There’s No “Best” Shakuhachi

One of the most humbling and fascinating truths about the shakuhachi is that no single instrument can have it all and be crowned the best, what ever that means. Every design choice and every type of shakuhachi inherently possesses its own unique strengths and weaknesses. We simply choose what we prefer or need at any given time.

Of course, there will always be “cutting-edge” modern shakuhachi who’s makers claim that their instruments are “optimized” without any mention of compromise. However, all design choices are compromises because every attribute is interconnected.

Think of it like tugging on a loose thread in a piece of cloth. When you tug on one aspect of a shakuhachi you invariably affect another.

Knowing this, you can rest assured there’s no such thing as a “perfect” shakuhachi that excels in every way. Instead, there are simply shakuhachi that are ideal for certain situations or tastes.

For instance, some players cherish older style shakuhachi that might sacrifice overall volume for a more gentle and rustic sound. Such instruments would be an excellent choice for solo playing, especially for a classical experience. However, they’d clearly be a poor choice for a beginner or for accompanying a loud modern piano.

I hope this illustrates how deeply intertwined all the attributes are. To achieve certain qualities others must inevitably be diminished or lost.