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One develops better lips by playing a gamut of shakuhachi! (tongue in cheek
and smiling eyes)
Seriously though, intonation and pitch seem to be different on even the same
shakuhachi played by different players! If one plays a variety of shakuhachi,
one could conceivably refine both. I have both ji nashi and ji nari, in sizes
from 1.3 to 3.1. While some are easy enough to play that they seem to play
themselves, some are difficult enough that they seem to be trying to play me.
(i am truly ji nashi hocciku, and a cloths pole at that) This process seems
to have really expanded my technique, and developed my "lip" faster than
playing just one flute would have. I probably would have been locked into
just the muscle control pattern for just that one flute, and any other would
have been a grand mystery for me. As it is, I can keri a meri tune for
minutes in a ro.
(tongue in both cheeks!)
Dave
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<HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D3 FAMILY=3D"SANSSERIF" FACE=
=3D"Arial Narrow" LANG=3D"0"><B>One develops better lips by playing a gamut=20=
of shakuhachi! (tongue in cheek and smiling eyes) <BR>
<BR>
Seriously though, intonation and pitch seem to be different on even th=
e same shakuhachi played by different players! If one plays a variety of sha=
kuhachi, one could conceivably refine both. I have both ji nashi and ji nari=
, in sizes from 1.3 to 3.1. While some are easy enough to play that they see=
m to play themselves, some are difficult enough that they seem to be trying=20=
to play me. (i am truly ji nashi hocciku, and a cloths pole at that) T=
his process seems to have really expanded my technique, and developed my "li=
p" faster than playing just one flute would have. I probably would have been=
locked into just the muscle control pattern for just that one flute, and an=
y other would have been a grand mystery for me. As it is, I can keri a meri=20=
tune for minutes in a ro.<BR>
<BR>
(tongue in both cheeks!)<BR>
<BR>
Dave<BR>
<BR>
</B></FONT></HTML>
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