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#1 2006-08-07 21:51:44

PSTL
Member
From: Jacksonville, FL USA
Registered: 2006-08-02
Posts: 67

TSU KAZASHI/TSU CHU MERI

I've been practicing without an instructor for two years. There are none here in NE Florida. My primary focus has been on breath control. I can hold notes very well for extended lengths and make numerous transitions quite well. My notes are pretty clean. I practice using an autotuner.

My problem is with "E" or  TSU KAZASHI/TSU CHU MERI. Is there a secret to hitting this note as well as others? I can't seem to transition smoothly to this note. It comes out flat, sharp, or sometimes not at all. Holes 2,3,4,5 are closed, and hole 1 half over (at least this is how I understand it).

Are there any exercises that can help define this note. Maybe a I just need to see it played. Maybe I just need to be the player who doesn't use ""E". wink

Any suggestions would be appreciated.

Love the forum.
Phil

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#2 2006-08-07 22:18:29

jumbuk
Member
From: South-eastern Australia
Registered: 2005-12-15
Posts: 85

Re: TSU KAZASHI/TSU CHU MERI

I'm working on this one at the moment, mainly in the Kan register.

Tsu chu meri is a combination of "chin down" (a little) and hole partially covered.  There are some good tips on the chin technique versus other methods on Andrew McGregor's website at http://www.japanworldmusic.com/karimeri.htm.

To partially cover the hole, angle your RH ring finger so it "shades" the hole rather than contacting the hole.  Kind of hard to describe, but easy to do once you know what is intended.  I'll try to describe it thus:  first, cover the hole fully as though you were playing Rho, then raise the tip of your RH ring finger by straightening the finger so that it remains in contact with the RH side of the hole, but extends over the hole at an angle of about 15 degrees.

The shading technique is not used for all partially-covered holes.  For example, the full Tsu meri ("Eb") needs around 3/4 of the hole actually covered from the top.  I got the shading technique from my teacher (Andrew McGregor).  It is useful because it makes the change from Tsu to Tsu chu meri faster.

You will have to personally find the right combination of chin tilt and shading that produces an in-tune note.  Something that works for me is to play the Irish tune The Water is Wide, starting on Re no otsu.  This tune goes up the scale through Tsu chu meri, and is a very familiar song to me, so I can hear whether I am in tune or not.  That tune may not work for you, but if you can find tunes you are already familar with, they are useful to help with intonation. I don't generally want to play Western tunes on shakuhachi, but they are good for this purpose.  Also, an electronic tuner is invaluable for an objective check (but doesn't get it into your ear as fast).

Don't give up on this.  Much of the soul of shakuhachi comes from these notes.  It's difficult at first (I am struggling with the full Eb Tsu meri) but it does come with practice.


... as if nothing is happening.  And it is!

Paul Mitchell, Jumbuktu 2006

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#3 2006-08-07 23:26:45

Tairaku 太楽
Administrator/Performer
From: Tasmania
Registered: 2005-10-07
Posts: 3226
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Re: TSU KAZASHI/TSU CHU MERI

PSTL wrote:

My problem is with "E" or  TSU KAZASHI/TSU CHU MERI. Is there a secret to hitting this note as well as others? I can't seem to transition smoothly to this note. It comes out flat, sharp, or sometimes not at all. Holes 2,3,4,5 are closed, and hole 1 half over (at least this is how I understand it).

It is frequently called "half-holing" but in reality it is not. I am playing the note right now and i am covering about 1/4 of the first hole. Do not lower your head at all for this note. It's actually the easiest of the meri notes to make, maybe you just need to understand the concept. Try playing tsu and without changing anything else shade about 1/4 of the first hole and you should have the pitch. When you make the transitions be decisive and don't do any sliding.


'Progress means simplifying, not complicating' : Bruno Munari

http://www.myspace.com/tairakubrianritchie

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#4 2006-08-08 20:32:19

PSTL
Member
From: Jacksonville, FL USA
Registered: 2006-08-02
Posts: 67

Re: TSU KAZASHI/TSU CHU MERI

Many Thanks!

When I've mastered the technique, I'll write a tune called "Tsu, Tsu Chu Meri".

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#5 2006-08-08 21:10:13

dstone
Member
From: Vancouver, Canada
Registered: 2006-01-11
Posts: 552
Website

Re: TSU KAZASHI/TSU CHU MERI

PSTL wrote:

Many Thanks!

When I've mastered the technique, I'll write a tune called "Tsu, Tsu Chu Meri".

Good idea.  Perhaps also known as "ni on jobutsu"?  wink

-Darren.


When it is rainy, I am in the rain. When it is windy, I am in the wind.  - Mitsuo Aida

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#6 2006-08-09 00:03:22

jumbuk
Member
From: South-eastern Australia
Registered: 2005-12-15
Posts: 85

Re: TSU KAZASHI/TSU CHU MERI

Tairaku wrote:

Do not lower your head at all for this note.

Brian, I was taught to use some chin tilt on this one (not much), and many of the published note charts seem to include it.  Granted, you can do it without the meri technique, but is that what most players do?  Not suggesting you are wrong (!!), just want to understand "common practice".


... as if nothing is happening.  And it is!

Paul Mitchell, Jumbuktu 2006

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#7 2006-08-09 00:27:41

Tairaku 太楽
Administrator/Performer
From: Tasmania
Registered: 2005-10-07
Posts: 3226
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Re: TSU KAZASHI/TSU CHU MERI

jumbuk wrote:

Tairaku wrote:

Do not lower your head at all for this note.

Brian, I was taught to use some chin tilt on this one (not much), and many of the published note charts seem to include it.  Granted, you can do it without the meri technique, but is that what most players do?  Not suggesting you are wrong (!!), just want to understand "common practice".

Maybe you're right. I've seen it done both ways. But if the notation says that it must be correct.


'Progress means simplifying, not complicating' : Bruno Munari

http://www.myspace.com/tairakubrianritchie

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#8 2006-08-09 04:21:17

evan kubota
Member
Registered: 2006-04-10
Posts: 136

Re: TSU KAZASHI/TSU CHU MERI

Just to be clear, "E" (tsu chu meri) is not the pitch E on a 1.8, right? "E" as in え? I guess by 'Eb' jumbuk means え flat, not the pitch E flat...

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#9 2006-08-09 08:42:38

edosan
Edomologist
From: Salt Lake City
Registered: 2005-10-09
Posts: 2185

Re: TSU KAZASHI/TSU CHU MERI

The pitch of Tsu chu meri on a 1.8 is E natural (not E flat).


Zen is not easy.
It takes effort to attain nothingness.
And then what do you have?
Bupkes.

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#10 2006-08-09 08:52:16

jumbuk
Member
From: South-eastern Australia
Registered: 2005-12-15
Posts: 85

Re: TSU KAZASHI/TSU CHU MERI

evan kubota wrote:

Just to be clear, "E" (tsu chu meri) is not the pitch E on a 1.8, right? "E" as in え? I guess by 'Eb' jumbuk means え flat, not the pitch E flat...

I am not an expert here, just a beginner working through the notes like everyone else smile

On a 1.8:

Tsu = F
Tsu chu meri = E
Tsu dai meri = Eb
Ro = D

... except that I don't have much Japanese ... I may have the wrong words - does "chu meri" mean "a little meri"?


... as if nothing is happening.  And it is!

Paul Mitchell, Jumbuktu 2006

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#11 2006-08-09 10:12:48

nyokai
shihan
From: Portland, ME
Registered: 2005-10-09
Posts: 613
Website

Re: TSU KAZASHI/TSU CHU MERI

jumbuk wrote:

On a 1.8:

Tsu dai meri = Eb

The way I learned and teach it, a tsu meri is around Eb (a bit lower in some pieces and styles, a bit higher in others -- follow your teacher's lead on this) and a tsu dai meri (large meri, also known as ni dan meri or "two step meri") is D, the same pitch as ro. The word chu literally means medium or average.

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#12 2006-08-09 12:47:13

dstone
Member
From: Vancouver, Canada
Registered: 2006-01-11
Posts: 552
Website

Re: TSU KAZASHI/TSU CHU MERI

nyokai wrote:

The way I learned and teach it, a tsu meri is around Eb (a bit lower in some pieces and styles, a bit higher in others -- follow your teacher's lead on this) and a tsu dai meri (large meri, also known as ni dan meri or "two step meri") is D, the same pitch as ro. The word chu literally means medium or average.

While we're on the topic...  there is a note I have heard used, I think, as a pitch equivalent to tsu chu meri...  "tsu han on"  Can someone please clarify.  Same pitch?  Different fingering and timbre?  And how is tsu han on written?  (Assuming tsu chu meri is written something like this: http://bitmason.com/shaku/pitch/img/tsu_chu_meri.gif.)

Thanks!

-Darren.


When it is rainy, I am in the rain. When it is windy, I am in the wind.  - Mitsuo Aida

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#13 2006-08-09 14:40:31

nyokai
shihan
From: Portland, ME
Registered: 2005-10-09
Posts: 613
Website

Re: TSU KAZASHI/TSU CHU MERI

dstone wrote:

While we're on the topic...  there is a note I have heard used, I think, as a pitch equivalent to tsu chu meri...  "tsu han on"  Can someone please clarify.  Same pitch?  Different fingering and timbre?  And how is tsu han on written?  (Assuming tsu chu meri is written something like this: http://bitmason.com/shaku/pitch/img/tsu_chu_meri.gif.)

A "han on" is simply a half step, i.e. a minor second. I suppose you could call a tsu chu meri a tsu han on if you mean by that a half step down -- I've never heard the term used that way. I am not aware of any notation specifically for "tsu han on" as opposed to tsu chu meri, but others may know better than I.

There are other notations than the ones you picture for meri and chu meri, most commonly and most simply the me character followed by the ru or ri character, or me alone, next to the tsu (or whatever tablature); for chu meri add a chu character at the top, for dai meri make that a dai.

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#14 2006-08-09 14:42:17

evan kubota
Member
Registered: 2006-04-10
Posts: 136

Re: TSU KAZASHI/TSU CHU MERI

*hits head* I forgot that the normal tsu was F... somehow I thought it was higher than that, and assumed that there was no way to get down to E or Eb. Thanks.

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#15 2006-08-09 15:02:27

nyokai
shihan
From: Portland, ME
Registered: 2005-10-09
Posts: 613
Website

Re: TSU KAZASHI/TSU CHU MERI

evan kubota wrote:

*hits head* I forgot that the normal tsu was F... somehow I thought it was higher than that, and assumed that there was no way to get down to E or Eb.

Actually it is important to learn to get all the way down to a D. In terms of tone color, dynamics, and the musical context, tsu dai meri and ro are really two very different notes. (Similarly, it is important to learn to get a re meri down to F and an ichi san no u (or ru) down to G. These are not alternate fingerings for the equivalent open-holed kari pitches but essential notes in their own right.)

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#16 2006-08-09 15:24:00

dstone
Member
From: Vancouver, Canada
Registered: 2006-01-11
Posts: 552
Website

Re: TSU KAZASHI/TSU CHU MERI

nyokai wrote:

A "han on" is simply a half step, i.e. a minor second. I suppose you could call a tsu chu meri a tsu han on if you mean by that a half step down -- I've never heard the term used that way. I am not aware of any notation specifically for "tsu han on" as opposed to tsu chu meri, but others may know better than I.

Thank you, Phil.  If/when the han on phrase comes up again, I'll remember that.

-Darren.


When it is rainy, I am in the rain. When it is windy, I am in the wind.  - Mitsuo Aida

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#17 2006-08-09 15:47:30

Tairaku 太楽
Administrator/Performer
From: Tasmania
Registered: 2005-10-07
Posts: 3226
Website

Re: TSU KAZASHI/TSU CHU MERI

Nyokai,

When you play tsu chu meri do you lower your head at all?

BR


'Progress means simplifying, not complicating' : Bruno Munari

http://www.myspace.com/tairakubrianritchie

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#18 2006-08-09 15:54:32

nyokai
shihan
From: Portland, ME
Registered: 2005-10-09
Posts: 613
Website

Re: TSU KAZASHI/TSU CHU MERI

Tairaku wrote:

Nyokai,

When you play tsu chu meri do you lower your head at all?

BR

Generally I just use my finger, unless it happens to be in a passage where it's easier to do just head.

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#19 2006-08-09 16:17:41

Tairaku 太楽
Administrator/Performer
From: Tasmania
Registered: 2005-10-07
Posts: 3226
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Re: TSU KAZASHI/TSU CHU MERI

nyokai wrote:

[

Generally I just use my finger, unless it happens to be in a passage where it's easier to do just head.

Me too. Sometimes it is acceptable to use just the head, but then you don't shade. I don't see the advantage of lowering the head slightly and shading as someone suggested because then you add another variable.


'Progress means simplifying, not complicating' : Bruno Munari

http://www.myspace.com/tairakubrianritchie

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#20 2006-08-09 16:26:24

nyokai
shihan
From: Portland, ME
Registered: 2005-10-09
Posts: 613
Website

Re: TSU KAZASHI/TSU CHU MERI

Tairaku wrote:

I don't see the advantage of lowering the head slightly and shading as someone suggested because then you add another variable.

Yes, I agree. Finding the exact balance between a little bit of head and a little bit of finger on a tsu chu meri goes into the life's too short category for me. I tell students they can use either just finger or just head -- one or the other might sound better to them.

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#21 2006-08-09 16:40:28

evan kubota
Member
Registered: 2006-04-10
Posts: 136

Re: TSU KAZASHI/TSU CHU MERI

Actually it is important to learn to get all the way down to a D.

Without shading, or with? I can almost get there (about 15 cents sharp) with some shading...

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#22 2006-08-09 16:53:51

Tairaku 太楽
Administrator/Performer
From: Tasmania
Registered: 2005-10-07
Posts: 3226
Website

Re: TSU KAZASHI/TSU CHU MERI

evan kubota wrote:

Actually it is important to learn to get all the way down to a D.

Without shading, or with? I can almost get there (about 15 cents sharp) with some shading...

He's talking about tsu dai meri here. Sure you can shade.

Ideally you should be able to play tsu meri BELOW D without using shading if you want to. Not that it ever comes up in the music, but just technically. Kids don't try this at home.


'Progress means simplifying, not complicating' : Bruno Munari

http://www.myspace.com/tairakubrianritchie

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#23 2006-08-09 16:55:56

edosan
Edomologist
From: Salt Lake City
Registered: 2005-10-09
Posts: 2185

Re: TSU KAZASHI/TSU CHU MERI

Tairaku beat me to the mark...

Pretty sure he's talking about the Tsu dai meri here. Even though the pitch is equivalent to Ro, it's a 'different note', as he noted (sic).

Very shaded and very meri...


Kurahashi-sensei calls the un-shaded Tsu meri the 'no-finger meri', and he does use it in one Jin Nyodo piece he showed me; forget which one. Perhaps Ajikan.

Last edited by edosan (2006-08-09 16:59:20)


Zen is not easy.
It takes effort to attain nothingness.
And then what do you have?
Bupkes.

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#24 2006-08-09 17:09:26

Tairaku 太楽
Administrator/Performer
From: Tasmania
Registered: 2005-10-07
Posts: 3226
Website

Re: TSU KAZASHI/TSU CHU MERI

edosan wrote:

Kurahashi-sensei calls the un-shaded Tsu meri the 'no-finger meri', and he does use it in one Jin Nyodo piece he showed me; forget which one. Perhaps Ajikan.

When we do "Mukaiji" we do the whole piece without shading. It's a nice approach.


'Progress means simplifying, not complicating' : Bruno Munari

http://www.myspace.com/tairakubrianritchie

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#25 2006-08-09 17:24:26

PSTL
Member
From: Jacksonville, FL USA
Registered: 2006-08-02
Posts: 67

Re: TSU KAZASHI/TSU CHU MERI

I've been working on the finger placement and breath. It seems that more breath is required to blow Tsu chu meri than other notes. Is this unusual? I don't have this problem with Ha chu meri.
Also, Ive adjusted my finger placement, as reccommended, and it helped. I was halving the hole and now I quarter the hole. I'm still sharp or flat most of the time, but occasionally I hit it.

I'll keep practicing and hoping that one of you will eventually visit Jacksonville, Florida. wink

Thank you

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