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Hi Bruce,
Meri marks are often left out, because if you are playing at that
level, you should know! ; )
Historically, this notation system did not use meri indications because
the scale in use, which determined the correct pitch (meri or kari) for
those notes in question, was understood by the musicians so that it was
not an issue.
Then, when they started being written in (2nd quarter of the 20th C),
some write-ins were missed; human error.
In chikuyuusha notation, chi becoming ri no meri when it precedes ri in
a scale that includes ro no meri, is a hold-over from the era when meri
marks were not being used, so if you wanted a ri no meri before a ri,
the common practice would indicate writing ri, ri. But that could be
read ri, ri, not ri no meri, ri. So the solution was to write a kari
chi, which would automatically be raised to ri no meri, since a
kari-chi does not exist in the scale where this situation arises.
(nowadays, kari, or oo(-kari) is written next to the chi to tell us
when to raise it (sometimes).
If you read Stephen J. Gould, you might catch my drift when I point out
that the current situation (with chi sometimes becoming ri no meri, and
ro sometimes becoming tsu no meri, etc.) is similar to the panda's
thumb and the shapes of orchid flowers; it's historical situations that
evolve into what are not, at first glance, rational solutions to the
problem at hand.
The original problem was how to notate the music so well-educated
musicians could use it when needed.
The problem now is to notate the music so that anyone, educated or
otherwise, can get it at first try.
Anyway, for a brain twister that is the ultimate example of this
atavistic situation in Kinko notation, look at the ainote in Shiki no
Nagame that follows the lyrics, "yama hototogisu, hitokoe ni."
Maybe this is a Shakuhachi Forum type reply, and maybe it's too much
information, but it was too easy to just hit reply, and it's a concept
whose awareness deepens understanding about how "stuff" works when
people get involved in musical transmission.
...and they call these notation systems "prescriptive!"
Thanks for the prod, Bruce!
Cheers,
david
On Feb 28, 2007, at 9:59 AM, Bruce Jones wrote:
>
> I have a Kawase score for Chidori. On the last page is the kaete for
> the score. The second to last note is Chi-kan (A). On the honte score
> the second to last note (of the tegoto) is U (G#).
>
> A friend has an Ozawa score for Chidori. On it, both notes are G#
> (Chi no meri-kan and U-otsu). Her Ozawa score is from the pre-WWII
> era,
> and my Kawase score is from the Heisei (current) era.
>
> I think the new Kawase score has mis-printed that last Chi.
>
> Does anyone have an old(er) Kawase score? If so, would you take a
> look at the kaete part and see if that Chi at the end is Chi-meri?
>
> thanks,
>
> bj
>
> -
> _____________________________________________
>
> List un/subscription information is at:
> http://communication.ucsd.edu/shaku/listsub.html
>
>
=====================
David Wheeler
Musician (Shakuhachi)/Musicologist
3660 Buckeye Ct., Boulder, CO, USA 80304
Tel./Fax 303-449-2935
shakudavid@gmail.com
--Apple-Mail-2--1036499030
charset=US-ASCII
Hi Bruce,
Meri marks are often left out, because if you are playing at that
level, you should know! ; )
Historically, this notation system did not use meri indications
because the scale in use, which determined the correct pitch (meri or
kari) for those notes in question, was understood by the musicians so
that it was not an issue.
Then, when they started being written in (2nd quarter of the 20th C),
some write-ins were missed; human error.
In chikuyuusha notation, chi becoming ri no meri when it precedes ri
in a scale that includes ro no meri, is a hold-over from the era when
meri marks were not being used, so if you wanted a ri no meri before a
ri, the common practice would indicate writing ri, ri. But that could
be read ri, ri, not ri no meri, ri. So the solution was to write a
kari chi, which would automatically be raised to ri no meri, since a
kari-chi does not exist in the scale where this situation arises.
(nowadays, kari, or oo(-kari) is written next to the chi to tell us
when to raise it (sometimes).
If you read Stephen J. Gould, you might catch my drift when I point
out that the current situation (with chi sometimes becoming ri no
meri, and ro sometimes becoming tsu no meri, etc.) is similar to the
panda's thumb and the shapes of orchid flowers; it's historical
situations that evolve into what are not, at first glance, rational
solutions to the problem at hand.
The original problem was how to notate the music so well-educated
musicians could use it when needed.
The problem now is to notate the music so that anyone, educated or
otherwise, can get it at first try.
Anyway, for a brain twister that is the ultimate example of this
atavistic situation in Kinko notation, look at the ainote in Shiki no
Nagame that follows the lyrics, "yama hototogisu, hitokoe ni."
Maybe this is a Shakuhachi Forum type reply, and maybe it's too much
information, but it was too easy to just hit reply, and it's a concept
whose awareness deepens understanding about how "stuff" works when
people get involved in musical transmission.
...and they call these notation systems "prescriptive!"
Thanks for the prod, Bruce!
Cheers,
david
On Feb 28, 2007, at 9:59 AM, Bruce Jones wrote:
<excerpt>
I have a Kawase score for Chidori. On the last page is the kaete for
the score. The second to last note is Chi-kan (A). On the honte score
the second to last note (of the tegoto) is U (G#).
A friend has an Ozawa score for Chidori. On it, both notes are G#
(Chi no meri-kan and U-otsu). Her Ozawa score is from the pre-WWII
era,
and my Kawase score is from the Heisei (current) era.
I think the new Kawase score has mis-printed that last Chi.
Does anyone have an old(er) Kawase score? If so, would you take a
look at the kaete part and see if that Chi at the end is Chi-meri?
thanks,
bj
-
_____________________________________________
List un/subscription information is at:
http://communication.ucsd.edu/shaku/listsub.html
</excerpt>=====================
David Wheeler
Musician (Shakuhachi)/Musicologist
3660 Buckeye Ct., Boulder, CO, USA 80304
Tel./Fax 303-449-2935
shakudavid@gmail.com<fontfamily><param>Times</param><bigger><bigger><bigger>
</bigger></bigger></bigger></fontfamily>
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Received on Wed Feb 28 16:50 PST 2007
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