In some sources spelt "Shô", in others, rather ignorantly, "Sho" (In his main text, Malm oddly uses "sho", but the spelling in his index (p.297) is correct); Introduced from China (➺ Shēng) during the Nara period (710-794 AD); It has 17 pipes (each of which has a name), though 2 of them (Mō and Ya) have no reeds and are therefore silent (They are maintained, however, in order to preserve the symmetrical shape of the instrument, which is said to represent the two wings of a phoenix); Usually played for concert music in a Gagaku (court) ensemble, it is also used in Buddhist temple music; Although the Shō does play melodies in certain vocal forms and in Koma-gaku (Japanese court music of Korean origin), its primary function is harmonic, playing chords (in a manner different from the Western concept of harmony); NB¹: ➺ Saeng hwang (Korea).

NB²: ➺ the specifications of each individual pipe; NB³: If a Free reed becomes too wet during playing, its pipe will not sound; To prevent the collection of moisture, the reeds are coated with a special mixture; Moreover, at every Gakaku performance a Shō player has a Hibachi (ひばち) at his disposal; This is a (usually ceramic) bowl, in which he lights a charcoal fire, over which he rotates the wind chest of his instrument at every interval when he doesn't have to play...

Hosho [Hōshō?], Shono-fuye, Ši-yo, Sjo, Šo

Bi, Bō, Byojo, Fukube, Ge, Gon, Gyō, Hachi, Hi, Ichi, Jō, Jū, Kotsu, Ku, Mō, Motsu, Otsu, Sen, Shichi, Shita, Take, Ya