Mujitsu and Tairaku's Shakuhachi BBQ

Yes, tsu meri kan.

I figured you would say do it a thousand times.

The notes I am going through as an exercise are from chi otsu - ro kan - tsu meri kan to tsu and back down. The interval from chi otsu to ro kan is a toughie.

I saw a video where the guy said that if you have a difficult time reaching ro kan, you can slightly open the thumb hole to get the note. I see that this is probably a cheat, because the squeak happens a lot easier when I transition from ro kan to tsu meri kan (with ro kan - thumb vented). I will just not vent the thumb any more and practice it with all holes closed. A few thousand times more.

Thank you so much for your suggestion Jeff!

I was watching Kazu Matsui on you tube do just the interval I am having difficulties with and it looks like he partially shades the hole in kan su meri but not quite as much as you would do in otsu. (I hope what I am saying make sense...I can do tsu meri in otsu without shading the hole, meri only, but I can't do just head down meri in kan without some shading) but he also does a bit of extra meri to reach the desired pitch - not as much shading but a bit more meri, and I notice his volume is a bit lower and he brings it up.

I do think I try to keep the same volume as the other notes, and I push it too hard. I have started to do what you suggested, and it is working. Less volume, less squeak! I think the volume of the meri notes will come up in time with diligent practice.

I thank you so much!

Christopher

Well, this is a great example of why it's good to get together (either in person or online) with a teacher. It is quite possible that your issue with tsu meri could be solved in minutes this way rather than becoming a long forum thread. It's hard to know exactly what the problem is, much less solve it, without seeing and hearing exactly what you're doing. There are many possibilities, and even if you seem to solve your problem it may be in a way that is not a great approach for the music, aka a "bad habit."

In addition, the "right" way of doing things is also very dependent on which tradition or lineage you're working with. Jeff's comment conforms with the way I learned in a very general way,  but there are traditions in which tsu no meri is played unshaded, and even in Kinko there are several pieces where it has to be played that way so that you can hit hole one for a repeat. There are also lineages where otsu no u is generally played with three partially covered (and one open). There are good technical, timbral, and historic reasons for all of these differences, but without a teacher it can get pretty confusing.

Taldaran wrote:

Jeff, when I was saying that I can play the note in otsu without shading, but in Kan I can't, I was just using that as a reference for me to say that head meri is harder for me to do the higher in pitch I get. Maybe that is the way it is for everybody.

I didn't want this to become a long thread, nor did I want to waste anyones time. Just asking for a bit of help from anyone which I gladly (and quickly) received.

I don't have a teacher as of yet, but I intend to do so in the near future. I have only been playing eight months, and as a rank beginner, I am not sure of the direction I wish to go, nor what lineage to follow. I am just learning the mechanics so that the music I hear in my head and from my heart I can express through this wonderful instrument.

The sooner you get with a teacher, the sooner you'll 'get the mechanics', as well as the direction. Horse before cart...

Last edited by edosan (2009-06-28 15:35:09)

nyokai wrote:

, and even in Kinko there are several pieces where it has to be played that way so that you can hit hole one for a repeat.

Hi Phil,  just to display the diversity in teaching even within the same style, my lineage plays tsu no meri shaded from the top even when a hit on the bottom hole is following.  Admittedly, I always found this a little cumbersome especially at first, but it is do-able with practice.  I know there was a discussion elsewhere with regard to this and it was also suggested that some teachers taught to shade tsu no meri from the bottom in such situations as it would better facilitate that movement.  Naturally, your suggestion of playing tsu no meri without shading would also do that, though with a different timbrel quality. 

Christopher, as you can see, even the concept of studying the  mechanics of this instrument without the aid of a guide can be perilous in terms of achieving some sort of proficiency in traditional style.

Good analogy perry. I am totally new at this too but have found that I need to back off on my breath when doing a meri note. Too much pressure does get me in trouble.

purehappiness wrote:

Good analogy perry. I am totally new at this too but have found that I need to back off on my breath when doing a meri note. Too much pressure does get me in trouble.

Yes, the trick is to understand the dynamic spectrum of the instrument and the music you want to play.  Much of shakuhachi music is played with an awareness of a wide range of tonal and volume dynamics within just one phrase. Just listening carefully to your teacher's playing and you can hear how each note is handled. Then imitating will eventually reveal how the whole flute is blown (then if you study with different teacher of another style, you may  start all over!).

lowonthetotem wrote:

Maybe some oil?

Some players use Valvoline but I like Olive

I like Olive

I like to use extra virgin.  Then its like I am deflowering the flute.

Wow, that even creeps me out a little.

Sensei recomends crysanthemum.

Either way we are off topic.  As many others have said, being conscious of the volume of air coming through the embochure on any meri notes and also dai meri notes is the key.  This kind of gets to the heart of the discussion on whether or not meri notes should be of a lower volume than kari notes and also the "ringing" or "honking" Ro.  At times, a soft "Ro" is preferrable, but it will be notated as Tsu Dai Meri, which is the same tone, but a "softer" note.  Less air volume (as well as cracking hole one) reduces the volume, as well as fixing the squeaking that can occur as the lips get closer to the utaguchi.

Using that cheat for Ro in kan adds a whole new coodination problem in closing the thumbhole at the same time as cracking open the bottom hole, tilting the head, and adjusting the air pressure simultaneously.

Don't forget to rub your belly and scratch your head too!

Taldaran wrote:

What I meant by squeak was the note would flip up to the higher octave. Kind of frustrating when you want that nice clear note and the one that happens makes the dogs in the neighborhood howl.

Since you're already in kan, you mean you're getting a Dai kan squeak? I say cherish it!!!!   Seriously though, some of the little squeaks and squawks that go on in between the notes may not start out be intentional, but it sounds to me that a lot of players use them as stylistic elements. Either make your own assessment of the situation from that perspective or check with a teacher if whatever is happening is all that undesireable.

That opening the thumb hole to help facilitate Ro in kan sounds suspicious though. I resorted to that at one point but gave it up because difficulties in remembering to close it again defeated the purpose of making Ro in kan easier to get.

Yeah getting ro in kan is much easier vith a tiny bit of venting, but I am working on a rock solid ro in kan without doing that.

Radio-g, Thanks for the different perspective on the squeak! I was beginning to obsess about it. I will relax, and not kick myself over it.

I will be downloading skype this week and will line up lessons with a teacher within the next few weeks. Money is tight, but I spend so much time with my shakuhachi, and life is precious, so I owe it to myself and the instrument to make the most my time without wasting it on bad habits.