Hi Tim,
You know, I used to think that my teacher's technique of playing U was the
only one that was worthwhile, but over the year's I realized that there are
about 6 valid combinations of head/fingers for U.
I would advise you to just follow whatever way your teacher uses !
Ronnie
> I am trying to learn Choshi from Robert Grous's book, "Introductory
> Manual for Kinko Honkyoku". I am stumped by his explanation of how to
> play u hiki. He writes that hiki "...is played similarly to a meri;
> however it is made mainly by bowing the head. The third finger does
> not cover the third hole.... in effect it lowers the respective note a
> half tone in pitch."
>
> But u is already meri, which means to me that the head is already
> bowed. So what does hiki add? And u dropped a half-tone is re, so why
> not play re? And what's this about the third finger? The third finger
> doesn't cover the hole with u, unless he's thinking that u is being
> played like chi meri, in which case u hiki would be chi played with a
> bowed head.
>
> I am also confused about Grous's explanation of meri. I had understood
> that meri notes are created by the combination of half-holing (usually)
> and dropping the chin. But Grous says that these are two different
> ways to make meri notes. "...one of two ways that a meri note is
> produced...is by bowing the head downward and blowing slightly flat.
> The other way is by closing a specific hole part way with the
> finger...." From this I conclude that a meri note is made either by
> half-holing or by bowing while blowing the corresponding kari note, but
> not both techniques at the same time. If this is the case, then the
> description of hiki makes sense. I produce u just by the fingering,
> and u hiki by an additional bowing of my head.
> --
> Timothy Larkin
> Caroline, NY
>
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