I'm going to attempt to translate and share this basic guidance video by Master Winson Liao (廖錦棟/文松), who is an accomplished Xiao player and maker. It won't be exactly in verbatim but will do my best to convey the essence of what he is emphasizing. These principles are applicable to the Shakuhachi as it is also an open ended rim-blown instrument.
Note: the Xiao he makes are all open ended (通口箫/无顶盖箫)
Here is the original video:
This talk will cover the basics about the Xiao (箫).
Some people attribute the term Dong Xiao (洞箫) to the Purple Bamboo Xiao or Northern Xiao (紫竹箫/北箫) while Southern Xiao (南箫) with its big "head"/root end is often regarded as a separate category on its own.
Note: the Northern Xiao has narrower bore, thinner bamboo wall, and a longer length, while the Southern Xiao is opposite in these atributes
Depending on whether you're from the north or south of China, you'd call your type of Xiao the Dong Xiao. In fact, Dong Xiao is a general term that encompasses both types of Xiao and is not region specific.
In ancient times, a different term was also used: Tong Xiao (筒箫). References to this use can be found from the Qing dynasty and Taiwanese texts. The term Dong Xiao, or Xiao with holes (洞), has its origin from Pai Xiao/panpipes (排箫). As people started using a longer length of bamboo (1 "foot" 一尺 and 8 "inches"八寸, which is what the Japanese refer to as 1 shaku and 8 sun) and added finger holes, these were then called Dong Xiao to differentiate it from Pai Xiao. The Northern Xiao appears longer but when you examine it closely, the effective length is much shorter if you measure from the sound holes upwards.
Note: the sound holes are usually a set of 4 holes nearer the tail end
There used to be only 6 finger holes, so in the modern 8 holed Xiao it can still be played in the traditional way by keeping the 2nd and 6th hole (count from tail end) closed. The fingers sealing these two holes are used as supports for holding the Xiao.
The key aspect of playing the Xiao is the alighment of our mouth to the blowing edge of the Xiao. Regardless whether you're a beginner or an experienced player, one has to ensure that the positioning is consistent and accurate. This alignment forms the foundation to ensure that an effective embouchure can be formed. If your alignment wavers then it becomes difficult to develop a good embouchure.
I need to emphasise that this is an essential skill which I hope you'll remember. If you watch my videos you'll see that I regularly re-calibrate my alignment during a performance. Once you find a consistent position, you'll experience ease in playing the Xiao.
Different Xiao may have contrasting bore diameters and thus different sizes of blowing edge, but don't let this distract you as the key factor is to ensure your breath hits the blowing edge at the correct angle.
The method to achieve a good angle is the same across different bores. First, naturally close your lips and align the mid-line formed between the lips to the blowing edge (Xiao is held horizontally). The air stream that comes out will naturally exit at an angle below the horizon. Gradually tilt the Xiao (tail end) downwards and soon the blowing edge will be hit by this stream and produce a sound.
If you can't produce a sound yet, try practising blowing at your palm. First hold up your palm about 10cm in front of your face, align the second section of your middle finger to the tip of your nose. And if you blow naturally, your air stream should land in the middle of your palm. It should feel like a focused stream of air on your palm.
Once you get the feel of this, try it with the Xiao. The upper lip is just touching down on the rim. Do not purse your upper lips else the blowing edge will be placed too low.
The angle of the Xiao can be flexibly adjusted by pivoting it. The blowing should be relaxed and natural. This is an instrument that can aid us in reaching a calm, stable state. It helps us cultivate qi (气 breath) and jing shen (精神 spirit). Whether in the blowing or holding of the instrument, one should maintain a relaxed and natural posture where the the breath is lengthened.
So we need to let go of tensions and not forcefully create an embouchure. Initially you can have a gentle smile to help stretch the lips sideways so it becomes flattened. After which, allow a sliver of a gap to form between the lips. This gap/air stream can be finely focused by adjusting the left-right and upper-lower boundaries formed by the lips.
The angle of the air stream is dependent on the lower jaw's movement, either minutely jutting outwards or pulled in. As a beginner if the jaw movement is not possible, then adjust the Xiao itself to find the best angle for sound production. Once proficient with lower jaw adjustment, then the angle of the Xiao can be kept fixed. The fine jaw movement can be useful for finding the sweet spot for a clear, crisp note.
Some people wonder if they should exercise to train up lung capacity, e.g., taking up some sports. Actually lung capacity does not vary much across individuals. The most important factor is the formation of an effective embouchure that produces a fine, focused air stream. The exhalation will then last longer.
Breath wise, use abdominal/diaphragmatic breathing, avoiding movement of the chest area. It is breath work that is supported by internal movements/organs rather than just the lungs. Breathe in all the way to fill the abdominal area so that it expands. And as you breathe out, it deflates. To get you started, try making blasts of "hoo" sound or laughing sound of "ha", which would activate the abdominal area (dantian 丹田). Or you can imagine imitating a dog's panting. The deeper the activation of the breath, the stronger the energy it carries. Then there can be explosiveness in the sound produced.
Consider the blowpipe used by aboriginal peoples: the long and narrow pipe ensures the dart can be precisely aimed at a distant target. Imagine our breathing system can be like that. The abdominal area drives the breath through the airways acting like a long pipe.
In addition, we need to keep the mouth cavity in a relaxed state. First, rest the tongue downwards and produce an "O" sound, which helps clear the pathway and create an air chamber in the mouth. You'll find that this supports a richer, fuller sound for low pitched notes.
Slow down your breathing, which starts with taking longer exhales that fully exhausts the breath, and taking inhales that fill up the abdominal area. Therefore, when playing don't use a large embouchure. It's not about the breath/lung capacity but having a fine embouchure that allows a long slow exhale. So I reiterate, first train to use abdominal breathing. Use the natural cycle of breathing and not the reverse 逆势 approach (inhale causes abdominal deflation and exhale causes abdominal expansion). The reverse approach is used in internal martial arts.
Next, we look at holding posture. Use the natural holding method. The lower hand is especially important, it is positioned slanting away from the instrument. It is more ergonomic to use the different segments of the fingers rather than the fleshy finger pads to seal the finger holes. There is tension build up when one uses the fleshy tips. A natural relaxed holding posture allows qi to circulate. Some people may think it limits agility but that is not true.
Note: the natural method is known as piper's grip in the western context
In ancient times, the more deft hand was placed on the top part rather than the bottom half of the Xiao. I happened to be a lefty so my left hand is placed on top. The convention is now for right hand (assumed master hand) to be placed at lower part of Xiao. Regardless, the importance is to use a natural grip so that one can maintain a relaxed state and cultivate a stable mind/spirit.
