A-14.Secondary Meri Effects
"shakuhachi tips"
原作者：柿堺香老師
英文翻譯: Zachary Braverman
進階篇14.
May,2004
A-14.Secondary Meri Effects
Everyone knows what it's like to run out of breath before coming to the end of a phrase.Often this is caused by particularly long or difficult phrases, but did you realize it can also be caused by high meris?
Some players can get a great sound during blowing Ro or other practice, but their sound deteriorates when they play actual pieces. Did you realize this can also be caused by high meris?
Players who are just starting out have not yet developed a feeling for the importance of meri notes, nor have they developed a sense of proper note intervals.Therefore, even if they play a high meri, it won't affect the rest of their playing.
For example, they could play a high Tsu-meri followed by a perfectly fine Re. In this case, the Re itself would be on pitch if measured in isolation, but it will be too close to the preceeding Tsu-meri.
However,people who have more experience will likely raise the pitch of a Re following that same high Tsu-meri. This is because they know instinctively what the interval should be between the two notes. So, a high Tsu-meri results in a high Re, which is achieved through kari-ing the flute.
However,playing kari can result in either running out of breath too soon or a general deterioration in sound (the two problems discussed earlier).
There is an optimal position for you to play at (dependent on your flute and your own style). Playing meris which are too high are likely to skew you from this optimal position, resulting in a multitude of problems.
Thus,playing correct meris has a beneficial effect on the other note and your ability to sustain your breath.
