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 head shake which results in a momentary lowering of pitch.
see nayashi
furi
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
Multiphonics
Nami wave. A series of furi. Graphical representation is recommended.
Nayashi short glissando, before the note.
see also furi
nayashi
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
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.
Sorane
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)
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 are tuned to concert pitch 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.
Slow vibrato
Fast vibrato
No vibrato
S.V. (senza)
N.V.(normal)
M.V.(molto)
Yuri wide vibrato;
includes yoko (side) yuri, tate (vertical) yuri, iki (breath) yuri, mawashi (circular) yuri, take (bamboo) yuri
yuri
deep yuri
shallow yuri
yuri
finger yuri

prepared by Andrew MacGregor April 2007
Shown below are some common terms used in shakuhachi, a short explanation of each and examples of how these can be notated. It is a work in progress and we invite critical comment, suggestions and further submissions (info@shakuhachiflutes.com).
composing
composing