>In jazz, intonation can be an expressive device. Ornette Coleman
>said, "I should be able to play my D sharp sharp or my D sharp flat
>when I want to". Might it be the same for honkyoku?
>
>Mark Miller
This is a very interesting and i think, important point that Mark brings up.
"Perfect" intonation on shakuhachi, as in jazz, may not be desirable
at all times. Many sankyoku players do not play tsu meri as an Eb.
Obviously honkyoku and sankyoku were NOT composed in equal
temperament so when we try to play "in tune" with the tuners, we are
re-inventing the music to a modern standard. I am not saying this is
a bad thing but i am not sure many players and students realise this
is a re-invention to modern standards.
One school of shakuhachi playing seems obsessed with playing in
perfect intonation (equal temperament). This to me seems a bit odd
since Edo period and pre-Edo period music was obviously composed in a
different tuning system.
I guess we will never know if (nor does it necessarily matter), for
example, a tsu dai meri was originally a ro pitch or if the
composers were interested in microtonal dissonance and thus it was
not exactly a ro pitch. The sound of honkyoku is dramatically
different when you play pieces in equal temperament or in a different
way of approaching pitch! Quite difficult to play either way to say
the least.
Some players, such as Yoshio Kurahashi, in his playing of pieces like
Jimbo San'ya, use intonation as a "timbral effect". For example some
of his tsu meri notes are shaded and others are not, thus he is
getting two distinctly different tones, often in the same phrase. It
is not out of tune as it is deliberate and consistent. The effect is
quite stunning to my ears!
Funny you should mention Ornette. I was just sitting here trying to
figure out his tune, "peace" on my 1.6...and i am having trouble with
the "b" section!!!
As for the multiphonic discussion. Anyone who knows my work, knows
this is something i am very interested in! Relating to the other
discussion, the split tones and multiphonics are not "in tune" to
equal temperament! There are a handful of natural multiphonics on
shakuhachi as well as many more that can be produced by adding
vocalization. Perhaps i should get my top student or colleague to
"interview" me so i can espouse my philosophy on using such extended
techniques. Sorry,bad joke.... could not resist
happy thanksgiving to all of you!
phil
-- xoxoPhilip Gelb Bay Area Shakuhachi School phil@philipgelb.com http://www.philipgelb.com _____________________________________________
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