麥浪 2015-6-2 20:09
A-16.Importance of Context 前後音的重要性
[font=Helvetica, sans-serif][size=14pt]"shakuhachi tips"
[/size][/font][b][font=新細明體, serif][size=14pt]原作者：柿堺香老師[/size][/font][/b][b][font=LYJ_JianPU][size=14pt]([/size][/font][/b][font=Arial, sans-serif][size=14pt]Kaoru Kakizakai[/size][/font][b][font=LYJ_JianPU][size=14pt])[/size][/font][/b]
[b][font=新細明體, serif][size=14pt]英文翻譯[/size][/font][/b][b][font=Helvetica, sans-serif][size=14pt]: Zachary Braverman[/size][/font][/b]
[b][font=新細明體, serif][size=14pt]進階篇[/size][/font][/b][b][font=Helvetica, sans-serif][size=14pt]16.[/size][/font][/b]
[b][font="][size=14.0pt]March,2005[/size][/font][/b][size=14.0pt][/size]
[b][font="][size=14.0pt]A-16.Importanceof Context [/size][/font][/b][b][font=Verdana][size=14.0pt]前後音的重要性[/size][/font][/b][b][font="][size=14.0pt][/size][/font][/b]
[font="][size=14.0pt]In my December 2002 column I talked about the different kind of meri techniques required in different circumstances. I would like to delve deeper into this now. [/size][/font]
[font="][size=14.0pt]Many people think that there is only one "Tsu-meri", but there are actually very many (and I'm not talking about chu-meri here, which is a different pitch). More precisely, there are many ways and images used for creating Tsu-meris of the same pitch depending on circumstance. [/size][/font]
[font="][size=14.0pt]The easiest Tsu-meri to play within a song is when it leads the phrase as there is plenty of time to prepare for the note. However, you still have differ the depth of the meri slightly depending on the octave. (That's 2 types of meri.) [/size][/font]
[font="][size=14.0pt]Even when following another note, a Tsu-meri following a Ro is different than when following a Tsu, Re, or a Chi, for instance. When following a Ro, there is only a half-note distance between the Tsu-meri and the Ro, so it's relatively easy.Another factor is that from Ro the first hole is already closed, and all you have to do is open it partially. [/size][/font]
[font="][size=14.0pt]Closing the first hole partially, however, such as from a Tsu, Re, or Chi, however, is much harder. In these cases, Tsu-meris tend to be both higher in pitch and more muddy or imprecise. (This adds 3 more types, or double if you count both octaves. OK, I'll stop counting now.) [/size][/font]
[font="][size=14.0pt]A Tsu-meri following an U-no-maru (also called an U-no-Re, where only the third hole is open and your chin is very meri to the point that the pitch is Re)tends to be too low since you are already in a very meri position. [/size][/font]
[font="][size=14.0pt]A Tsu-meri in the middle of a quick phrase will tend to be too high. Even if you can get the correct pitch when practicing slowly, your meris will often be too high when played in a rapid succession of notes. The reason for this is that in a rapid phrase you won't have time to move your chin down as far as you usually do. This is fine if you close the hole a little more, but you have to remember to compensate consciously (at least until it becomes second nature). [/size][/font]
[font="][size=14.0pt]So there you have it: the same pitch has to be approached very differently depending on circumstance. Here I've talked only about Tsu-meri, but the same thing is true of Re-meri and other notes. Just do not forget the fundamental idea that each note is affected by context-what comes before or even after-and the only way to correctly compensate for surrounding notes is by diligent experimentation. Practice this until it becomes natural. [/size][/font]