October 1997

The Connection Between Ro-buki, Meri, and Vibrato

Sometimes I receive emails from people who read this column, and there is which made me particularly glad to have started this column. This person wrote "continuing Ro-buki helped me lower my meris" in an email that came even before I took up the subject of meris. In other words, Ro-buki helped his meris.

I haven't heard him play in person, but I'm sure he plays a beautiful Ro. I think what happened is that this person had excess tension around his mouth, and the practice of Ro-buki helped him release it. With less tension around his mouth, it must be easier to change the distance to the blowing edge more efficiently, as I described last month in points 1-4, resulting in improved meris.

Ro-buki helps all aspects of your shakuhachi playing.

The title of this months column is "The relationship between Ro-buki, meri, and vibrato". The relationship between Ro-buki and meri is as described above. Ro-buki removes excess tension, which helps you decrease the distance to the blowing edge efficiently.

What about vibrato (yuri) then? On a fundamental level, vibrato and meri are the same thing. If you can't change the distance to the blowing edge efficiently and effectively, then you won't be able to play either meri or vibrato well.

Most people use vibrato too much but not enough. What I mean is, they play vibrato too often, but their vibrato is weak. For many people, vibrato has become a bad habit, and they play it without regard to context. (Honkyoku played at the Shakuhachi Kenshu-kan don't use vibrato, for instance.) Habits are hard to break. Since many people play vibrato without even thinking about it, it is doubly hard to break. All techniques should be used consciously.

Finally, these people tend to play vibrato weakly because they have excess tension around their mouths, so the distance to the utaguchi cannot be changed efficiently and effectively. Relaxing the tension around your mouth can help you play better vibrato.

I hear people play who use the same kind of vibrato all the time, but the speed and depth of vibrato should be appropriate to the song and the phrase. It should be a dynamic part of the piece, not just habitual. To play this way, first release the excess tension around your mouth by Ro-buki or other means. Next, play vibrato only when necessary, but when you do play it, do so with sufficient effect.