Mujitsu and Tairaku's Shakuhachi BBQ

Kiku Day · 2008-08-09 04:36:55

Yungflutes wrote:
The Shochu is on me the next time you are in NYC

Ohhhhh.... so lucky I am! I will, in fact, be in NYC in late October after presenting a paper at the SEM conference at Wesleyan, so we have a date there!

Yungflutes · 2008-08-09 10:42:49

Great! I'm performing shakuhachi in a show in mid October. New experimental work (to be fair, on jinashi and jiari shakuhachi:). I hope you'll be able to attend!
- Perry

Justin · 2008-08-14 08:23:31

Tairaku wrote:
Why don't you post some sound files of you playing kan no ro dai meri and ri over and over again with the former being louder than the latter?.

Hi Brian
How's your possum's neiro going?
I just realised (better late than never!) that what you wrote here is actually a marvelous suggestion as a practice for this technique. To repetitively play kan no ro dai meri and ri over and over again, trying to get the power ever greater for ro dai meri, and of course always having the pitch of both the same. That's actually a great idea. Also coming straight from ri, it will really increase control for coming straight into a dai meri. I'm not myself one for isolated technique practices, but this could really be worth it.

Justin
http://senryushakuhachi.com/

chikuzen · 2008-08-14 14:39:33

In response to the "Is it a nayashi" or a Ro Dai Meri, the nayashi symbol BEFORE the note is hardly the best thing to use there. For example, in Tamuke, the scores used to be written Ro Dai Meri up to Ro. However, more like Justin was contemplating, this is sometimes coming from a meri position to the full tone note (ex. Yamatani, 2nd line. nayashi above Ri is played from Ri meri quickly to Ri) and sometimes from the Dai meri position to the full tone note above it. This has to be learned with the teacher. However, a general rule is that one doesn't slide up to the other note rather it's played quickly so that you only "hear" two notes. Of course, those ears on the sides of the heads of the western trained musicians out there hear something in there and find it hard to NOT acknowledge. Shakuhachi players are trained or learn to ignore this when it's manditory to play only two sounds (meri to full tone). Other songs that call for a slur use a Suriage. That's different. These nayashi are then somewhat akin to songs, for example, Mt. Village at Dusk by Hirokado Reifu, where the 2nd breath starts with a nayashi is taken up to the full note above it after about 1/2 a beat.

To sum it up, the nayashi in these newer versions of the Yokoyama scores can be
1. meri or Dai meri and
2. Are almost always done quickly.

Jim Thompson · 2008-08-15 13:11:08

Kiku Day wrote:
Jim, I think many of us coming from Western music backgrounds would reach that huge wall (among many others) to break down stone for stone (in your case pieces of metal ). I can only imagine Masa being really fantastic transmitting points like this. Masa was a master in both Western wind instruments as well as shakuhachi etc etc. He understood well the difference in aesthetics and his very wide experience made him understand music with a big heart. He is really missed! I find it very nice that you can tell us about how he taught.

[

Kiku, your post really made me feel good to see that people recognize not only the depth of Masa but the breadth of his musical world as well. You GOT him. Thanks! The whole 14 years I was with him was a process of learning the scope of his talent. I never did reach the end. It is difficult to talk about Masa because once I start, I don't want to stop. Suffice it to say that will forever cherish the quality he brought into my life.

Mujitsu and Tairaku's Shakuhachi BBQ

#101 2008-08-09 04:36:55

Re: Playing 'anything'

Yungflutes wrote:

#102 2008-08-09 10:42:49

Re: Playing 'anything'

#103 2008-08-14 08:23:31

Re: Playing 'anything'

Tairaku wrote:

#104 2008-08-14 14:39:33

Re: Playing 'anything'

#105 2008-08-15 13:11:08

Re: Playing 'anything'

Kiku Day wrote:

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