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Hi Y'all,
I'm wondering the correct way to repeat certain notes. On Ro, you lift index finger and strike hole # 2 (2nd from bottom).
I'm mainly interested in the Ro that begins Kan (when holes number 1 and 2 are covered). and Tsu Meri (when holes 1, 2, and 3 are covered). Ri Meri a.k.a. "Ha Meri" may be good to know, too. I assume that's the back hole that's struck.
By the way, how many kinko notations are there? I have one kinko book with some Ri symbols that are totally different from any of the myriad fingering charts I've looked at. The author assumes that everyone knows this form of kinko notation already, although the fingering charts from other sources usually say otherwise. My first introduction was Tozan notation and that author didn't even mention that it was Tozan (I believe that he may have mentioned that the music style is kinko-ryu). Can anyone clear this up?
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"...the Ro that begins Kan (when holes number 1 and 2 are covered)."
Also called 'Go no Hi' or 'I' (eee): Use hole five (usually) or hole three. This is also played with just the 2 hole closed.
All the Tsu pitches, use hole 2.
All the Ri pitches, use hole 5.
Here's a direct link to a chart which may be helpful on the articulation questions: http://www.shakuhachiflutes.com/f5.pdf
Can't speak to the notation question. Be good to see it.
eB
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Nobody wrote:
I'm wondering the correct way to repeat certain notes. On Ro, you lift index finger and strike hole # 2 (2nd from bottom).
Articulating Ro with the #1 hole is also done. At least in Dokyoku. Sometimes it's notated. Sometimes it's not.
A teacher is best to confirm how/why to articulate in context.
-Darren.
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If you aren't playing a particular piece that requires using a specific technique you can often pick between different choices. Take ロ for example. You could repeat it by opening any particular hole or even go wild and open several holes quickly and precisely. All of those give you a different sound that tends to be more dramatic if you open up a hole that is closer to you. When I play my own music I tend to choose one that fits the general mood of the phrase. I especially like the sound of opening the fourth hole (thumb being fifth) for ロ. Just something to keep in mind.
As far as the "official" line goes, the others who replied before me are right. You usually open either hole 5, 4 or 2 depending on which one works for that particular note. Naturally you are left with less choice as you approach notes like イ where there are no further holes that you can open. You can either opt to close the top-most hole instead to get a less dramatic sound or, like mentioned, tap the third hole. This works since that note would be the pitch equivalent of ツメ which is one step higher from イ. Come to think of it, I've never had to repeat that note and thus I have no idea if there is an official way to do it. Never had it come up in a piece either of course. I suppose one could just blow a bit harder for a split moment to get the sound to jump that way.
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amokrun wrote:
As far as the "official" line goes, the others who replied before me are right. You usually open either hole 5, 4 or 2 depending on which one works for that particular note.
Sometimes, when a ro in kan(all holes closed) is preceding a part of a phrase in otsu. You articulate ro with hole 3, relaxing the lips a little for the tinniest of moments letting an ro otsu come out.
I dont think this helps, but...
M.
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