Dear All,
I see there is some confusion concerning the Kinko-style fingering of
re-meri. Let me see if I can explain.
The fingering of re-meri is as Nick described: holes 5,4 and 3 are closed,
and 1 and 2 are a quarter or half closed. Pitch-wise, re-meri is the same as
tsu: in other words, an "F" on the 1.8 shakuhachi.
Now, one might ask why go to the trouble of playing the convoluted re-meri
fingering if the pitch is the same as tsu, why not just substitute tsu
instead?
The answer lies in the timbre involved. Tsu and re-meri, although the same
pitch, have totally different tone colors. Tsu, as an open hole,is strong
and full. Re-meri--like tsu-meri--is shadowed and subdued. The reason for
this is obvious when one realizes that re-meri (along with tsu-chu-meri) is
used when the melody line modulates up a tone. In most of the Edo-Period
sankyoku, the basic tetrachord (called "Miyako-bushi) is ro, tsu-meri, re
(D, Eflat, G). The ro and re are strong, open notes and tsu-meri is, of
course, soft. If you modulate this tetrachord up one step, the fingering
becomes tsu-chu-meri, re-meri, chi (E, F, A). Using re-meri here maintains
the soft, subtle nature of the meri timbre.
I realize this is a little bit difficult to visualize through the written
word, but if you actually try playing these two tetrachords on the
shakuhachi you will get an idea of what I'm saying. Re-meri is certainly not
an easy note to get right, but it is vital for the correct playing of many
sankyoku.
Re-chu-meri, on the other hand, is played with holes 5, 4 and 3 closed, and
hole 2 half closed, resulting in an F#. This fingering is also used in
certain sankyoku modulations and as tone coloring for certain Kinko
honkyoku.
Edo-period sankyoku was composed with strict musical limitations. But within
these limitations they used such devices as these momentary modulations to
make the most out of thire limited material.
Hope this has been helpful for the discussion.
Christopher Yohmei Blasdel
www.yohmei.com
> From: shakuhachi@communication.ucsd.edu (shakuhachi)
> Reply-To: <shakuhachi@communication.ucsd.edu>
> Date: Mon, 27 Dec 2004 00:02:54 -0800
> To: <shakuhachi@communication.ucsd.edu>
> Subject: shakuhachi V1 #729
>
> shakuhachi Mon, 27 Dec 2004 Volume 1 : Number 729
>
> In this issue:
>
> Re: [Shaku] re meri
> Re: [Shaku] re meri
> Re: [Shaku] re meri
> Re: [Shaku] re meri
> Help in Understanding shakuhachi
> Re: [Shaku] re meri
> Re: [Shaku] re meri
> [Shaku] Bamboo Sources
>
>
> ----------------------------------------------------------------------
>
> Date: Sun, 26 Dec 2004 07:52:10 -0600
> From: Peter Ross <peteross@cloudhandsmusic.com>
> To: Shakuhachi@communication.ucsd.edu
> Subject: Re: [Shaku] re meri
> Message-ID: <a05200f03bdf471179536@[196.40.34.13]>
>
>> Hi Justin
>>
>> Are you a Kinko or Tozan player? I play Tozan music. I can only say
>> that Re meri is Tsu for Tozan.
>>
>> Best Wishes
>> Dominic
>
>
> I don't think so. There's a half step between RE and Tsu and that's
> RE Meri, which is an F sharp on a 1.8. You need to half hole the
> second hole on your flute and nod your head, adjust breath etc.
> Though there may be other fingerings for this pitch according to
> style of playing, I don't believe going a whole step to Tsu is common.
>
> Peter
>
>> _____________________________________________
>>
>> List subscription information is at:
>> http://communication.ucsd.edu/shaku/listsub.html
>
>
> --
> Peter Ross
> http://www.cloudhandsmusic.com
> APDO 542-4100
> Grecia, Costa Rica
> Central America
> 011 (506) 494-5170
>
> ------------------------------
>
> Date: Sun, 26 Dec 2004 22:58:03 +0900
> From: "=?UTF-8?Q?T._M._Hoffman=E3=80=80?=" <ijmusath@po.wind.ne.jp>
> To: <Shakuhachi@communication.ucsd.edu>
> Subject: Re: [Shaku] re meri
> Message-ID: <000c01c4eb6d$b8296620$12c803dc@gj742>
>
> Dominic, Justin, Bamboo Brothers & Sisters
>
> 'Re meri is Tsu for Tozan' - worthy of inscription in marble in the gallery
> of ko-an, a most significant observation for all of us - Kinko, Tozan,
> kazoo, and pachinko player; contemplating the background and ramifications
> of this can lead one to a significant understanding of the tradition(s) of
> shakuhachi, indigenous music, national language, and all forms of and
> developments in communication through sound and symbol in Japan, past,
> present (and future?)
>
> Best wishes for a wonderful 2005!
>
> Tim
> http://www.shakuhachi.com/R-Shaku-Hoffman.html
>
> ----- Original Message -----
> From: <Dcammaro@aol.com>
> To: <Shakuhachi@communication.ucsd.edu>
> Sent: Sunday, December 26, 2004 11:47 AM
> Subject: Re: [Shaku] re meri
>
>
>> Hi Justin
>>
>> Are you a Kinko or Tozan player? I play Tozan music. I can only say that
> Re meri is Tsu for Tozan.
>>
>> Best Wishes
>> Dominic
>> _____________________________________________
>>
>> List subscription information is at:
>> http://communication.ucsd.edu/shaku/listsub.html
>>
>>
>
> ------------------------------
>
> Date: Sun, 26 Dec 2004 14:59:07 -0800
> From: James Jennings <jennings@megaseattle.com>
> To: Shakuhachi@communication.ucsd.edu
> Subject: Re: [Shaku] re meri
> Message-ID: <p06110422bdf4f14e87c6@[192.168.0.8]>
>
> At 2:28 AM -0800 12/25/04, Justin . wrote:
>> I'm curious, in Kinko notation, the note "re meri" -
>> how are all of you playing that? Like, the pitch - how
>> is it in relation to tsu?
>
> I believe that "re meri" is a pitch half way between re and tsu -- F#
> on a 1.8. If the score wants a tsu pitch, it will generally notate it
> differently. My score for Shingetsu, for example, marks the re with a
> circle and a ni (2) -- "circle ni no re" -- meaning you close the
> first hole (leaving 2 open), play it meri, and hit the tsu pitch.
>
> James
>
> ------------------------------
>
> Date: Mon, 27 Dec 2004 07:37:15 +0800 (CST)
> From: Alex Long <duriank24@yahoo.com.sg>
> To: Shakuhachi@communication.ucsd.edu
> Subject: Re: [Shaku] re meri
> Message-ID: <20041226233715.80580.qmail@web54006.mail.yahoo.com>
>
> Hi,
> How 2 post on this list.
>
> Tks
> --- James Jennings <jennings@megaseattle.com> wrote:
>
>> At 2:28 AM -0800 12/25/04, Justin . wrote:
>>> I'm curious, in Kinko notation, the note "re meri"
>> -
>>> how are all of you playing that? Like, the pitch -
>> how
>>> is it in relation to tsu?
>>
>> I believe that "re meri" is a pitch half way between
>> re and tsu -- F#
>> on a 1.8. If the score wants a tsu pitch, it will
>> generally notate it
>> differently. My score for Shingetsu, for example,
>> marks the re with a
>> circle and a ni (2) -- "circle ni no re" -- meaning
>> you close the
>> first hole (leaving 2 open), play it meri, and hit
>> the tsu pitch.
>>
>> James
>> _____________________________________________
>>
>> List subscription information is at:
>> http://communication.ucsd.edu/shaku/listsub.html
>>
>
> __________________________________________________
> Do You Yahoo!?
> Download the latest ringtones, games, and more!
> http://sg.mobile.yahoo.com
>
> ------------------------------
>
> Date: Mon, 27 Dec 2004 07:44:52 +0800 (CST)
> From: Alex Long <duriank24@yahoo.com.sg>
> To: shakuhachi@communication.ucsd.edu
> Subject: Help in Understanding shakuhachi
> Message-ID: <20041226234452.66853.qmail@web54005.mail.yahoo.com>
>
> Dear enthusiasts in shakuhachi,
>
> Hi! I have not touch shakuhachi before and would like
> to have an idea and concept on the how and why people
> take up this unique instrument. Any advice would you
> care to dispense to a novice like me who wish to take
> up this discipline and be awaken?
>
> with metta
> Alex
>
> __________________________________________________
> Do You Yahoo!?
> Download the latest ringtones, games, and more!
> http://sg.mobile.yahoo.com
>
> ------------------------------
>
> Date: Sun, 26 Dec 2004 19:17:24 -0500
> From: Dcammaro@aol.com
> To: Shakuhachi@communication.ucsd.edu
> Subject: Re: [Shaku] re meri
> Message-ID: <63B7AEF0.4F68861A.006E95FC@aol.com>
>
> I'll be darned. Thanks Peter, I've double checked by looking at John Neptune's
> book. You werer right I've been plying it way too flat. I stand corrected.
>
> Dominic
>
> ------------------------------
>
> Date: Sun, 26 Dec 2004 19:23:09 -0600
> From: Nicholas Pierotti <eurydice@cruzio.com>
> To: Shakuhachi@communication.ucsd.edu
> Subject: Re: [Shaku] re meri
> Message-ID: <DE5B3009-57A5-11D9-A2D3-000D93ADD2C2@cruzio.com>
>
> --Apple-Mail-2--898145584
> Content-Transfer-Encoding: quoted-printable
> Content-Type: text/plain;
> charset=WINDOWS-1252;
> format=flowed
>
> I thought Re Meri (F on a 1.8) was achieved by keeping holes 3, 4, and=20=
>
> 5 closed, and holes 1 and 2 both 1/4 open. Re Chu Meri, the other=20
> "note" between Re and Tsu (F# on a 1.8) is achieved by closing holes 3,=20=
>
> 4, and 5, hole 2 1/3 open, and hole 1 wide open.
>
> That's how I learned it, anyhow. I learned my fingering from=20
> Christopher Yohmei Blasdel.
>
> Nick
>
> On Dec 26, 2004, at 6:17 PM, Dcammaro@aol.com wrote:
>
>> I'll be darned. Thanks Peter, I've double checked by looking at John=20=
>
>> Neptune's book. You werer right I've been plying it way too flat. I=20=
>
>> stand corrected.
>>
>> Dominic
>> _____________________________________________
>>
>> List subscription information is at:
>> http://communication.ucsd.edu/shaku/listsub.html
>>
>>
> What is morally wrong can never be advantageous, even when it enables=20=
>
> you to make some gain that you believe to be to your advantage.
>
> =96 Marcus Tullius Cicero
>
> --Apple-Mail-2--898145584
> Content-Transfer-Encoding: quoted-printable
> Content-Type: text/enriched;
> charset=WINDOWS-1252
>
> I thought Re Meri (F on a 1.8) was achieved by keeping holes 3, 4, and
> 5 closed, and holes 1 and 2 both 1/4 open. Re Chu Meri, the other
> "note" between Re and Tsu (F# on a 1.8) is achieved by closing holes
> 3, 4, and 5, hole 2 1/3 open, and hole 1 wide open.
>
>
> That's how I learned it, anyhow. I learned my fingering from
> Christopher Yohmei =
> Blasdel.<fontfamily><param>Times</param><bigger><bigger>
>
> </bigger></bigger></fontfamily><x-tad-smaller>
>
> </x-tad-smaller>Nick
>
>
> On Dec 26, 2004, at 6:17 PM, Dcammaro@aol.com wrote:
>
>
> <excerpt>I'll be darned. Thanks Peter, I've double checked by looking
> at John Neptune's book. You werer right I've been plying it way too
> flat. I stand corrected.
>
>
> Dominic
>
> _____________________________________________
>
>
> List subscription information is at:
>
> http://communication.ucsd.edu/shaku/listsub.html
>
>
>
> =
> </excerpt><fontfamily><param>CaslonOpenFace</param><bigger><x-tad-bigger>
> What is morally wrong can never be advantageous, even when it enables
> you to make some gain that you believe to be to your advantage.
>
>
> =96 Marcus Tullius Cicero</x-tad-bigger></bigger></fontfamily>
>
>
> --Apple-Mail-2--898145584--
>
> ------------------------------
>
> Date: Mon, 27 Dec 2004 02:47:58 +0000
> From: heirphoto@comcast.net
> To: Shakuhachi@communication.ucsd.edu, Shakuhachi@communication.ucsd.edu
> Subject: [Shaku] Bamboo Sources
> Message-ID:
> <122720040247.10613.41CF77DE00047091000029752200758942019B01089F9D070A08@comca
> st.net>
>
> --NextPart_Webmail_9m3u9jl4l_10613_1104115678_0
> Content-Type: text/plain
> Content-Transfer-Encoding: 8bit
>
> I notice quite a few US makers of Shakuhachi turning up lately. I know I
> always have a hard time finding bamboo that is usable even for my simple
> flutes let alone a properly designed shakuhachi.
> Anyone here have leads on sources of bamboo here in the USA or even overseas?
> Thanks,
> Tony Miller
>
> --
> Vintage Porsche Speedsters
> Shakuhachi Flutes
> Wet-Plate Photography
>
> -------------- Original message --------------
>
>> At 2:28 AM -0800 12/25/04, Justin . wrote:
>>> I'm curious, in Kinko notation, the note "re meri" -
>>> how are all of you playing that? Like, the pitch - how
>>> is it in relation to tsu?
>>
>> I believe that "re meri" is a pitch half way between re and tsu -- F#
>> on a 1.8. If the score wants a tsu pitch, it will generally notate it
>> differently. My score for Shingetsu, for example, marks the re with a
>> circle and a ni (2) -- "circle ni no re" -- meaning you close the
>> first hole (leaving 2 open), play it meri, and hit the tsu pitch.
>>
>> James
>> _____________________________________________
>>
>> List subscription information is at:
>> http://communication.ucsd.edu/shaku/listsub.html
> --NextPart_Webmail_9m3u9jl4l_10613_1104115678_0
> Content-Type: text/html
> Content-Transfer-Encoding: 8bit
>
> <html><body>
> <DIV>I notice quite a few US makers of Shakuhachi turning up lately. I know I
> always have a hard time finding bamboo that is usable even for my simple
> flutes let alone a properly designed shakuhachi.</DIV>
> <DIV>Anyone here have leads on sources of bamboo here in the USA or even
> overseas?</DIV>
> <DIV>Thanks,</DIV>
> <DIV>Tony Miller </DIV>
> <DIV> </DIV>
> <DIV class=signature id=signature>--<BR>Vintage Porsche Speedsters
> <BR>Shakuhachi Flutes <BR>Wet-Plate Photography</DIV>
> <DIV> </DIV>
> <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff
> 2px solid">-------------- Original message -------------- <BR><BR>> At 2:28
> AM -0800 12/25/04, Justin . wrote: <BR>> >I'm curious, in Kinko
> notation, the note "re meri" - <BR>> >how are all of you playing that?
> Like, the pitch - how <BR>> >is it in relation to tsu? <BR>> <BR>>
> I believe that "re meri" is a pitch half way between re and tsu -- F# <BR>>
> on a 1.8. If the score wants a tsu pitch, it will generally notate it <BR>>
> differently. My score for Shingetsu, for example, marks the re with a <BR>>
> circle and a ni (2) -- "circle ni no re" -- meaning you close the <BR>>
> first hole (leaving 2 open), play it meri, and hit the tsu pitch. <BR>>
> <BR>> James <BR>> _____________________________________________ <BR>>
> <BR>> List subscription information is at: <BR>>
> http://communication.ucsd.edu/shaku/listsub.html </BLOCKQUOTE></body></html>
>
> --NextPart_Webmail_9m3u9jl4l_10613_1104115678_0--
>
> ------------------------------
>
> End of shakuhachi V1 #729
> *************************
> _____________________________________________
>
> List subscription information is at:
> http://communication.ucsd.edu/shaku/listsub.html
>
_____________________________________________
List subscription information is at:
http://communication.ucsd.edu/shaku/listsub.html
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