Mujitsu and Tairaku's Shakuhachi BBQ

Bogert wrote:

Hi Marek,
      I'm no pro, but generally speaking the tsu-meri and tsu dai meri notes should be quieter than normal notes.  Of course I'll let the pros speak, but that's what I was taught.
                                                                                             Chris

If anyone can explain what tsu-meri and tsu dai meri is, there's at least one person out here (me) that would learn from it. I know otsu and kan are the two different registers, but I still don't know a lot of the terminology.

It's a common misconception that a note has to be loud to be powerful, tsu-dai-meri in the hands of a skilled passionate player is just as much a shot to the heart as the loud blast of Ro. Shakuhachi is a beautiful orchestra of highs and lows like the waves of Konnegwa...

Hi all,

Besides what is's been said about tsu meri not being as loud as normal tsu on a normal basis, I've heard that the volume of the tsu meri also depends on the flute, some alowing to play a louder tsu meri (and I guess tsu dai meri) than others.

Anyway, as Michael above mentioned, it can be a very powerful note with the right resonance and projection (certainly hard to get!)

edosan wrote:

radi0gnome wrote:

If anyone can explain what tsu-meri and tsu dai meri is...

Here's the deal--going successively down in pitch:

Tsu (F on a 1.8)

Tsu chu no meri (down a half step: E on a 1.8)  [Played with a slight meri and just shading the top of hole 2--or not]

Tsu no meri (down another half step: Eb on a 1.8) [Tsu no meri means: 'the meri of Tsu'--also generally known as 'Tsu meri'-->more meri and close down most of hole 2.]

Tsu dai meri (down yet another half step: pitch of C--if in Otsu, an octave below Ri--on a 1.8). [Meri the whole thing down a half step.]
eB

Edosan,
Good description, but I don't follow. Tsu dai meri as described would be pitch equivalent to Ro, which, on a 1.8 would be D. Ro no meri would be pitch equivalent to Ri ottava basso. Unless, of course, I'm mistaken, or misunderstand your otherwise excellent explantation, either of which would not be a rare event.

Bruce

dstone wrote:

Some makers very slightly and shallowly "overcut" the 1st hole, toward the root end to enable a louder tsu dai meri, without affecting the tuning of tsu or the chimney volume of the closed hole for ro.  In theory.  In skilled hands.  Which I don't have yet.  :-)

Someone can correct me, but I think this is intended to support the Dokyoku goal of slightly stronger meri notes than other schools.  ?

-Darren.

It is for making meri notes a little louder. Ive had this done to my flutes 1st and 4th holes. It didnt look very hard; my teacher just used a drill and a bit for grinding, hand held with a bin between his knees. Try it out yourself.



A small thing I would like to add. My teachers have said that even though meri notes are quieter, its important to think of them as being louder than the other notes, perhaps to combat a complacent attitude towards playing good strong meri notes. If you dont have the idea that meri notes can be stronger, you might always just believe its a weaker note, and it will sound weak. This goes for nayashi as well; the dip should be louder and heavier.

Last edited by caffeind (2007-03-07 08:00:26)

Chris Moran wrote:

dstone wrote:

Some makers very slightly and shallowly "overcut" the 1st hole, toward the root end to enable a louder tsu dai meri, without affecting the tuning of tsu or the chimney volume of the closed hole for ro.  In theory.  In skilled hands.

Pretty straightforward is that it works quite often with just average manual skills. Some call it "reshaping", others call it "notching". It can improve the tsu-meri's quite dramatically. I have one flute that it worked on particularly well. Peter Hill did the work.

Overcutting toward the rootend can be very effective. One thing to keep in mind; overcutting essentially is making the hole bigger. (It sharpens less on that side of the hole, but sometimes overcutting hole #1 can sharpen tsu noticeably) It's best to overcut while tuning. If that is not possible, it's a good idea to keep an ear open for any tuning changes while grinding. Like most things shakuhachi, it's about balance and compromise.

KL

radi0gnome wrote:

If anyone can explain what tsu-meri and tsu dai meri is, there's at least one person out here (me) that would learn from it. I know otsu and kan are the two different registers, but I still don't know a lot of the terminology.

For more on tsu meri, check out the search function of the forum. You may find some helpful information.

Good luck!

KL

Yamaguchi Goro, in his workshop on Shika no Tone at the Boulder WSF, said that one has to 'love' meri notes to play them effectively and with the right sound.
There's something to dwell on.
Jeff

may be it would sound very strange but i would like to share my experience. i shade the holes not from up but from down the shakuhachi. i dont know- my fingers shape or what but shading normaly doesnt work well for me on shakuhachi with smaller than 12mm holes. shading from down works 100% for me and the meri is strong. you can try it, may be it  would work for you also.