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I think I remember Kurahachi sensei saying sometimes (or all the time??)
you can and should make a brief yet complete cessation of sound before tsu
no meri. It is -one- style of playing. Not everyone plays in this style. So
if you chose to adopt that style, then you are all set up, at least for Tsu
no meri. As for the other meri's... do the same thing and don't worry about
it; add an atari as you go to the meri note, and don't worry about it; keep
playing and don't worry about it.
On the other hand, you can pick a note and practise going from kari to meri
repeatedly, in a smooth and continuous manner. As you practise bending the
note up and down, pay attention to the minute micro adjustment you need to
do to your lips to get the sound. Then add the finger to the kari meri
movement. How much is the hole open or closed? Open and close it more to
see the effect. Sometimes if the hole is closed too much there is no sound.
Yet if it is opened too much the sound is sharp. Go back to paying
attention to the lips, as they will need to be re-adjusted when you add the
finger over the hole. The angle of air will change and thus no sound.
Play with the "quality" of the sound, once you get it back. How will
changing the lips keep the sound but definite effect its quality?
Keep playing with this and soon you will see the relationship to the lips,
finger, angle of the flute and sound production.
Add extreme patience. This is slow work. Do this in a padded room, so that
when you scream in frustration and through your flute across the room it
won't splinter into a million pieces.
I hope this helps.
Herb
At 4/24/02 12:41 PM, you wrote:
>My current playing problem of the month:
>
>I am becoming painfully aware of how often I need to pause, very briefly,
>when making the transition from a regular to a meri note. If I don't stop
>blowing for at least a micro second to allow my fingers and lips to
>re-adjust, I find that I often just make no note at all when I try to just
>slide right into the meri while still blowing. Intrestingly enough, I
>have no problem the other way around, coming out of a meri right into a
>full note.
>
>Besides prescribing many more hours of practice - any advice from the
>seasoned veterans out there?
>Thanks!
>Stav
>
>_________________________________________________________________
>Send and receive Hotmail on your mobile device: http://mobile.msn.com
>
>____________________________________________________
>
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This archive was generated by hypermail 2b29
: Mon Feb 03 2003 - 09:09:52 PST
<font size=3>I think I remember Kurahachi sensei saying sometimes (or all
the time??) you can and should make a brief yet complete cessation of
sound before tsu no meri. It is -one- style of playing. Not everyone
plays in this style. So if you chose to adopt that style, then you are
all set up, at least for Tsu no meri. As for the other meri's... do the
same thing and don't worry about it; add an atari as you go to the meri
note, and don't worry about it; keep playing and don't worry about
it.<br>
<br>
On the other hand, you can pick a note and practise going from kari to
meri repeatedly, in a smooth and continuous manner. As you practise
bending the note up and down, pay attention to the minute micro
adjustment you need to do to your lips to get the sound. Then add the
finger to the kari meri movement. How much is the hole open or closed?
Open and close it more to see the effect. Sometimes if the hole is closed
too much there is no sound. Yet if it is opened too much the sound is
sharp. Go back to paying attention to the lips, as they will need to be
re-adjusted when you add the finger over the hole. The angle of air will
change and thus no sound. <br>
<br>
Play with the "quality" of the sound, once you get it back. How
will changing the lips keep the sound but definite effect its
quality?<br>
<br>
Keep playing with this and soon you will see the relationship to the
lips, finger, angle of the flute and sound production.<br>
Add extreme patience. This is slow work. Do this in a padded room, so
that when you scream in frustration and through your flute across the
room it won't splinter into a million pieces.<br>
<br>
I hope this helps.<br>
<br>
Herb<br>
<br>
At 4/24/02 12:41 PM, you wrote:<br>
<blockquote type=cite cite>My current playing problem of the month:<br>
<br>
I am becoming painfully aware of how often I need to pause, very briefly,
when making the transition from a regular to a meri note. If I
don't stop blowing for at least a micro second to allow my fingers and
lips to re-adjust, I find that I often just make no note at all when I
try to just slide right into the meri while still blowing.
Intrestingly enough, I have no problem the other way around, coming out
of a meri right into a full note.<br>
<br>
Besides prescribing many more hours of practice - any advice from the
seasoned veterans out there?<br>
Thanks!<br>
Stav<br>
<br>
_________________________________________________________________<br>
Send and receive Hotmail on your mobile device:
<a href="http://mobile.msn.com/" eudora="autourl">http://mobile.msn.com><br>
<br>
____________________________________________________<br>
<br>
<a