World Shakuhachi Discussion / Go to Live Shakuhachi Chat
You are not logged in.
How is nayashi played? One glossary says it is before a note, but I often encounter it after a note, sometimes preceded by an atari. And what is the correct blowing procedure: during the dip, or after the dip?
Offline
Generally, when you see the nayashi symbol you play the full meri of the preceding note, then bring it up to kari. In most styles, the meri is clear and strong, and you should be careful that the kari that follows is not too loud. Our western ears are used to ta-DA, but it should tend toward TA-da in a nayashi.
Of course the exact rhythm and dynamics are dependent on the piece.
Offline
Thanks Nyokai. I have gone back and listened to Alcvin's Honshirabe. I noticed he plays the first notes TA-da and the immediately following nayashi ta-DA. Of course as you said this might be dependent on the piece. But usually the nayashi ends on a prolonged note which somehow reinforces the preceding main note (on the kari) which would make the emphasis on the DA. Sorry please clarify.
Offline
Sorry if my explanation wasn't clear.
Let's say the notation is a RI at the end of a breath, and then a nayashi beginning the next breath (very common).
You'd play the RI, then take a breath. Then you'd play a RI meri, then raise it up to a RI. In this second breath the RI meri and the RI would have roughly equal value, or the RI might even be quieter than the RI meri. The thing to avoid is making the second half of the nayashi -- the RI kari -- much louder than the RI meri.
But, once again, it varies from piece to piece and school to school. This is yet another case where it really helps to have your own teacher.
Last edited by nyokai (2007-04-30 09:40:01)
Offline
May I make a follow up question on executing nayashi.
As I hear it done by master players, it is not merely a dip or a meri that goes up but is accompanied by a slight muraiki on the dip (on the RI meri in Nyokai's example above).
I can hit the meri note well enough, however the blow-breath (or the slight muraiki) that accompanies the meri loses its "bite". It either is diffused into a non-breath or jumps to the 2nd octave.
Is it a special blowing technique that is done by the tongue or lips or mouth? Or is my steel flute deficient in not being able to capture this technique?
In short I want to copy how I hear it correctly done: a nayashi meri dip that is done with a slight muraiki that sounds full and gusty.
Thanks
Offline
This is a good example of the kind of question that should be asked of a teacher face to face and reinforced on a regular basis at lessons instead of on the internet. Because we can't see what you're doing or hear it so how can we comment? Nayashi is one of the most elusive techniques on shakuhachi. Even most pros have difficulty with it. It can not be taught verbally on the internet.
Offline
I just got the technique myself, the solution surprisingly simple.
I listened again to how Alcvin does it in Honshirabe. I found out that my meri was longer and deeper than necessary and my muraiki stronger than necessary, which caused the problem I mentioned, namely either the losing of the note or the jumping to 2nd octave. By controlling these three via embouchure and proper blowing , the nayashi improved a lot eliminating the problem and am now sounding close to how Alcvin plays it.
Last edited by pagacks (2007-05-30 11:11:47)
Offline
It is important to keep in mind that this is specifically how Alcvin does it on that piece -- I'm sure it's beautiful, since he is a very good player, but to generalize beyond that is a stretch. I would respectfully recommend the following tip:
http://nyokai.com/tips/index.php?n=Tips.Imitating
Offline