Theo,
I regularily use circular breathing in both sankyoku and honkyoku pieces as
well as modern pieces of my own construct. In the prior two forms, it's
never used to impress, but rather to play extended note durations that I
might find myself short of wind on. The fact is, I shouldn't and don't
always need to do that, but there are times when in the heat of the moment I
find myself faced with a decision and these days I usually lean towards at
least playing the piece as it is written rather than implanting an unnatural
breath stopping the flow of the piece . In the latter form (my own music),
I may use circular breathing as an intended technique rather than to smooth
over any shortage of breath. You can hear an example of this on my cd
Shirakawa in the piece Fuyu no kumo where I use circular breathing to play a
very elongated tone over which acoustic guitar plays. Nothing elaborate,
but effective. That example was done 6 years ago and my technique has
improved since then such that I can produce relative consistancy in tone
over the transition between mouth and diaphram pressure which to this player
is the biggest hurdle to overcome in this technique. The rest is
concentration.
jeff cairns
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