Types of shakuhachi: Jinashi and jimori vs. jiari jinuri, cast-bores, and cylindrical bores

On this page I’ll help you to understand the different types of shakuhachi which are defined by how they’re constructed. First, check out the video below:

Jinashi Shakuhachi

Strictly speaking, jinashi (地無し) shakuhachi are crafted by working with the unique, natural bore of each bamboo piece solely through subtractions, that is, by carving or sanding away material. Craftspeople like myself aim to achieve their desired level of tuning and tonal balance this way. The bores of jinashi flutes are often lacquered, traditionally with urushi, though they can also be left raw which is my preference.

If a maker wishes to craft well balanced and in-tune instruments then this approach is the most challenging. This is because it’s often impossible to correct some acoustical issues through subtractions alone.

When a jinashi becomes a jimori: subtraction & subtle addition

When an acoustical issue can’t be fixed with subtractions then additions are what’s required. Jimori (地盛り) shakuhachi are created by applying small amounts of paste to specific areas of the bore. Like subtraction, these additions are carefully adjusted.

Ultimately, subtraction and addition are two complementary techniques. Similar to jinashi, jimori bores can be left raw or lacquered over. Note that some people take additions to the bore so far as to effectively be jiari or jinuri.

Jiari aka jinuri: The human made bore

In contrast to the above shakuhachi types, jiari or jinuri (地塗り / 地在り) shakuhachi feature bores that are completely filled and sculpted with plaster, glue, or even “cast-bore” methods. The resulting bore shape or profile is entirely human-made, not being found naturally in bamboo.

These fabricated bores are then replicated consistently within different pieces of bamboo,. This essentially makes the bamboo a veneer or shell into which the fabricated bores are created. These instruments often incorporate center joints (see below). In essence, while they appear to be bamboo on the outside, their interior is not.

Nobékan “one-piece” shakuhachi: Nature’s voice and beauty 

How this effects pitch (and my pricing)

As shown in the image above, the total length and resulting pitch for a nobékan (延べ管) “one-piece” shakuhachi is largely determined by nature. Specifically, the natural distance between the topmost node where the blowing edge is made and the bottom roots. Conversely, some instruments, such as the jiari pictured above, feature a center joint. Joint(s) allow craftsperson to adjust the final length and pitch of the key, to which all of the finger-holes are tuned to match.

To some extent, jointing also allows makers to adjust where the finger-holes will fall, avoiding landing on nodes and striving for the rigid aesthetic. Note that some instruments may appear to be one-piece but can have hidden joints beneath inlaid rattan binding wraps. While more rare, some jinashi or jimori may also occasionally feature joining work.

However, 440Hz keys are only needed if you’re playing with other people with 440Hz instruments. Of course, sometimes Nobékan naturally work out to a 440Hz key as well.

While 440Hz keys and rigid aesthetics command higher prices, in my shop they don’t equal superiority. This is because I uphold the same uncompromising quality with all of my works.

Advantages of quality jinashi & jimori

• Lighter Weight: Particularly noticeable in longer shakuhachi.
• Greater Variety: Offers a higher number of larger sizes and keys beyond A4=440Hz, including those used in Edo period Japan.
• Structural Integrity: Usually crafted as one-piece Nobé instruments which makes them inherently tougher. Jiari often have a center joint which can be vulnerable to damage and often requires maintenance.
• Easier Repair: Cracks are typically far easier to repair and the original sound remains unaffected. In jiari, cracks often dislodge the plaster which makes total restoration to original condition difficult or impossible. Of course, repairs with jiari are often more complex and costly.

Advantages of quality jiari

• Portability: Can be split into two pieces for convenient travel when they have a typical center joint.
• Volume & Speed: Can be made to play ultimately louder and faster than comparable jinashi and jimori instruments. They’re also easier to play at higher volumes and speeds.
• Availability: Quality examples are less rare than jinashi and jimori, though primarily for standard lengths and keys only.

Definitions

• Ji (地): Traditionally, a paste or plaster made by mixing urushi lacquer and jinoko (stone powder). Today, ‘ji’ refers to any material, such as glue, that adheres to bamboo for bore shaping. Not to be confused with lacquer which is a coating painted onto the inner bore, typically brown, black, or red in color.
• Jinashi (地無し): Literally “no paste.” The strict definition means absolutely no paste applied to the bore. Adherence to this strict definition varies among makers, however.
• Jimori (地盛り): Literally “paste a portion.” Portions of the bore have Ji applied, usually in very small, targeted areas. Some makers take this to the extreme. essentially crafting jiari.
• Jiari AKA jinuri (地塗り / 地在り): Literally “pasted/plastered.” The entire bore is covered in paste/glue and shaped or cast into a predetermined, human-made profile not found naturally in bamboo.

Cylindrical bores; PVC, wood, bamboo, and others

Finally, there are cylindrical bore shakuhachi. During the Edo period of Japan, makers began using root end or near root bamboo which has a tapered bore. The root end is solid and then goes from narrow to wider toward the top. Of course, the root end is opened by the maker.

This is similar to conical bore simple system flutes, such as the Irish flute. It also has the same acoustic effect of creating more resistance to the air. This results in a different sound and feeling when played. The easiest way to describe the feeling is that it takes more effort from the player.

Specifically, more pressure needs to be generated in the mouth for a more focused airstream. While this sounds undesirable, and too much resistance certainly is, a well balance tapered bore has a wide dynamic range. This range is exploited or accessed by skilled players via the shaping of their air.

Typically, cylindrical bores have less of this because a straight walled tube has less resistance. This is why PVC tube or pipe is cylindrical. If it were tapered, water would more easily back-up, rather than drain out. With that said, there is overlap between some tapered or conical bores and some cylindrical bore shakuhachi, in that they’ll have very similar amounts of resistance. This is more common between modern jiari and cast bores and very precisely crafted cylindrical bore shakuhachi than it is with natural bamboo bore jinashi and jimori.

This is due to the fact that every single design element of a flute impacts resistance. The resistance of a cylindrical bore flute can be carefully increased via other means. With that said, there while be other effects or trade-offs of this. So what’s “better” or “authentic”? It depends on the context. To that end, it’s up to each individual to decide. Rest assured that there’s no such thing as “the best“.

(One difinitive difference between cylindrical bores and tapered bores is that tapered bores make it possible to craft a wider, possibly infinite variety of flutes that will perform well. Cylindrical bores have a much more narrow window of possibilities. This is especially true when attempting to give them as much resistance as a tapered bore.)