Possible Notations for Shakuhachi in Contemporary Music

SHAKUHACHI CHAMBER MUSIC INTERNATIONAL

SHAKUHACHI CHAMBER MUSIC COMPOSITION COMPETITION 2010
SHAKUHACHI CHAMBER MUSIC INTERNATIONAL PRIZE 2010

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Shown below are some common terms used in shakuhachi and other musical terms. A short explanation of each and examples of how these can be notated is offered. It is a work in progress and we invite critical comment, suggestions and further submissions (info at shakuhachiflutes.com).

use standard western staff notations wherever possible.
simplify the score to leave the player latitude for interpretation and self-expression.
use English terms wherever possible.
the use of technical shakuhachi terms such as meri, kari, furi, atari, special fingerings, etc., should be used only by those with close knowledge of shakuhachi techniques.
alternative notations added based on the experience of the 2008 competition

Possible Notations for Shakuhachi in Contemporary Music

TERM	DESCRIPTION	NOTATION	all sounds are 1.8 shakuhachi
Alternative Fingering	the same pitch can be achieved by different means of fingering and pitch bending. The two usual alternatives are kari and meri forms.	S (standard) NS (non-standard) kari meri	E-flat meri then kari B-flat meri then kari
Attack	atari; accentuating the beginning of a note by striking a hole. The hole may be specified by placing a small number, preferably enclosed in a circle, above the note.	fp, sf, sfz, sffz > above/below the note
Dynamics	use conventional dynamic markings as for staff notation
Flutter Tongue	as for staff notation	flutter fz
Folk music decorations	see oiwake korone
Furi	also furikiri; "head shake" which results in a momentary lowering of pitch. otoshi: special case where the tone should be lowered at the last moment. see nayashi	furi otoshi
Glissando	as for western notation
Goro Goro	also horo-horo; onomatopoeic name to describe the gurgling sound of this trill. Usually based on the pitch of C for standard flute. Stronger than the similar technique koro-koro. see also koro-koro, kara-kara	goro
Grace Notes	as for western notation. If the composer specifies a grace note that is ’inappropriate’ the player may change to one more suitable.
Ha-a-ra-ro	a technique used in honkyoku	ha-a-ra-ro
Hit	striking holes for percussive effect.	hit
Kamuri	same as furi
Kara Kara	percussive effect achieved by hitting the bottom finger-hole (hole number 1).	kara
Kari	raise. Raise the pitch by opening the top hole of the flute (at mouthpiece). At least one semitone possible for each note.	kari
Kasaiki
Komi buki	crowded breath. A pulsating diaphragm technique.	komi (fast) komi (normal) komi (slow)
Koro Koro	onomatopoeic name to describe the gurgling sound of this trill; usually based on the pitch of C for standard flute. Softer and more subtle than goro-goro. see also goro-goro, kara-kara	koro
Korone	see oiwake korone
Meri	sink. Lower the pitch by closing the top hole (at mouthpiece) of the flute. A lowering of at least two semitones is possible for each note. Rather than use this symbol, consider specifying the pitch intended by inserting notes or by text.	meri
Mura iki	uneven breath; a usually explosive or violent over-blowing technique	mura

	alternative: The line above the note indicates the change of air pressure. Ascending line shows increasing air pressure, descending line for decreasing.

	alternative:
Multiphonics
Nami	wave. A series of furi. Graphical representation is recommended.
Nayashi	short glissando, before the note. Also, in the middle of or during the note see also furi	before the note during the note (up) during the note (down)
Oiwake Korone	technique often used in folk music which mimics folk singing decoration. Use notes on the pentatonic (major) scale for each length.	use notes/grace notes
Open	aki; playing note with holes open. Usually aplies to the fundamental note	aki open	D closed then D open (aki)
Pitch Bending	ori; changing the pitch by applying kari/meri or hole ‘shading’.
Portamento	see glissando
Re-articulation	repeating notes on shakuhachi is usually done by opening and closing designated holes.The hole may be specified by placing a small number, preferably enclosed in a circle, above the note. Tonguing or diaphragmatic articulation can also be used. Include an explanatory note if this is considered important.		finger/tonguing/diaphragm
Sasa buki	shaping the note dynamics in the form of a bamboo leaf. Normal western terms and hairpins are recommended to denote dynamics.
Sorane	false note or empty sound. Sometimes the pitch is specified but more often not. Note: Sorane can mean different things to different shakuhachi players. It may be advisable to use terms from extended flute technique such as "Slap Tongue" or "Tongue Ram" instead.	Sorane
Sorane
Staff Naming	Full Name Abbreviated Name	Shakuhachi Skh
Suri	a passing note with a short slide (portamento) to an intermediate pitch. The speed may be specified or left to the discretion of the player.	suri (fast) suri (slow)
Tamane	fluttering produced in the throat.	tamane fz
Tonguing	see re-articulation
Trills	There are numerous trills for shakuhachi and just a few are demonstrated here on the 1.8 shakuhachi. This important section will be expanded later.
Tuning	shakuhachi have fixed tuning and makers usually tune to concert pitch (A440 at 20 degC), however it is common for ensemble to be tuned to A443, or above, depending on the ambient temperature.
Vibrato	shakuhachi players do not normally apply diaphragm vibrato but use head movements to alter pitch. Contemporary players will usually adopt vibrato unless it is specified to stop using vibrato.	Slow vibrato Fast vibrato No vibrato S.V. (senza) N.V.(normal) M.V.(molto)
Yuri	wide vibrato; includes: yoko (side) yuri: horizontal shaking. The pitch should not change tate (vertical) yuri: vertical shaking. The pitch will change mawashi (circular) yuri: rotating the head. The pitch will change take (bamboo) yuri iki (breath) yuri If the subtle differences between these techniques is sufficiently understood, then suggestions for notation are shown next.	yuri deep yuri shallow yuri yuri finger yuri

	yoko-yuri: horizontal head shaking. The pitch should not change

	tate-yuri: vertical head shaking. The pitch will change

	mawashi-yuri: rotating the head. The pitch will change

Other Textural Notations (and alternatives)	very breathy but with clearly defined tone. Compared to muraiki, the regular airy sound is to be produced by emitting the air with loose embouchure

	air sound only; also used for inhaling or exhaling through the instrument


Some Pitch Notations	quarter-tone sharp

	quarter-tone flat

		prepared by Andrew MacGregor	last revision 28 November 2009
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