Mujitsu and Tairaku's Shakuhachi BBQ

Hi Chris,

If you really want to know, I will have several extremely curved Yamaguchi Shiro and Kinshu (maker who based his flutes on Shiro) 1.8's available for audition in Southern California in a few days. They are enlightening.

Regards,

Tairaku

Tairaku wrote:

If you really want to know, I will have several extremely curved Yamaguchi Shiro and Kinshu (maker who based his flutes on Shiro) 1.8's available for audition in Southern California in a few days. They are enlightening.

Those flutes are enlightening. I believe their sound quality has more to do with the expertise of the maker rather than the curve of the flute.

Chris wrote:

What is the effect on sound qualities, if any, of extreme curvature in shakuhachi?

Most, if not all acoustical research suggests that it is the volume of space in the bore and not the curve that effects sound quality. Although theory and practice don't always agree, my own experience supports this view as well.

This rediculous curve was included to shorten the length of this shakuhachi (below). When it was straight, the pitch and sound quality were the same. The idea here is that as long as the volume of space remains the same, there is little if any difference in sound quality. In my experience curved rootends behave in the same manner.

Ken

Tairaku wrote:

I don't have my books with me but in one of the copies of "Hogaku Journal" it is stated that the Yamaguchi's and their gang think it does affect the tone and also symbolizes the flexibility of bamboo. Maybe someone else can look it up and post the exact quote? Ronnie?

That is interesting. I would be curious to see any information about this. I can understand the aesthetic appeal and symbolization of curved bamboo but I've never stumbled upon any evidence that it has an effect on the tone. Even bending flexible seaweed shakuhachi while playing doesn't change the tone to my ears.

If anyone has any information or experience with this please do post! Thanks!

Ken

After playing the extremely curved Kinshu of Brian's and from playing one of Ken's fine Chinese Madake 2.5s with a long but pronounced curve toward the end of the instrument, I made the observation that the vibrations in the instrument (as felt in the hand) on Otsu Ro were much more pronounced on the Re and Tsu fingers.

Sonically it reminded me of the difference of playing a straight soprano saxophone and a completely J-curved soprano. The curving at the end of the instrument seems to contribute to a more 'hollow' resonance. This is noticeable more (to me) on instruments with a harder or more agressive tone than on softer sounding instruments.

Btw, I would love to try one of Ken's baritone-sax-like looping chokan.

Last edited by Chris Moran (2007-01-10 15:32:18)