouts. The very playing of the shakuhachi was officially forbidden for a few years. Non Fuke folk traditions did not suffer greatly from this, since the tunes could be played just as easily on another pentatonic instrument. However, the honkyoku repertoire was known exclusively to the Fuke sect and transmitted by repetition and practice, and much of it was lost, along with many important documents. When the Meiji government did permit the playing of shakuhachi again, it was only as an accompanying instrument to the [[koto (musical instrument), shamisen, etc. It was not until later that honkyoku were allowed to be played publicly again as solo pieces. The shakuhachi has traditionally been played almost exclusively by men in Japan, although this situation is rapidly changing. Many teachers of traditional shakuhachi music indicate that a majority of their students are women. The 2004 Big Apple Shakuhachi Festival in New York City hosted the first ever concert of international women shakuhachi masters. This festival was organized and produced by Ronnie Nyogetsu Reishin Seldin, who was the first full time shakuhachi master to teach in the Western hemisphere. Nyogetsu also holds 2 Dai Shihan (Grand Master) licenses, and has run KiSuiAn, the largest and most active shakuhachi Dojo outside Japan, since 1975. The shakuhachi has grown in international popularity in recent decades. The first non Japanese person to become a shakuhachi master was American Australian Riley Lee. Lee was responsible for the World Shakuhachi Festival being held in Sydney, Australia over 5–8 July 2008, based at the Sydney Conservatorium of Music. Riley Lee played the shakuhachi in Dawn Mantras which was composed by Ross Edwards especially for the Dawn Performance, which took place on the sails of the Sydney Opera House at sunrise on 1 January 2000 and was televised internationally.

The shakuhachi creates a harmonic spectrum that contains the fundamental frequency together with even and odd harmonics and some blowing noise. Five tone holes enable musicians to play the notes D F G A C D. Cross (or fork) fingerings, half covering tone holes, and meri/kari blowing cause pitch sharpening, referred to as intonation anomaly. Especially the second and third harmonic exhibit the well known shakuhachi timbre. Even though the geometry of the shakuhachi is relatively simple, the sound radiation of the shakuhachi is rather complicated. Sound radiating from several holes and the natural asymmetry of bamboo create an individual spectrum in each direction. This spectrum depends on frequency and playing technique.

The International Shakuhachi Society maintains a directory of notable professional, amateur, and teaching shakuhachi players.

Shakuhachi are often used in modern film scores, for example those by James Horner. Films in which it is featured prominently include: The Karate Kid parts II and III by Bill Conti, Legends of the Fall and Braveheart by James Horner, Jurassic Park and its sequels by John Williams and Don Davis, and The Last Samurai by Hans Zimmer and Memoirs of a Geisha by John Williams. Renowned Japanese classical and film score composer Toru Takemitsu wrote many pieces for shakuhachi and orchestra, including his well known Celeste, Autumn and November Steps.

The sound of the shakuhachi is also featured from time to time in electronica, pop and rock, especially after being commonly shipped as a "preset" instrument on various synthesizers and keyboards beginning in the 1980s. The General MIDI standard assigns the shakuhachi to programm number 78. One of the best known pop songs of the 1980s that uses this sound is Sledgehammer by Peter Gabriel.