June 2000

Over Meri-ing

Yes, there is such thing as “over-meri-ing”, or playing too meri. I have talked about meri many times in this column, usually from the perspective of how to meri sufficiently, but this time I would like to talk about things from a different perspective.

Think of the normal angle you play at as “Meri Level 0”. Meri-ing one step, or “Meri Level 1” brings you down one half note, from Ro to Ro-meri, Tsu to Tsu-meri, or Ri to Ri-meri. This is also the position U is played at. [Translator’s note: In this case, U is being played with only the 3rd hole open.] Meri-ing one step further to “Meri Level 2” results in another half note drop, for a total of one full note: Ro to Ro-dai-meri (which is Ri), Tsu to Tsu-dai-meri (which is Ro), or Maru-no-U (also called U-no-Re), which is the same pitch as Re.

(These are played often in the honkyoku practiced at the International Shakuhachi Kenshu-Kan. Mastering these meri and double-meri techniques adds remarkable depth and flavor to your playing.)

It is not very difficult to play notes which have the same level of meri, either Meri I or Meri 2. However, playing notes in succession which require different levels of meri presents problems.

For example, the transition from Maru-no-U (Meri Level 2 with only hole 3 open, pitch of Re, remember) to Tsu-meri is quite common. However, just closing the 3rd hole while remaining at Meri Level 2 will result in an Tsu-dai-meri rather than the Tsu-meri which you really want. In this case, the choices are either to raise your chin a little bit or open up the first hole a little bit. The latter is preferable.

There are many other examples that are similar. Since everybody starts out playing meris too high, they get into a mindset where they are always trying to further lower the pitch of their meris. However, as we see here, it is also easy to play meris too low. The goal is not “lowness” of pitch, but “exactness” of pitch.