Mujitsu and Tairaku's Shakuhachi BBQ

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.

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)

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

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)