Shakuhachi master Kaizan Harago explains one of the essential techniques in shakuhachi playing: how to distinguish between Kan (甲) and Otsu (乙).
Otsu is the lower register, while Kan is the higher register, one octave above it. In many cases, the fingering stays the same, and the register changes through the way you use your breath.
At first, it is easy to think that higher notes simply require stronger breath. However, relying only on breath pressure can make the sound uneven or unstable.
The key is to understand how breath speed and direction affect the sound, and to make small, controlled adjustments.
1. Understanding Otsu and Kan
Let’s begin with the basic difference.
Otsu refers to the lower register of the shakuhachi, while Kan refers to the higher register, one octave above.
For example, the same fingering for Ro can produce either a lower Otsu Ro or a higher Kan Ro.
In other words, fingering alone does not determine the register. The way the breath is used also plays an important role.
For beginners, it is helpful to remember one simple idea:
The fingering may stay the same, but the breath changes.
2. Finding the Right Air Speed
The speed of the breath changes between Otsu and Kan.
For Otsu, the airflow is relatively relaxed and open.
For Kan, the breath becomes faster and more focused.
This does not mean simply blowing harder or using more air.
A better image is to think of the same breath becoming narrower and faster as it leaves the lips.
If you rely too much on force, the volume may increase without producing a clear Kan tone. The pitch and tone quality can also become unstable.
Instead of thinking “stronger,” try thinking “faster and more focused.”
3. Adjusting the Breath Angle
Breath direction is just as important as breath speed.
When playing Otsu, the breath is directed more or less forward.
For Kan, the breath angle shifts slightly downward.
There is no need to move your whole head or tilt the shakuhachi dramatically. The change should come mainly from a small adjustment around the mouth.
A useful image is to imagine a small windmill in front of you.
For Otsu, imagine the windmill at the same height as your mouth and blow straight toward it.
For Kan, imagine the windmill slightly lower. Without moving your face, direct the breath downward toward it.
This helps you focus on changing the direction of the airflow rather than simply increasing its strength.
4. Switching Between Otsu and Kan
Once you begin to feel the difference, try switching between the two registers without changing the fingering.
Start with Ro in Otsu.
When the note feels stable, keep your fingers in the same position and gradually make the airflow faster and slightly more downward until the sound moves into Kan.
Then return to Otsu.
Try practicing:
Otsu Ro → Kan Ro → Otsu Ro
At first, the sound may break during the transition. That is completely normal.
The goal is not to force the change, but to notice how small adjustments in breath speed and angle affect the register.
Once this feels more comfortable, try the same exercise with Tsu, Re, and Chi.
5. Common Problems and How to Fix Them
One of the most common problems is trying to produce Kan by blowing too hard.
If the speed and direction of the breath are not right, extra force may only make the sound louder rather than higher.
Another common issue is moving the head or the shakuhachi too much each time you change registers. Large movements make it difficult to return to the same position consistently.
Try to keep the instrument and your posture steady, and make the adjustment mainly through the airflow.
If you have trouble returning from Kan to Otsu, your breath may still be too fast or too focused.
Relax the airflow slightly and allow it to move forward again.
Learning to move smoothly between Otsu and Kan takes time, but it is an important step toward a wider and more expressive shakuhachi sound.
Rather than trying to create a dramatic difference, work with small changes and listen carefully to how the instrument responds.
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