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A-11.The More the Meri-er! 再三談沉音

A-11.The More the Meri-er! 再三談沉音

"shakuhachi tips"
原作者:柿堺香老師
英文翻譯: Zachary Braverman
進階篇11.
December,2002

A-11.The More the Meri-er! 再三談沉音

[Translator's note:Kakizakai-sensei is not responsible for this pun.]
This month I would like to talk about meri again.


Many people tend to play meris high, but even the same person will play some meris higher than others even within the same song. And, when they become more proficient at meris, people also start playing some kinds of meris too low. Why are there meris that are way too high, just a little bit too high, or too low?This all depends on the level of difficulty each meri represents.


If you have plenty of breath as well as time to prepare for a meri, then that meri will have a low level of difficulty. However, if a meri comes within the middle of a phrase and there is little or no time to prepare for it, then that meri will have a higher level of difficulty.


Itis these kinds of meris which tend to be higher. Tsu-meri after a Re is one good example of this. Tsu-no-meri after a Ro, on the other hand, has a lower difficulty level than one after a Re, making it easier to play correctly.


Thus,because some meris are inherently more difficult to play than others, you have to adjust how you play them depending on their level of difficulty. (Ideally,you should be able to perform identical meris every time by doing the same thing with you mouth, the flute, and chin angle, but in practice your sense of all of these things is easily influenced by the note coming before.)


Therefore,once you have identified the kinds of meris with a higher level of difficulty,consciously meri more than usual on these notes. For instance, if you concentrate on meri-ing Tsu-meri 30% more or so than usual when it comes after a Re, then you will end up with a more correct pitch.


There are also times when you have to meri less than usual. For instance, after an U-no-Re (where only the 3rd hole is open and you are already in Dai-meri position), you have to open the 1st hole a little bit more than usual when closing the 3rd hole to transfer to Tsu-meri.


The reason why is that you are already in Dai-meri position, so if you only open the 1st hole your usual amount and keep your chin in the same position, you will end up playing a Tsu-dai-meri. One could, of course, raise the chin a little bit, but in this case it is much easier physically just to open up the 1st hole a hair more than usual.


The point to remember is that no note is played in a vacuum, unaffected by the note which comes before it. This is doubly true for meri notes, so identify those meri notes which you need to focus on meri-ing more and those which you need to meri less. Keep these in mind when you play and in time compensating this way will become second nature.


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