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小 發表於 2013-3-29 19:54 只看該作者
15.嘴形
本文翻譯自網頁「shakuhachi tips」（1997. Mar）
http://www.kotodama.net/shakuhachi/tips.html
原作者：柿堺香
英文翻譯: Zachary Braverman
中文翻譯: 麥浪
中文校稿: 琰烺（陳佩筠）
版權所有：國際尺八研修館---柿堺香老師
基礎篇---第15篇：嘴形
你對於雙唇之間的空隙，花了多少心思去思考？它是你吹奏時，氣流所通過之處。
你曾經經歷過底下的一些事情嗎？
1.當你吹奏一個音吹到一半時，突然從低音域跳到高音域。
2.當你繼續在吹氣時，聲音突然中斷了。
3.你對於吹沉音有著一些困難。
4.你對於吹好搖音有著一些困難。
5.你所吹的音色有些僵硬，在音調裡面感受不到廣闊的氣息。
這些問題產生的原因，跟你雙唇之間的細小空間（口風）的形狀息息相關，口風控制不當會造成吹奏時「聲音產生點」過小，而想辦法將該點盡可能擴大是蠻重要的。
當「聲音產生點」過小時，即使是個細微的變化，都可能導致吹奏時發生失誤，這可能會發生如上列第1項和第2項所說的情形。
當吹奏沉音和搖音時，你會改變吹奏的角度，如果「聲音產生點」過小，會導致你偏離了發音的這個點，就會產生如上列第3項和第4項所說的情形。而且，泛音會變得僵硬，如第5項。
有些初學者被教導著，將嘴唇用力拉到兩側，以便吹出聲音來。這麼做的確有助於集中氣束來吹出聲音，但是也將形成一個非常小的「聲音產生點」來，導致上述的第5項問題。記住！盡可能地擴大你產生聲音的「甜蜜點」，以便能吹出一個優質、厚實的聲音來，這是相當重要的觀念。
這樣的教學指導，一直是涵蓋在尺八研修館師範級的課程裡頭。然而每個人吹奏方式不同，我如果在此具體描述「如何掌握住較大甜蜜點」的方法，可能會產生誤解，此事需要有合格的教師來當面指導。
15.Mouth Shape
How much thought have you given to the space between your lips when you blow, the part where the air stream comes out?
Do you experience any of the following?
1.
Otsu turns to kan (higher octave) in the middle of playing.
2.
You still have breath, but the note dies suddenly.
3.
You have a difficult time with meris.
4.
You have a difficult time making good yuri (vibrato).
5.
Your tone color is “hard” with no expansiveness in your tone.
The cause for these problems can be with the shape of the space between your lips, which can cause the point of sound production to be small. It’s important to make this point as large as possible.
When the point of sound production is too small, even a slight variation in your blowing can cause you to miss it. This can cause 1-2 above. You change the angle of blowing when playing meri or yuri, which can cause you to slide off the sound producing point if it’s too small. This can cause 3-4 above. Also,overtones (notes above a perfect fifth higher than the note you’re playing, or overtones of the higher octaves) can become “hard” (5 above).
Some absolute beginners are told to pull their lips strongly to the side to get a note. This can indeed help focus the air to get a note, but it results in a very small point of sound production, causing the five problems above.Remember, it’s important to make the “sweet spot” of sound production as large as possible to get a good, robust sound.
This kind of instruction is always included at Shakuhachi Kenshu-Kan master classes. Since everybody blows a different way, I can’t describe concrete ways to get a larger sweet spot here without leading to misunderstanding. This needs to be done by a qualified teacher.
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