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Nelson,
I don't know if your statement about lip balm was made in jest or not, but
I know it helps me when my lips are very, very dry and chapped. I'm just
careful that I don't smear it on my shakuhachi after I've applied it and
start playing.
Herb
At 03/13/2003 12:04 PM, you wrote:
>Riley,
>
> > This way of playing is not the same way demanded by modern shakuhachi.
>
>Does this all come down to the air stream? Is the idea that there are
>qualitatively different air jets and flutes can (should?) be optimized to
>enhance the characteristics of jets? I find it a really novel concept
>that the flute accommodates the jet rather than the other way around. If
>so, then in the end the shakuhachi resides in the lips. Maybe lip balm is
>the key to it all.
>
>In any event, thanks for your long insightful email which raises very
>interesting questions.
>
>Nelson
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<html>
<body>
<font size=3>Nelson,<br><br>
I don't know if your statement about lip balm was made in jest or not,
but I know it helps me when my lips are very, very dry and chapped. I'm
just careful that I don't smear it on my shakuhachi after I've applied it
and start playing. <br><br>
Herb<br><br>
At 03/13/2003 12:04 PM, you wrote:<br>
<blockquote type=cite class=cite cite>Riley,<br><br>
> This way of playing is not the same way demanded by modern
shakuhachi.<br><br>
Does this all come down to the air stream? Is the idea that there are
qualitatively different air jets and flutes can (should?) be optimized to
enhance the characteristics of jets? I find it a really novel
concept that the flute accommodates the jet rather than the other way
around. If so, then in the end the shakuhachi resides in the lips. Maybe
lip balm is the key to it all.<br><br>
In any event, thanks for your long insightful email which raises very
interesting questions.<br><br>
Nelson </font></blockquote></body>
</html>
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