Hello All,
I just wanted to add to the discussion about playing dai ro no meri. Tim, I
think you are quite right in suggesting that John concentrate on producing a
good, strong ro sound and moving into meri, however, your observation that
meri notes are not played strongly (which is quite right at least in the
Kinko school) would suggest that something else must happen in the
transition from the kari ro to the meri ro. I would suggest that strength
of sound may not be the quality you should try to achieve, rather I would
suggest that consistancy of sound is a better goal to go after. I would also
like to suggest that by practicing to play as wide a range of tone both
below and above every open-holed note on the instrument in a portamento
style (be as wacky as you can be here) one might eventually achieve a
greater understanding of the relationship of air volume and angle of attack
to pitch. Though Theo suggests that a change of embouchure might help
achieve that desired meri tone (and embouchure is surely a highly personal
thing), I would like to suggest that it might be best in the long run to try
to maintain as consistant an embouchure as possible in attempting to achieve
all notes meri and kari in both otsu and kan registers. It's my feeling
that this will allow for even greater control over pitch variation
eventually.
All the best John,
Jeff Cairns
www.windwheel.com
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