> Never had a flute where I could "overcompensate" enough to make
> tsu-no-meri flat. Would that I did. Masa is always finding
> pieces that call for dai-otsu-tsu-no-meri.
Sounds like a great teacher - knows how to tweak you in the right way.
In my case it's not really the flute. I have a natural "advantage" in
that I tend to blow flat already (generally from a tendency to "lean in"
too much to reduce the hiss). So after compensating for that by forcing
the flute almost into my chest, when I get to blow a meri note I seem to
whip the flute almost into my upper lip and my tsu-no-meri is halfway
between what it "should" be and dai-otsu-tsu-no-meri - I guess just
good old better ear training (combined with a little hand ear
coordination) is the solution to all of this...
> I can drag the pitch down to an E flat-flat/almost D, but it's
> never enough for a teacher who has perfect pitch (and whose
> favorite comment seems to be "INTONATION. INTONATION" :-)
>
> Too sharp? too tight ane embrochure? not enough meri? not enough
> practice?
funny; we had a workshop with Jim Shleffer last week and after all those
sessions with Kurahashi, who has flawless intonation, saying pitch is
not so important, Shleffer made a point of emphasizing that, well yes
pitch actually is very important.
> oh, and it's easily the most difficult note on the instrument, yes?
here here
> My first teacher told me a story where she went for a group lesson
> (I think she said with Yamamoto Hozan) many years ago. The first
> thing the teacher had each student do was blow otsu-no-tsu-no-meri.
>
> He immediately knew the level of each student.
ooo, scary thought, but I bet that is pretty accurate.
> maybe we should all be blowing 10 minutes of otsu-no-tsu-no-meri
> instead of otsu-no-ro...
ha ! thirty minutes of each !
-- KY
Karl Young kyoung@slac.stanford.edu
SLAC M/S 71 PO Box 20450
Stanford, CA 94309
650-926-3380 (voice) 650-926-2923 (FAX)
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