查看完整版本: A-37.On Koro-koro

麥浪 2015-8-4 19:12

A-37.On Koro-koro

[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]37.[/size][/font][/b][b][font="][size=14.0pt][/size][/font][/b]
[b][font="][size=14.0pt]June1997[/size][/font][/b][size=14.0pt][/size]

[b][font="][size=14.0pt]A-37.On Koro-koro[/size][/font][/b]


[font="][size=14.0pt][Translator's note: I have included a sample of Katsuya Yokoyama playing the first part of [url=http://www.kotodama.net/shakuhachi/suzuru.mp3]Suzuru[/url] (a version ofTsuru no Sugomori). This segment contains many different variations of the technique.][/size][/font]


[font="][size=14.0pt]“Koro-koro”is a crucial technique among modern pieces as well as honkyoku (especially Tsuru no Sugomori). It is one of the most instinctive and important shakuhachi techniques there is, but it is also often performed poorly. [/size][/font]


[font="][size=14.0pt]At the Shakuhachi Kenshu-Kan, it is played by partially opening hole 5, meri-ing,and sequentially opening and closing holes 1 and 2. This technique gives strong intonation. [/size][/font]


[font="][size=14.0pt]The crucial thing about koro-koro is pitch. The pitch of “koro-koro-koro…” is“Ri-ri-ri”. Without this correct pitch, the technique will never be complete.The pitch will tend to rise when hole 2 is open, so you must meri more deeply then.[/size][/font]


[font="][size=14.0pt]It is also helpful not to raise the second finger as high from the hole, which also helps hold down the pitch. This is especially crucial in during slow koro’s, such as at the[/size][/font]
[font="][size=14.0pt]indistinct transitions between the sounds. [/size][/font]


[font="][size=14.0pt]The various sound of the technique should be bright and clear. One reason for muddiness in some players is that there is no time when both holes 1 and 2 are closed. [/size][/font]


[font="][size=14.0pt]There must be a brief instant while you are opening 1 and closing 2 (or the reverse)where both holes are closed. This gives rise to the distinctive “popping” sound and helps make the different sounds stand out. Remember, the order is “Open 1> Close 1 > Open 2 > Close 2 > Open 1”. [/size][/font]




[font="][size=14.0pt]Be sure to practice at a speed where you can follow both of the above points(insuring a good pitch of Ri and a brief space where both holes are closed).The idea is to implant the proper motions in your muscle memory. [/size][/font]


[font="][size=14.0pt]Everybody tends to go at the technique full speed, but precision is more important than speed. Once you have precision down pat, speed will easily follow. Practicing along with a metronome isn’t a bad idea. Ten minutes of koro-koro a day and you can become a koro-koro master. [/size][/font][size=14.0pt][/size][font="][size=14.0pt]
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文慶 2015-8-5 08:47

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查看完整版本: A-37.On Koro-koro