A Collection of Moving Shakuhachi Masterpieces | Beautiful Japanese Melodies That Stir the Heart
Transcending the ages, the profound melodies of the Japanese traditional instrument, the shakuhachi, bring quiet and peace to our hearts.
The shakuhachi pieces passed down through the generations carry the breath of nature and people’s emotions, and their tones move those of us living in the present day as well.
In this article, we have gathered shakuhachi masterpieces that resonate with the soul.
From works woven by our predecessors to pieces that harmonize classical sonorities with contemporary essence, we have selected a wide range.
If you wish to experience the spirit of Wa or are interested in Japanese traditional music, please take your time and enjoy.
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A Collection of Moving Shakuhachi Masterpieces | Beautiful, Stirring Sounds of Japan (21–30)
Reverie on Reeds and Bells
One of the classical pieces of the Kinko school, known as the Kinko (Kinko-ryū) style.
Along with Izu Reibo, it is recorded as having been transmitted from the 26th head of Suhōji, the venerable Shōzan Yūko.
The origin of the title is that between Tenbun 1 (1532) and Keichō 18 (1613), Suhōji was located in Ashigusa Village in Kawagoe, Musashi Province; hence the piece is called Ashigusa Reibo.
Kirikai Reimou
This is one of the three foundational pieces, the Sankyorei, alongside Kyorei and Kokū in the classical honkyoku repertoire for shakuhachi.
There are two legends claiming that Zen master Kyotake (also known as Yotake), the founder of Myōanji on Mount Kyorei, obtained the piece in a dream, but it is unknown which is correct.
In the Kinko-ryū tradition, it is said that the first-generation Kurosawa Kinko transposed the pieces Kirikaichireibo in Akebono and Kumoi tunings with reference to Mitani Sugagaki.
A Collection of Iconic Shakuhachi Pieces That Resonate with the Heart | Beautiful, Moving Melodies of Japan (31–40)
Akebono-style
This name comes from the fact that it corresponds to Akebono-chō, one of the five shakuhachi modes used from around the mid-Edo period as names for classical honkyoku pieces or as modal designations.
As a piece title it is correctly read “Akebono no Shirabe,” while as a mode it is read “Akebono-chō.” The older name for the Akebono mode is Ichikotsu-chō.
In the Kinko-ryū (Kinko) honkyoku repertoire there are two types: one is documented in Yoshida Icchō’s notation but whose lineage has died out (Akebono-chō, also called Kōshō-chō), and the other is a transposition made by Araki Chikuō (the second Kodō) from Hifumi Hachi-gaeshi (the added melodic passage known as “Chikuō-irekono-te” is omitted in the Akebono version).
According to Miura Kodō’s Kinko-ryū shakuhachi honkyoku score, the version predominantly performed today is the transposed piece arranged for ensemble from Hifumi Hachi-gaeshi.
Hifumi Hachi Gaeshi Mode
One of the Kinko-ryu honkyoku pieces, known as the Kinko style.
It is a prelude piece composed entirely of otsu (low) tones, and it also seems to carry the meaning of tuning and practicing at the outset.
In older Kinko-ryu and in Ikkan-ryu, it was sometimes performed as an independent piece, but today it is almost forgotten.
Hoteiken Mitani
One of the classical honkyoku pieces for shakuhachi, a type of Sanya.
It is a Sanya piece handed down at Hoteiken, a Komusō temple in Oshu (present-day Miyagi Prefecture).
Because playing this piece for pregnant women was said to help stabilize the postpartum period, it is also known by alternative titles such as Sanyasu no Kyoku (also read San’an no Kyoku) and Oshu San’an (also read Oshu Sanyasu).
The piece’s phrases vary considerably depending on the lineage; in particular, the Tōgakuden version appears to differ quite substantially.
Uchigae Kyorei
A type of shakuhachi classical honkyoku called Kyorei.
It is a Kinko-ryu honkyoku.
According to the repertoire list in the Kinko Techo, it was transmitted from the head priest of Seizanji Temple in Funabashi, Shimousa Province (present-day Funabashi City, Chiba Prefecture), Kawahara Tanzō, and it further notes that it was among the most frequently performed pieces at shakuhachi performance gatherings.
The piece known as Uchi-kae Kyorei, which incorporates the technique of switching fingerings (uchi-kae) from Shin-Kyorei, is considered the origin of this version.
Pine and Rock Hermitage Bell Lament
This is one of the Osuhu-style versions of Reibo, a classical honkyoku piece for shakuhachi.
It is a variant of Reibo transmitted within the Nezasa-ha Kinpū-ryū tradition.
The musical form and title vary slightly depending on the lineage of transmission.
Onodera Genkichi (1854–1928), a master shakuhachi player from Miyagi Prefecture, is said to have studied the Kinpū-ryū in Hirosaki after making contact with Nyūi Getsuei of the Nezasa-ha Kinpū-ryū while he was traveling and begging as a komusō monk of Kanjōji.
In exchange, Onodera Genkichi is believed to have transmitted this Reibo and Sugomori to the Kinpū-ryū in that area.