"Wagakki": Traditional Japanese Musical Instruments

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For more than 1,200 years, “Gagaku” has been performed at the imperial court without changing its style; “Noh” has been a distinct form of dance theater; and “Kabuki” has been performed since the Tokugawa era. Many different Japanese musical instruments have played an important role in these traditional Japanese performances.
These instruments have been played without altering their traditional style, and few new ones are made today. Most have been passed down from player to player for hundreds of years.

There is a world of mystery surrounding traditional Japanese instruments, particularly in understanding the advanced craftsmanship and the materials used, which are difficult to find today. “Wagakki” are not merely instruments to be played; they are also part of our cultural heritage and works of art.
“HYAKUNINDO” is a fascinating store that carries a large number of rare “Wagakki” and, fortunately, maintains strong connections with professionals specializing in every type of instrument.

 

“Noukan: Japanese Noh Flute”

A wind instrument used in “Noh” and “Kabuki” performances. It produces a strong, rhythmic beat without a melody, despite its flute-like structure. It is also used to mimic the sound of drums during performances.

It is approximately 39 cm long with an external diameter of 3 cm and is made from soot-colored bamboo. Seven tone holes are arranged in a straight line. The interior and exterior of the “Noukan” are coated with several layers of red Japanese lacquer. The joint, mouthpiece, and the body (excluding the tone holes) are covered with cherry tree bark pleated like strings and coated with black Japanese lacquer. The areas between the tone holes and around the mouthpiece are shaved using traditional techniques.

The “Noukan” is a product of perseverance and the formation of strings; it evolves to produce a richer sound the more it is played. It reaches its peak performance approximately one hundred years after manufacture. Professional “Noukan” players use instruments that are several hundred years old for their performances.

“Kotsuzumi: Traditional Japanese Hand Drum”

A drum played in “Noh” and “Kabuki.” It consists of a “Kodoh”—a slim, cylindrical wooden frame—with leather heads on both ends secured by strings called “Shirabeo.” It produces a
flexible sound with a variety of tonal colors. The player holds the “Shirabeo” strings with the left hand, rests the drum on the right shoulder, and strikes the leather head with the right hand. The
“Kodoh” is crafted from well-dried cherry wood through a 40-step production process. Although the lineage of these artisans dates back to the Muromachi period (14th century), the finest craftsmen emerged during the Tokugawa period (17th century), when “Nōgaku” gained popularity among the general public. “Makie,
” the gold lacquer decoration, is created by specialized artisans known as “Makie-shi.” The intricate and exquisite “Makie” designs were developed during the Tokugawa period. There is little variation in the size of the “Doh”; they are 25–26 cm long and weigh around 450 g. Each craftsman draws on their family’s traditional techniques to shape the interior of the “Doh
.”
The “Doh” craftsman leaves a “Kanname”—the unique mark of the engraving knife—inside the “Doh.” This mark typically reflects the family’s distinctive techniques and aesthetic sensibilities.

“Kawa”
(horsehide) is stretched over both ends of the “Doh,” with a diameter of about 20 cm. Traditionally, leather from the saddle area of a foal is used. The bamboo skin is wrapped around a round steel frame and the leather is stitched in place with thread. It is then lacquered to ensure long-term durability. A “Rou-kawa” in good condition—vintage leather that has been used for more than 150 years—is extremely rare and highly prized. “Kawa” for the “Kotsuzumi” requires proper care to maintain a specific humidity level, and the player must protect it from the weather during performances.
“Shirabeo” is the
name of the thong used to construct the “Kotsuzumi.” It is used more extensively than the “Doh” or “Kawa,” but plays a crucial role in sound production and tuning. A highly specialized technique is required to craft the highest-quality “Shirabeo,” which possesses unique strength and flexibility.

“Ohtsuzumi: Traditional Japanese Large Drum”

Similar to the “Kotsuzumi,” it is larger and produces a very high-pitched note. It is also called “Ohkawa.” It has the same structure as the “Kotsuzumi,” but differs in the tightness of the “Shirabeo,” which is tied very tightly. The player holds it with the left hand and rests it on the left knee, then strikes the “Kawa” directly with the right hand. The
“Doh”
production technique is the same as for the “Kotsuzumi”; it is 28–29.5 cm long and weighs about 750 g. There is a “Tsuba”-style decorative engraving in the center of the “Doh.” It also features “Kanname”—the marks left by the engraving knife—just like the “Kotsuzumi.”

“Kawa”
(horsehide) is attached to both ends of the “Doh,” with a diameter of about 23 cm. It is very thick and unvarnished. Unlike the “Kotsuzumi,” it must be kept very dry to produce extremely high notes. The player places the assembled “Ohtsuzumi” on its original stand in front of a “Hibachi” (a traditional Japanese charcoal brazier) for about two hours before the performance. Due to the intensity of use, its lifespan is about one-tenth that of the “Kotsuzumi.” This is a fascinating contrast to the “Kotsuzumi,” which requires humidity and can last for hundreds of years.

“Shirabeo”:
Like the “Kotsuzumi,” they are made from twisted hemp yarn.

 

"MAIBATARAKI"

"KAKKO"

"GAKU"

Author: Mizumoto, Manager of Okubo Gakki

Manager of Okubo Gakki and the traditional Japanese musical instrument shop "Hyakujindō." He enjoys the deep trust of professional musicians and maintains strong connections with collectors and performers both in Japan and abroad. He has a career as a writer and contributes to serialized columns in specialized wind instrument magazines. He plays the trumpet.

Qualifications and Achievements: ・26 years as a musical
instrument appraiser ・Concurrently serves as manager of "Hyakujindō," a store specializing in traditional Japanese instruments ・Contributes

as a writer and supervisor for specialized wind instrument publications

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to read his articles

 

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