Sure, the bus was delayed. There was a huge confusion about the designated bus not being the one we were on because 'it's a new bus'. I don't understand it either. I did eventually get to Singapore, a couple of hours later than planned, but safe. I had an interesting chat with a gentleman who, as it turns out, was more than happy to share culinary discoveries he's made from observing chefs at work. Now, if only I had my own kitchen were I was free to experiment...
Picking out the Mura for K was pretty straightforward, and as always, visits to the workshop are always filled with learning new things. I also managed to get some supplies for flute repair...I shall need to see about that. Right now, I'm really really contemplating getting the director's repair kit from JL Smith. The only thing that's holding me back is the currency conversion. Meh. I'll eventually talk myself into getting it. I think. I did have an offer from a certain dear person to fund my relatively newfound interest in fixer upper things. I might end up taking that offer. Who knows?
I'm more and more convinced (do I really need more convincing at this point?) that MuRa is the way to go. I wouldn't recommend the same to everyone - each is unique in its own right. There's always new ground to explore, new experiences and the best part is being able to carve out a MuRa experience that's my own. I can honestly say that I truly am content with this MuRa relationship.
Soundscapes. Again, I got to visit the chinese orchestra (and yumcha with some of the people later - they're a great bunch!). This time though, I started noticing more differences and it's gotten me pretty excited about wanting to explore the eastern counterpart to the flute - the dizi. Not being able to read chinese is a setback, one that I'm working to rectify. The writing is very different from what I know to be characteristic of the concert flute, and the dizi itself - where do I begin?
Some of the bigger differences I noted this time were the way different octaves are played. On the dizi, I'm told that it's more to do with the angle of the air rather than solely dependent on the speed of the air as it is with the concert (western) flute. That doesn't make up all of it - there's still the similarity of air control when talking about tuning.
The hold and support points are completely different. I'm not used to it (I don't have a dizi to practice on at this point), but I now begin to understand why certain students of mine find certain holds more 'normal' for them and yet doesn't make sense to me.
The next will probably be the most difficult for me to adjust. The distance of the player's fingers from the keys. Being keyless, the difference made when having the fingers hover over the fingerholes versus held high on the dizi is BIG. Most of my doodling sounded flat for the very reason that i have my fingers really really close to the fingerholes. There's also the flat fingers versus the curved fingers that I'm so used to. Hmm.
I'd say that the tendencies of the flute are somewhere between the northern and southern styles of the dizi. The northern characteristically requires a lot more attack with the tongue, while the southern is more melodious (and very much more heavily ornamented - I realise this is piling it on, but really, it is that much more). There are certain lilts and nuances in dizi writing that are not so common on the flute. A lot more bird-like.
Projection-wise, the dizi carries better despite being made from bamboo - and my reasoning tells me that the dimo is largely responsible for this. The flute, while it projects and shimmers, would find difficulty in topping the brightness of the dizi. The dimo is a pretty interesting little thing. An extremely powerful resonator. Also highly temperamental. I did feel less dependent on my diaphragm when fiddling around on the dizi though. I'm not entirely sure if that's just because I didn't feel the freedom to really explore.
These are just a bunch of preliminary thoughts, so not extremely detailed, but enough to get me started and get me thinking.
These are just a bunch of preliminary thoughts, so not extremely detailed, but enough to get me started and get me thinking.
I came home and got to tell my mum a little bit about it. She told me that it's good and I should pick up a Cheena instrument, since that's where my roots are. It's funny how I'm only picking up interest now. Lots to think about. I'd say that my dear TC has a big part to play in that. Thank you, love :)
