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Chi-Ru

 
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Stefan Emich
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PostPosted: 2013-10-22, 13:33    Post subject: Chi-Ru Reply with quote

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How is that CHI RU combination played? Im quite lost here, dont know if there are different possibilities. Would be great if some Yokoyama Style experienced players could share their wisdom here. As an example the first phrase Line 4 in Honshirabe after the high pitched RE. Thanks in advance!
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Perry Yung
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PostPosted: 2013-10-22, 15:08    Post subject: Chi-Ru Reply with quote

G'day Stefan,

Not sure what notation you're using but on that phrase, after the Chi Meri, put down finger hole #2. #1 is partially shaded or quarter-holed shortly before this happens or at the same time. This depends upon flute and player.

Hope that helps!
- Perry
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Stefan Emich
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PostPosted: 2013-10-22, 16:17    Post subject: Chi-Ru Reply with quote

Great Perry, Thanks a lot!
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Regan Van Veen
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PostPosted: 2013-10-25, 07:21    Post subject: Chi-Ru Reply with quote

Hi Stefan,

The way I was taught to play it after the Chi Meri is to have #3 hole partially shaded for Chi, so that when you put down #2 for the Ru you are already at the correct pitch without needing to shade #1 at all.

Using this method you should be able to lift finger #2 and put it back down to go between Chi - Ru at the correct pitch without needing to Meri or shade any other holes than #3 (which means that you need to practice having exactly the right combination of Meri and #3 shading on the Chi in order to get to the Ru without having to make any adjustments for pitch when you put down the #2).

Although, when I was learning Chi - Ru initially I was told that shading the #1 to get to the Ru pitch was an appropriate short cut to get the pitch correct, although it is not "correct" in the Yokoyama Style as far as I have been taught (anyone reading this please correct me if you think I am wrong).

Hope this helps Smile
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Stefan Emich
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PostPosted: 2013-10-25, 09:46    Post subject: Chi-Ru Reply with quote

Hey Regan, Thanks for your input! Very nice to have some more options here.
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J. Danza
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PostPosted: 2013-10-25, 17:33    Post subject: Chi-Ru Reply with quote

Another option, and actually my favorite one, is to play the Chi by closing holes 2 and 4 (with a bit of meri), and then shade hole 3 half way for Ru. Yet another, more "old style" option, is to play a regular Chi with a very Meri embouchure, and then close hole 2 keeping the meri position.
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Perry Yung
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PostPosted: 2013-10-26, 14:15    Post subject: Chi-Ru Reply with quote

Regan Van Veen wrote:
Hi Stefan,

Although, when I was learning Chi - Ru initially I was told that shading the #1 to get to the Ru pitch was an appropriate short cut to get the pitch correct, although it is not "correct" in the Yokoyama Style as far as I have been taught (anyone reading this please correct me if you think I am wrong).

Hi Regan,
Shading or quarter/half-holing #1 is how I was taught to play Ru in Dokyoku. It requires adjustment of the embouchure, #3 and #1 to get the right pitches and desired tone colors. Every handmade shakuhachi flute is different to some degree so playing the phrase well has to be adjusted for each flute. As we all know, Chi can often be sharp on many fine shakuhachi.

It is in fact quite easy to play Ru without #1 on that line of Honshirabe, but I have a strong feeling that it is there as it prepares the player for the more advanced phrases, such as playing Chi Ru Tsu Ru at lightening speed Wink

Actually, I always use this fingering to test flutes. The degree of opening that has to happen with #1 on Ru reveals whether a flute is made for Dokyoku, or not.

Just my observations.
- Perry
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