Announcement
To start playing the shakuhachi, it is absolutely not necessary to immediately purchase an expensive instrument. There is a very budget-friendly option — the flute can be 3D-printed, and you can begin learning the basics of playing on it. Ready-to-print files can be found freely available on the internet, or you can purchase them from me for a symbolic price.
You can also order a shakuhachi made by me personally, featuring a 21-layer internal lacquer coating.
The shakuhachi (also known as syakuhachi, shakuhachi, shakuhaci) has existed for many centuries. However, in the West it became known relatively recently — mainly through the use of its sound in modern and experimental music.
For a long time, I searched for an instrument on which I could perform meditative music. After several years of searching, experimenting, and doubting, I finally chose the shakuhachi — as the instrument that most accurately matched my inner needs and interests.
This page marks the beginning of a long-standing idea: to bring the ancient Japanese art of playing the bamboo flute to Russian-speaking admirers of ethnic and meditative music. The idea of creating this website arose quite accidentally. On my website dedicated to Show Dao, I once published a short note about music and vibrations, briefly mentioning the shakuhachi. Within a few months, that note received more responses than the entire website had over several years.
Such interest could not go unnoticed. A simple search on the internet led me to a large number of resources dedicated to ethnic music, and I was pleasantly surprised by the number of enthusiasts who carefully preserve traditional musical heritage. At the same time, the complete absence of Russian-language information about the shakuhachi encouraged me to create my own website and tutorial. May they provide enthusiasts with at least basic knowledge of this remarkable instrument — and give me the opportunity to find more like-minded people and new friends.
Introduction
The shakuhachi is far from a simple instrument. The apparent simplicity of its construction is deceptive: learning to play it requires great patience and perseverance. Mastering the basics takes months, while achieving true mastery may take decades. For this reason, the shakuhachi often becomes a lifelong project.
The piece of bamboo from which a shakuhachi is made is only half of the instrument. The other half is the player. Mood, physical condition, and level of fatigue inevitably manifest themselves in the sound. Learning to play the shakuhachi is, first and foremost, a path of self-discovery. It is no coincidence that this instrument became a meditative companion in Zen Buddhist practice.
Equally important is a deep understanding of the instrument itself. No two shakuhachi are alike—just as no two people are the same. Each flute is made from a unique piece of bamboo, with its own curvature, density, dimensions, and character. It takes time to become accustomed to a particular instrument, to feel its qualities: its ease and resistance, its responsiveness and stubbornness. Sometimes it takes years for its full potential to reveal itself.
But with patience, the musician begins to hear something more than just sound. The tone penetrates the body, resonates in every cell, and may envelop the player in gentle warmth—or, on the contrary, cut like a sword, exposing what lies deepest within. The shakuhachi cannot be deceived. Like a mirror, this piece of bamboo reflects the inner state of a person, and an experienced listener can sometimes tell more about a musician from a single note than from words—just as a doctor can make a diagnosis by looking at a cardiogram.
Getting Acquainted with the Shakuhachi
Let us take a closer look at what the shakuhachi actually is. The shakuhachi belongs to the family of open-end vertical flutes. Instruments based on the same acoustic principle include the South American quena, the Turkish and Egyptian ney, the flute of the North American Hopi people (not to be confused with the more common North American whistle flute), as well as a number of other instruments that differ in mouthpiece design but operate on the same fundamental principle.
Most people are more familiar with closed, or whistle-type, flutes. Essentially, such instruments are elongated whistles with finger holes along the body. This principle underlies a vast number of instruments, including the recorder, the ocarina, the North American Native American whistle flute, and various types of whistles.
The illustration shows a simplified diagram of a closed-type flute, as well as a longitudinal cross-section through its whistle (fipple) section.
Now let us examine how a flute produces sound. Notice that the beveled edge of the whistle is positioned opposite the narrow slit through which the player blows air. As the air stream strikes the edge, it is split, causing oscillations that generate a whistling sound. Naturally, the timbre and character of the sound depend on many factors—the design of the whistle, the shape of the bore, the material of the instrument—but these subtleties lie beyond the scope of this chapter. The key point to understand is that a whistle-type flute contains a narrow channel that directs the air stream toward a sharp edge.
Now let us imagine taking a saw and cutting off the upper part of the whistle, as shown in the diagram. As a result, only an open tube with a beveled edge remains.
Next, using a file, we slightly modify the shape of this edge, creating a simple bevel and rounding it a little.
The dark trapezoidal insert serves to protect the bamboo from softening under the influence of moisture from the player’s breath.
Since the upper part of the whistle has been removed, its function must be reproduced in some other way. This role is taken over by the player’s lips. Through practice, relaxation, and control of the lips, a stable—ideally parallel—air stream is formed, emerging from a small opening between them. This air stream is directed toward the beveled edge of the flute, while the lower lip partially covers the open end of the tube.
If we compare this diagram with the classical whistle design, it becomes clear that they are almost identical. The only difference is that in the shakuhachi the role of the whistle’s air-guiding element is performed by the musician himself.
A reasonable question may arise: why invest so much effort into making and learning the shakuhachi if whistle flutes practically sound by themselves? The answer lies in the unique freedom of sound control. The shakuhachi allows the player to shape volume and timbre across an extraordinarily wide range—from powerful, piercing tones to barely audible breath; from crystal-clear, almost cutting sounds to rough, airy textures resembling a gust of wind rushing through a fireplace chimney. It is precisely this freedom and depth of expression that inspires people to devote decades of their lives to mastering this truly special instrument.
Basic Principles and Exercises
The position of the tongue plays a crucial role in producing a quality sound. It is helpful to imagine the sensation of having a very hot potato in the mouth: the tongue flattens and rests on the bottom of the oral cavity, while its tip moves away from the lower teeth. The floor of the mouth lowers, the soft palate rises, and the diameter of the throat and the volume of the resonating cavity slightly increase.
As a rule, lower tones require a greater opening of the throat, which makes playing longer flutes more challenging and therefore not recommended for beginners. On the other hand, playing a long flute effectively trains the throat muscles, eventually making performance on a standard flute feel easy and comfortable.
Raising the tongue or curling it upward produces a weak, airy sound. Nevertheless, there are musical pieces in which exactly this type of tone is used intentionally to express a specific mood in certain phrases.
Different authors offer different recommendations regarding embouchure. Masayuki Koga, for example, advises aligning the edges of the upper and lower teeth along a single vertical line, as shown in the illustration, with a distance of approximately 7 mm between them. To achieve this, the lower jaw is moved slightly forward. I, following the advice of my teacher, on the contrary, shift the lower jaw slightly backward.
As mentioned earlier, the optimal embouchure depends on individual anatomical features. Finding the correct position is achieved through regular practice of long tones.
Exercise 1
The lips should be relaxed. Using diaphragmatic (lower) breathing, take in air and exhale it as a thin, focused stream through a small opening between the lips. The vertical size of this opening should not exceed 3 mm.
If the opening is wider, the sound becomes overly “airy,” and the air supply is depleted too quickly. Ideally, the opening should be located approximately in the center of the lips.
Exercise 2
Place your hand in front of you at mouth level, keeping your head upright. Direct the airflow onto your hand. Make sure your lips remain relaxed.
Try to ensure that, throughout the entire cycle of the exercise (one long exhale), the air flows evenly without interruptions. Use your abdominal and diaphragmatic muscles to control the stream, maintaining a consistent airflow speed, and keep the opening between your lips unchanged.
Exercise 3
Hold the shakuhachi with its edge resting on your chin. The beveled edge of the flute should be approximately 7–8 mm from the opening between your lips. The airstream should be split evenly as it strikes the edge.
You will need to experiment slightly to find the optimal position of the instrument. The chin contact point acts as an axis, around which the flute can be gently tilted up or down in search of the correct sound.
It is recommended to perform these exercises in front of a mirror at first. Only after developing a stable sense of the correct position should you continue practicing by relying on that internal feeling rather than visual guidance.
Shaping the Sound
Now let’s look at some details of producing sound. As mentioned earlier, each musician gradually finds their own optimal position. Techniques and methods can be described, but it is important to determine for yourself the position at which the sound takes on the desired tone and color.
Here I present a technique I received from an experienced teacher—himself a student of the renowned Yokoyama Katsuya and winner of the All-Japan Shakuhachi Competition. Recommendations from other musicians are equally valuable, though among a hundred tips, nearly all will differ slightly, reflecting the individual characteristics of each player.
The corners of the mouth are gently lowered, giving the face a soft, slightly melancholic expression.
When exhaling, the lower lip should be gently pushed forward. The upper lip remains flat, serving as a guiding surface, while the lower lip forms a small channel through which the air passes.
A common mistake among beginners is tensing the edges of the lips. You need to achieve a position where the lips—especially the lower lip—remain relaxed. The main tension comes from the orbicularis oris muscle and is concentrated around the folds surrounding the mouth.
When performing this exercise in front of a mirror, pay attention to the shine on the inner, moist part of the lower lip—this is an indicator that the position is correct.
Principles of Lip Position
Let’s examine the fundamental principles behind lip positioning.
When relaxed, the upper and lower lips form a channel through which the air passes. According to the laws of physics, air exiting a cylindrical channel maintains a cylindrical flow and continues in the intended direction, as shown on the left side of the diagram.
If the player tenses the edges of the lips, their shape changes, as shown on the right side of the diagram. The air exiting through the resulting small opening disperses in a circular wave, producing a hissing sound and significant air loss when attempting to produce a stable tone.
Many teachers recommend slightly stretching the corners of the mouth, as if forming a gentle smile. This is also an acceptable position used by many advanced players.
You should experiment with different mouth shapes to find the most comfortable combination of lip, tongue, and lower jaw positions. Once found, practice long tones while aiming for the desired quality of sound.
Summary Diagram: Mouth and Jaw Position for Playing Shakuhachi
Jaw Position:
Masayuki Koga recommends slightly pushing the jaw forward, while Mary Lou Brandwein suggests moving it slightly backward. The optimal position depends on individual anatomy. Regular practice of long-tone exercises helps find your own natural alignment.
Lip Muscles:
A small amount of tension in the orbicularis oris muscle; the corners of the mouth are slightly lowered. Practicing in front of a mirror is recommended to monitor correct positioning.
Soft Palate:
Raised to increase the resonance space in the oral cavity.
Tongue:
Flattened and lowered, with the oral cavity forming a rounded shape — similar to the feeling of holding a very hot potato in your mouth.
Lip Edges:
Should remain relaxed.
Larynx:
Fully expanded to allow the air to pass freely, ensuring smooth and clear sound production.
2. Direction of the Air Stream
As mentioned in the introduction, the shakuhachi is essentially a whistle without an upper guiding edge. Therefore, the musician’s task is to create a narrow, focused air stream and direct it precisely onto the beveled edge of the flute. The edge must split the air stream in half: any deviation from the center results in a “windy” sound or complete loss of tone.
With relaxed lips already in the correct position, adjustments to the angle of the air stream are achieved by slightly moving the jaw forward or backward. This stage can be compared to riding a unicycle: at first, the sound will frequently disappear, and the air stream will shift from side to side. This is a natural part of the learning process and improves with practice and time.
3. Instrument Position
Traditionally, the shakuhachi is held with both hands, as shown in the illustration on the right (click the image to enlarge). The right hand supports the lower part of the flute, while the left hand holds the upper part.
The back and head should remain upright, with shoulders and neck relaxed. Traditionally, the instrument is played either standing, with one foot slightly forward, or sitting on the heels. In any case, the posture should be comfortable, not restrict breathing, and allow easy manipulation of the flute to produce subtle, barely perceptible variations in sound.
The diagram below on the left shows the main points of support:
- Chin: serves as both a support and a pivot point for bending notes and finding the desired tone.
- Middle finger of the left hand: serves only a stabilizing function, placed on the top surface of the flute between the 3rd and 4th finger holes from the bottom. In split shakuhachi, this is where the two halves join.
- Ring, index, and thumb of the left hand: the ring finger covers the 3rd hole, the index finger covers the 4th, and the thumb covers the 5th hole on the back of the flute.
- Thumb and middle finger of the right hand: hold the lower end of the flute, positioned opposite each other between the 1st and 2nd holes from the bottom.
- Ring and index fingers of the right hand: the ring finger covers the 1st hole, the index finger the 2nd.
Be careful not to overstrain the wrists while holding the flute — pain is a clear warning sign. The pinky fingers generally do not perform any function, but can sometimes be used for additional support. On longer flutes (2.7–3.0 feet), the middle finger of the left hand may not reach the necessary hole, and in this case, part of the functional load shifts to the pinky.
4. Breathing
One of the distinctive aspects of playing the shakuhachi is the training of the respiratory system. Breathing is extremely important, especially considering that the shakuhachi is traditionally used for Zen Buddhist meditation. Lower, or diaphragmatic, breathing calms the mind and relaxes the muscles, which is essential for producing a proper sound. An upright posture supports correct breathing.
The breathing method also affects the quality of the sound. Chest breathing is influenced by the rhythm of the heartbeat and can make the flute’s tone slightly pulsating.
I do not intend to describe breathing techniques in detail — for that, you can refer to any book on qigong or yoga.
5. Overblowing
The shakuhachi has only five finger holes, which allows playing a single octave. To reach notes in higher octaves, overblowing is required. This is achieved by narrowing the gap between the lips, increasing the speed of the air stream, and adjusting the position of the tongue inside the mouth. A detailed explanation of overblowing will be covered in a separate lesson.
6. Working with Sound
Much of shakuhachi playing is about working with the sound itself. Bending notes, varying timbre and volume, microtonal adjustments — all of these are the shakuhachi’s “signature.” Mastery of these techniques requires dedicated lessons and, essentially, decades of practice.
For now, I wish you success and patience!
Exercises for Developing Sound
One of the most important exercises is long tones. Masayuki Koga says that anyone who plays long tones for 5 minutes every day will gradually become a master.
To perform this exercise:
- It is best to be in the dark or simply close your eyes.
- Take the flute, cover all the holes, and blow the lowest note (D).
- Use steady diaphragmatic breathing.
- Slightly adjust the position of the lips, the angle of the flute, the lower jaw, air speed, and other factors to find the most favorable instrument position and lip shape.
- Listen carefully to the sound and its slightest variations, and remember the positions of your lips and the instrument for different timbres and volumes.
Note that the sound of the flute changes as it warms up, and also depends on the player’s condition at the time: fatigue, mood, health, and other factors.
Gradually add other notes to the exercise, but each note should be practiced individually.
Shakuhachi Music
Let us consider some features of shakuhachi musical traditions.
Modern shakuhachi is tuned to a minor pentatonic scale. The basic notes produced on the holes are:
D – F – G – A – C – D
- The lowest D is played with all holes closed.
- The highest D is played with all holes open.
- Higher octaves are produced using overblowing, which will be covered in a separate chapter.
Tetrads in Japanese Music
Modern specialists use the theory of Fumio Koizumi, which divides Japanese music into tetrads, each consisting of three notes. The basic notes of a tetrad form the skeleton for intermediate tones.
According to K. Blasdel, there are four types of tetrads in Japanese music:
- Min’yō
- Consists of the basic notes: D – F – G, A – C – D
- Used in folk music and children’s songs. Intermediate tones are absent.
- Miyako-bushi
- Characteristic of modern music; used in shakuhachi, koto, shamisen, and biwa.
- Notes: D – Eb – G, A – Bb – D
- Ritsu
- The foundation for Chinese and Korean music; used in gagaku and shōmyō.
- Notes: D – E – G, A – B – D
- Ryūkyū
- Found in Okinawa and in some modern shakuhachi compositions. Its presence across Southeast Asia suggests an Asian origin.
- Notes: D – F# – G, A – C# – D
The starting and ending notes of the tetrad remain unchanged, while the intermediate notes give the scale its distinctive color.
Principles of Playing the Shakuhachi
The shakuhachi entered the modern world through Zen Buddhism, and much of its music has preserved unique traditions, giving it a distinctive “shakuhachi” character.
Until recently, the shakuhachi was primarily a tool for Zen meditation. Controlling the breath and the state of consciousness during playing was considered far more important than technical mastery of the pieces. Therefore, classical koten honkyoku pieces are simple in terms of note combinations. At the same time, meditative compositions include long pauses between phrases. Pauses are essential for complete breathing and for contemplating silence. Silence is just as important as sound, and sometimes even more so. Breathing should be steady and diaphragmatic. Instructions on diaphragmatic breathing can be found in many books on yoga or qigong.
The key to learning the shakuhachi is listening. In today’s world, people often hear but do not truly listen. When producing sound, the player feels vibrations — not only in the fingertips and eardrums, but also through contact with the lips, cheeks, neck, and beyond. Can we sense the sound with our cheeks? Can we distinguish the sound created in moments of fatigue, illness, emotional turmoil, or joy? Can we, at will, pour our entire life into a single note — all our joys and sorrows, doubts and happiness — so that it resonates deeply within the listener’s consciousness? This is what separates “living,” warm music from mechanical, cold, even virtuosic, performances. The shakuhachi focuses precisely on animating the music and reflecting the self in each sound.
The technical side of playing begins with learning the basic notes. Children’s songs and folk melodies built on these notes help develop basic technique. Gradually, intermediate notes are introduced, complicating the performance.
Each note’s intonation must be well refined. Beginners should use a tuner to verify the correctness of the pitch, as even a slight tilt of the flute or minor changes in airflow affect tuning. The long-tone exercise, described in the section on sound, helps develop the correct positioning of the instrument.
Rhythm is the second important component. The tempo depends on the type of piece. Meditative koten honkyokucompositions are generally very slow, contemplative, and have relatively long pauses between phrases. The earliest pieces have no fixed meter and are performed at the player’s discretion. Sankyoku trios often start slowly, accelerate in the middle, and return to a slow pace at the end. Folk melodies vary in speed and rhythm. Western students unfamiliar with Japanese folk music often substitute familiar Western folk tunes, allowing them to focus on technique rather than memorization.
Dynamics are significant for meditative pieces. Since these pieces lack rhythm, note volume carries expressive weight. Certain notes are considered “strong” and are always played loudly, while others are soft, reflecting the Yin-Yang principle of Eastern philosophy. Occasionally, strong notes are marked to be played very softly. In some contemporary compositions, all notes are played loudly. Alternative fingerings may allow a note to be played either softly and airy, or loudly and piercing. These alternative fingerings are usually indicated in the sheet music.
Ornamentation is an essential element of shakuhachi music, often specific to a particular school. In this guide, we will focus on the Kinko school, known for its rich ornamentation techniques.
The principle of “from simple to complex” applies to learning the shakuhachi. First, the notes of the piece are studied. Then, rhythm is established. After that, ornamentation and dynamic variations are added. The Japanese traditionally say that to fully master a piece, it should be played 1,000 times. Importantly, counting begins only when the above elements are mastered and the piece can be performed from memory. Each piece goes through several stages:
- The piece is played correctly from the sheet music.
- The piece is memorized and performed correctly from memory.
- The musician can no longer play the piece incorrectly.
- The musician’s individuality is expressed in the performance.
My teacher occasionally asks, “What does this piece mean to you? What do you feel and experience while playing it?” This stage is reached once the player no longer consciously focuses on technique. Only then does the count of 1,000 repetitions begin.
Regardless of the level of mastery, listening and contemplation remain at the core of playing. Even with perfect execution, a musician always returns to the fundamental — the quality of sound. It is the sound, not the technique, that forms the essence of the shakuhachi, and refining it is a lifelong pursuit.
Microtones are the “spice” of shakuhachi playing. Peter Hill once gave me this analogy:
“Imagine smoke rising from a smoldering stick. The room is still, yet you notice subtle, almost imperceptible deviations in the smoke, capturing fluctuations in the air you cannot feel. Your sound should flow like that smoke, with variations nearly imperceptible…”