Usually Kan Tsu Dai Meri is more difficult to produce than otsu tsu dai
meri. Kan notes are generally harder to meri than otsu notes. DAI KAN notes
are nearly impossible to meri at all.
For me, the most difficult meri note to produce is Kan Ro Dai Meri, which
is, on a 1.8 shaku flute for example, a C pitch, equal to ri ( or ha, or
ya).
Unlike the case with tsu dai meri (otsu) or Tsu Dai Meri (Kan), there is no
partially opened finger hole that one can close that tiny bit more to help
bring the note down, together with the meri technique, to the right pitch.
In my experience, when I can't do something with my flute that I am supposed
to do, it is because I haven't tried doing that thing enough.
In other words, I haven't practiced it hard enough, long enough, frequently
enough.
Best regards, Riley
--Dr. Riley Lee Sound of Bamboo PO Box 939 Manly NSW 1655 Australia Tel: +61 02 9976 6904 mobile: +61 0414 626 453 www.rileylee.net
> From: Karl Young <kyoung@SLAC.Stanford.EDU> > Organization: SLAC > Reply-To: Shakuhachi@communication.ucsd.edu > Date: Wed, 13 Mar 2002 13:19:11 -0800 > To: Shakuhachi@communication.ucsd.edu > Subject: Re: What is an FAQ > > > >> 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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