Vibrato in Miyama Higurashi (Deep Mountain Cicada)?
Vibrato in Miyama Higurashi (Deep Mountain Cicada)?
Hello All,
I'm starting to work on Fukuda Rando's Miyama Higurashi (deep mountain cicada) and have a question.
Is the vibrato/flutter that's all over the song, done with your throat-diaphragm or is it an articulation (fingering)?
I'm starting to work on Fukuda Rando's Miyama Higurashi (deep mountain cicada) and have a question.
Is the vibrato/flutter that's all over the song, done with your throat-diaphragm or is it an articulation (fingering)?
Are you trying to learn it without a teacher? In my experience it isn't worth the effort to learn the difficult traditional pieces without a teacher, and the chances of practicing and playing parts of the song incorrectly increases dramatically. It might cost $25 to $100 to learn a song via Skype lessons, but it is worth it IMO.
Short sample of similar piece:
Nice DVD! Miyama Higurashi is on it too.
Mostly vibrato by head movement.
Succes!
Nice DVD! Miyama Higurashi is on it too.
Mostly vibrato by head movement.
Succes!
Charles, yes I don't have a teacher. I've only had formal training at an annual camp in Colorado. I take great effort to build on good basic techniques. I tend to take on new pieces that push my skill set. Even if I don't get this piece done well for a while, what I'm learning from it help reinforce my skills on other songs.
"CharlesKoeppen""CharlesKoeppen"Are you trying to learn it without a teacher? In my experience it isn't worth the effort to learn the difficult traditional pieces without a teacher, and the chances of practicing and playing parts of the song incorrectly increases dramatically. It might cost $25 to $100 to learn a song via Skype lessons, but it is worth it IMO.
Hi Chuck,
In his fine book on Kinko Chikumeisha Honkyoku, based on the teachings and style of Goro Yamaguchi, (who employed vibrato a lot), Gunnar Jinmei Linder suggests it would be a good idea to learn to play a piece 'straight' and once you've got it, to start practicing adding the vibrato.
It seems this might also apply to the Fukuda Rando pieces....
In his fine book on Kinko Chikumeisha Honkyoku, based on the teachings and style of Goro Yamaguchi, (who employed vibrato a lot), Gunnar Jinmei Linder suggests it would be a good idea to learn to play a piece 'straight' and once you've got it, to start practicing adding the vibrato.
It seems this might also apply to the Fukuda Rando pieces....
Hello De Fouw, That makes sense, get the basics down and then expand the finer points of the piece. Thanks!
I'm not sure it's a good suggestion for everyone, and I'm not even sure it's a good idea for myself, but after spending too many hours trying to get a decent head shake vibrato I pretty much gave up on it and only practice it a few minutes every few practice sessions. It causes breaks in the tone too often to be useable for me yet. Absolute rule number one in any kind of flute playing is not to let the tone break while you are exhaling. During an exhale you should be hearing something always, even small breaks in the tone extremely undesirable.
Chuck, having heard that recording you posted of your playing in a different thread, I think you have a solid enough tone to start experimenting with head shake vibrato, but I wouldn't obsess on it to the point where it slows down whatever else you are learning.
Chuck, having heard that recording you posted of your playing in a different thread, I think you have a solid enough tone to start experimenting with head shake vibrato, but I wouldn't obsess on it to the point where it slows down whatever else you are learning.
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