查看完整版本: 柿堺香尺八小常識

• A-49.Your Demeanor on Stage 台風(End) (5 篇回復)
• A-48.Performing 演出 (1 篇回復)
• A-47.Expression表現方式 (1 篇回復)
• A-46."Golden Decay" 漂亮的收尾 (1 篇回復)
• A-45.Uses of Exaggeration 誇張手法的應用 (1 篇回復)
• A-44.The Last 30% 最後的30% (1 篇回復)
• A-43.The Trap of Chin Positioning下巴放置點的陷阱 (1 篇回復)
• A-42.Making Mistakes on Purpose 故意犯錯 (1 篇回復)
• A-41.Posture for Long Flutes 長管姿勢 (1 篇回復)
• A-40.Long Flutes 長管 (2 篇回復)
• A-39.Thinking About “Tradition”思考傳統 (2 篇回復)
• A-38.On Muraiki (2 篇回復)
• A-37.On Koro-koro (1 篇回復)
• A-36.Nayashi? Kamuri? Furi? (1 篇回復)
• A-35.Nayashis & Uchis in Context (2 篇回復)
• A-34.When Fingers Move Too Quickly 當手指移動過快時 (2 篇回復)
• A-33.Tonguing 運舌法 (2 篇回復)
• A-32.Tamane, Pt. 2 滾音2-2 (2 篇回復)
• A-31.Tamane, Pt. I 滾音2-1 (2 篇回復)
• A-30.Alternative Fingerings: San-no-U替代指法 2 (1 篇回復)
• A-29.Alternative Fingerings 替代指法1 (1 篇回復)
• A-28.The Connection Between Ro-buki, Meri, and Vibrato (1 篇回復)
• A-27.Low I's 低音的I (2 篇回復)
• A-26.Moving Notes, Still Notes動音符與靜音符 (2 篇回復)
• A-25.Breaths and Pitch氣息與音準 (1 篇回復)
• A-24.Volume and Tone 音量和音色 (1 篇回復)
• A-23.Using Aural Memory運用聽覺記憶 (2 篇回復)
• A-22.Checking Your Pitch檢核音準 (2 篇回復)
• A-21.Thoughts on Tone Colo有關音色的想法 (1 篇回復)
• A-20.A Final Word on Pitch再談音準 (2 篇回復)
• A-19.What Is Your Pitch?你的音準為何? (1 篇回復)
• A-18."Give Me a Note" 給我一個音 (1 篇回復)
• A-17.Scales 音階 (2 篇回復)
• A-16.Importance of Context 前後音的重要性 (2 篇回復)
• A-15.The Ultimate Meri Method 最後的沉音之法 (2 篇回復)
• A-14.Secondary Meri Effects (1 篇回復)
• A-13.Better Meris 優良的沉音 (2 篇回復)
• A-12.Meri Tone Color 沉音的音色 (1 篇回復)
• A-11.The More the Meri-er! 再三談沉音 (2 篇回復)
• A-10.Using Your Tongue to Meri, Pt. II 用舌助沉音2 (2 篇回復)
• A-9.Use Your Tongue to Meri ?!用舌助沉音1 (2 篇回復)
• A-8.Another Benefit to Kari Blowing浮音吹奏的另類好處 (2 篇回復)
• 7.The Shape of Your Breath 氣息的形狀 (2 篇回復)
• 6.Over Meri-ing 大沉音 (2 篇回復)
• 5.Types of Blowing吹氣的模式 (2 篇回復)
• 4.Before Meri 沉音之前 (2 篇回復)
• A-3.After Meri 沉音之後 (1 篇回復)
• A-2.Mouth Shape for Meri 沉音的嘴形 (2 篇回復)
• 進階篇---A-1.Opening Holes for Meris打開沉音的指孔 (16 篇回復)
• Kakizakai's Shakuhachi Tips 柿堺香老師的尺八小常識原文網站消失 (2 篇回復)