Tots,
I would add one more thing to try. As you probably know, to get
a sound on the shakuhachi (as well as on the western flute)
part of the air flows below the blowing edge and down into the
instrument and part of the air stream goes up over the blowing
edge. In other words, the blowing edge splits the air stream.
To play sharper, try projecting more of the air stream up over the
blowing edge. To do this, I have to relax my embouchure and
move my lips closer to the blowing edge. I remember Koga
sensei saying, "It's just like kissing a baby". That's what it feels
like to me- very sensual.
If that doesn't work, try making the embouchure a little firmer.
As the Buddha said, "not too tight, not too lose".
Mark Miller
On Thu, 3 Jan 2002 08:34:22 -0700 edBeaty wrote:
> "I just checked my pitch on an electronic tuner and found I
> am way way flat!"
>
>
> Dear Tots,
>
> I always enjoy your questions and informed comments;
fortunately for
> us all, when it comes to shakuhachi there are few "dumb"
questions...
>
> Your query, as with most shakuhachi-related questions, is an
issue
> with legions of players. The most likely answer to the "could it
be
> the flute?" part is "yes and no." Since it is a wooden (ie,
turned)
> flute, it is almost certainly made to repeatable dimensions;
the
> length, bore diameter and hole placement are all
predetermined, thus
> there is more control from the maker over pitch consistency.
Having
> said that, it is also possible that ALL those massed produced
flutes
> are pitched a little low--they are STUDENT flutes, after all.
>
> Regarding the "I must be doing something wrong" part (which
is a more
> likely,though perhaps incorrectly phrased, element...): blowing
angle
> (meri-kari) is not the only determinate of overall pitch. Indeed,
the
> embouchure, the speed of the airstream, and the distance of
the
> blowing edge (utaguchi) from the lips all affect overall pitch.
> Embouchure development and airstream speed are
interrelated and
> developed over time (and are also an individual "stylistic"
feature
> in the sound a particular player produces...). That is to say,
you
> have just not been playing long enough, kari or no kari. The
aspect
> of the distance between the blowing edge and the lips is
more murky
> but is still something you can study and adjust, even use to
good
> effect: what is happening at the blowing edge is exactly the
same
> thing that happens when you change the hole size with your
finger(s):
> reducing the hole size (everything else being equal...) causes
a drop
> in overall pitch, likewise, pushing the flute TOWARD your lips
> (everything else remaining equal...) reduces the "hole size" at
the
> utaguchi and causes a drop in overall pitch.
>
> This is not simply another way of looking at meri-kari, which
also
> changes the distance between lips and blowing edge; you
can see this
> by just blowing a note, holding your head angle steady and
pushing
> the flute toward or pulling it away from the teeth. The note will
> drop or rise in pitch respectively.
>
> Suffice it to say that you are surely not alone, AND are doing
> nothing "wrong," but are just "crawling before walking" so to
speak.
> Note also that this analysis is humbly assembled from the
teachings
> of Riley Lee, a player whose pitch is perfect.
> --
> "Those who would give up essential Liberty, to purchase a
little
> temporary Safety, deserve neither Liberty nor Safety."
-Benjamin
> Franklin
>
>
> edBeaty
> edosan@indra.com
>
> ****-_-_-_ ^..^
> >
> /\ /\
> "Buzz"
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