Shaku Binding

If you live in a low humidity environment or use central heating in the colder months, it is advisable to have bindings on your shakuhachi, to lower the chance of cracking. Inlaid bindings are very time consuming to make, therefore their cost is very high. Not all makers offer the option of a lower cost binding.

You may want to consider doing your own surface bindings for the following reasons:
- saving money which you could spend on buying a better quality instrument with no bindings
- surface bindings preserve the structural strength of the bamboo, inlaid bindings weaken it to a certain degree
- adding a personal touch to your instrument
- learning skills that are useful later, when repairing a crack

Bindings are not difficult to make. For best results, you should approach this process with a can-do attitude and plenty of time and patience. If done right, the bindings will last the life of the instrument.

Threads starting at the left: upholstery, rod building (size E), Bainbridge and nylon utility.
The thread burnisher at the top is made of nylon rod and was originally a tool for shaping wet leather

In the beginning it is easier to start with a thicker thread, preferably bonded, so that it won't unravel easily. As your skill improves you can move to thinner thread varieties. Thinner threads are preferable, because they are not as noticeable when sliding your fingers along the bamboo. As far as binding strength goes, thinner threads are just as effective as thicker ones, because you get more wraps in the same space. The main characteristics we are looking for in a thread, are high strength versus diameter and a certain amount of elasticity. This generally points to synthetics, which is also what most shakuhachi makers use for wrapping under inlaid rattan bindings. The threads should not come impregnated with wax or any other substance.

Below is a list of the commercially available threads I found most appropriate for the task. The mail order web sites are for the USA, but most of these threads are available worldwide.

1. Nylon Upholstery Thread -commonly available at sewing, craft, upholstery suppliers and leather working stores in basic colors. Mail Order: Van Dyke's

3. Nylon Rod Building/Wrapping Thread, size D or E (heaviest) - available in a wide variety of color choices from fishing rod building suppliers or fishing stores. Mail Order: Clemens and Angler's Workshop

3. Bainbridge Hand Sewing/Whipping Thread - for sailmaking, white color. This is actually relabeled Hemingway and Bartlett "Dabond" polyester bonded threat in size V69. I found this to have the best blend of properties for making shakuhachi bindings. Mail Order: Boater's World Manufacturer/Distributor Contact: info@bainbridgeint.com

4. Nylon Thread for Fishing Nets - available at commercial fishing supply retailers.
Note: nylon thread from your neighborhood hardware store is also usable, but it is most likely not bonded, so it will unravel easier. Best if you want to have a rougher looking binding, since it is available in larger diameters Mail Order: Jann's Netcraft

All of the above can be colored by using fabric dyes. Don't forget that once dry, colors will look lighter than when wet. The best shades are obtained by mixing several colors in various proportions. Always dye twice as much thread as you think you will need.. There are no rules as to what color a wrap should be, this is where your personal taste enters in, but I find shades of tan and brown to be the least obtrusive.

There are no strict rules as to where the wraps should be placed or what their width should be.

Some ideas:
- a wrap must be placed under the utaguchi, because cracks frequently appear in this area
- space the wraps evenly between finger holes, even if overall the wrap spacing will not be uniform. This way you will get better clearance space for your fingers.
- if near a bamboo node, get the wrap as close as possible to the node
- if there is an area with damage to the bamboo skin, try to place a wrap on it or nearby.
- generally the root end is not wrapped, unless there is a crack in this area.
- most people find it more pleasing if the wraps are all the same width. Use a ruler with mm divisions or pair of dividers to measure.
- more wraps are better than too few.

No matter how you do your wraps, you should start by completing several just for practice, before starting on your shakuhachi. As a support, you can use any round hard object, such as a plastic tube or a wood dowel. Lay down the loop first, making sure it's plenty long. Hold the string with your thumb and start wrapping toward the loop. After a few turns friction will hold things in place and you can begin to apply more tension.

Dyed nylon thread binding on the left, upholstery thread on the right

Always wrap with the highest thread tension you can handle. The ends can be pulled either parallel to the strand coming from the other side, so they form a slightly diagonal bump in the wrapping, or at a right angle, so that the resulting bump has an "X" shape. Other than the overlap, there is no knot to fasten the thread ends, they are held in place by the tension of the wraps.

Once the wrapping is done, pull on the thread ends to increase the tension to just below breaking. You learn when this occurs from experience, don't be worried by having to redo a wrap. As you pull, you will see several of the wraps slide and tighten. Watch the skin on your fingers for cuts. If you do this over a period of several days, you will develop calluses that will protect you. If not, just tape over the stress points.

Use a plastic burnisher (or a smooth object such as a round plastic pen or round hardwood chopstick) to distribute the wraps evenly and push the wraps together as tightly as possible. When you feel the wrap is as nice as possible, trim the ends off with a sharp blade (single edged razor blade or Exacto knife), while keeping the thread under slight tension. Be careful not to cut into the bamboo. Should there be any fuzz, singe it off with quick touch with a cigarette lighter flame. Go over the wraps with the burnisher one more time.

For the wrap between hole 4 and 5, if you use a thicker thread, you may want to do a partial inlay of the thread wrap, to have a smooth surface under your thumb. Use a square file, medium cut, 6-8" long, to file a sloped depression the width of a wrapping. The edge near hole 5 would be as deep as the thread is thick. At the other edge, it would blend into the bamboo surface. Do this inlay only in the area where your thumb would be, symmetrical on the left and right side. Leave the rest of the surface as is. Finish the binding with the knot on the opposite side of hole 5, i.e. on the front of the shakuhachi..

Views of binding near the fifth hole.

Please don't think twice about redoing a binding in case that it is not even, if the knot did not work out or there is a problem with the finish.

The bindings should be saturated with a substance which will keep the tension from loosening and the binding from slipping and unraveling. In fact, as the finish soaks into the thread, its tension increases.

Here are the options I have found to be most practical. However, feel free to experiment if you do not have these finishes available:

- Urushi - best from a traditional point of view and for working with wrappings on wet bamboo that is being repaired
- Slow Cure Epoxy - best from the point of view of wear, ease of working and cleanup (use rubbing alcohol)
- Super Glue (cyanoacrylate) - fast drying, but short working time does not allow it to soak into thin thread under tension. Best to use with thicker nylon thread. Cellulose in paper napkins acts as an accelerant for this glue. You can use this to your advantage to speed up drying or wipe with synthetic tissue to avoid this effect. Superglue cures in the presence of water or alcohol, which it absorbs in the form of vapors from the air and the surface of the objects being glued. A moist breath can act as an accellerator. Too much moisture can produce a white, uneven glue surface, not desirable for our purposes. Clean up with Acetone.
- Polyurethane - commonly available wood finish, very durable but does not take a polish
- Color Preserver (clear acrylic) - soft but sufficiently durable if applied with no buildup, cleans up with water, definitely non-traditional.

Some tips:
- apply thin coats and avoid bubbles.
- saturate the whole binding with the finish of your choice, but avoid any buildup.
- do not apply any finish to the bamboo.
- clean off any drips on the bamboo immediately.
- occasionally rotate the shakuhachi while it is drying, so that the finish will remain evenly distributed.
- when finished without applying a color preserver (clear acrylic), certain thin nylon threads turn translucent. This can be an interesting visual effect, but you must make a very neat wrapping.

Bindings reduce the likelihood of cracks, but they are not a guarantee. A shakuhachi is best stored individually in a waterproof bag (nylon), with the open end folded over. This is sufficient if you play it every day, even if only for a few minutes. If not, you can include a very small humidifier in the bag, such as available from cigar stores. This is a very small aluminum can (1" diameter), with perforated top and bottom, which contains an absorptive material similar to chalk. This type of humidifier releases moisture very slowly. If you can't buy it, you can make your own version from a small plastic container, but check occasionally to make sure that no molds grow inside.

Metal case is a pipe tobacco humidifier, the others come from off-the-shelf humidifier from the music store, cut in two pieces

Remember that too much moisture applied suddenly can crack bamboo. For a shakuhachi, humidifiers designed for Western musical instruments can release too much moisture, too quickly. Avoid these or cut them back to a smaller size and squeeze them out well after soaking.

Long nylon bags can be recycled from various products packed in these and are sometimes available separately at kite or fishing stores. The thicker ones last longer. You can also make your own from larger waterproof sheets and tape.

Now that you have gone through all this trouble to prevent the shakuhachi from cracking, you probably want to protect it while it's outside your house, as well. The idea is to use a case that will protect your instrument against bumps and sudden temperature changes. For cases which are not padded, wrap your flutes individually in a towel or foam sheet.

Cordura is a low maintenance, wear resistant nylon fabric. Lengths refer to single piece flutes, two-piece flutes are. of course, easier to accommaodate.

Following are some affordable and commonly available solutions (at least in N.America and W. Europe).

- fishing rod tubes - available in diameters up to 4" and various lengths (20 inches to 7 feet), metal, plastic and cordura covered PVC, with screw-on, snap-on and zippered lids, wide variety of colors, not padded. Best for transporting one or 2 shakuhachi per tube. Can be purchased at outdoor/sports stores.

- takedown shotgun cases - available in hard plastic or padded fabric, Cordura or leather, in a wide variety of designs. Prices start low, but can range to very high. Can hold several shakuhachi, at least up to a 2.6 shaku. If you choose the right color and shape and remove the labels, some of them will not look like a gun case at all. Can be purchased at outdoor/sports/gun stores.

- guitar effect and MIDI keyboard carry cases - made from black padded synthetics, usually good for lengths up to 2.1 shaku and multiple flutes. Available at specialized music stores.

- tripod carry cases - made from Cordura in several colors and lengths but not padded. Smallest sizes suitable for several 1.8 shaku. Can be purchased at photo and outdoor stores.

- kite bags - made from nylon fabric, in many colors and lengths but not padded. Usually best for holding several longer shakuhachi. Can be purchased at kite specialty stores.
- golf club cases - available in soft or hardwall construction, in various diameters, with or without wheels. Best suited for transporting several long shakuhachi. Can be purchased at golf specialty stores.
- folding saw pouch - to hold your 1.8 shaku or shorter (not root end), made from black Cordura, no padding. Good as an all around storage bag, but don't forget to use a plastic bag inside. Can be purchased at outdoor/sports stores.

Following is a glossary of Japanese terms I hope will help those interested in longer shakuhachi and their construction or in ordering one of these instruments. Romanized spelling of the terms varies depending on the source, I have listed the commonly seen variations.

Seiritsu - tuned to a specific frequency on the western equal temperament scale, i.e. exact pitch

Seisun - made to a specific length (measured in shaku and sun), tuning reference accuracy is secondary

Urushi - East Asian lacquer, made from the refined sap of the urushi tree (Rhus vernicifera D.C. or Rhus verniciflua Stokes). It is available in several forms, in both raw and refined states. Mixed with mineral pigments to produce red, black and vermillion colored lacquer. Other colors are also possible, but generally not used in shakuhachi construction.

Jiari - with ji, in other words bore constructed with ji paste, flute can be of any length

Jinashi - without ji in the bore, but could have a coat of raw or refined urushi to seal the bamboo, flute can be of any length

Chôkan, Chokan, Choukan or Joukan - long pipe or flute, one might call anything longer than 2.4 chokan, whether it is a jiari or jinashi

Hôchiku, Hochiku, Houchiku or Hocchiku - way of the bamboo, dharma bamboo, bamboo of the law, religious bamboo, seisun, frequently (not mandatory) a longer flute with bare bamboo bore and no utaguchi inlay. Term originated by Watazumi.

Kyotaku - empty bell, term used to refer to a shakuhachi type instrument used in a spiritual context

Dôgu - tool, instrument (for the way), term used by Watazumi to designate a shakuhachi type instrument used in a spiritual context

Dong Xiao - historic predecessor of shakuhachi from China, thin diameter, 6 finger holes, various lengths, still played today

Hitoyogiri, Kodaibue, Tenpuku or Tempuku - historic flutes of the shakuhachi family, no longer in use today

Recommeneded Listening: A Collection of Unique Musical, Music of Japanese People Series, King Records KICH 2030--CD featuring various rare Japanese flutes.