As part of my learning journey in the Xiao and Shakuhachi, I've found Master Winson Liao's videos to be helpful in breaking down common beginner mistakes and misunderstandings. Thankfully I have sufficient proficiency in Mandarin to benefit from these videos. I believe his detailed analysis and explanation can help more learners break new ground so I'll attempt to select some of his videos for interpretation. Do note I had not asked him to verify my interpretations so any errors are purely my own. In addition, for clarity sake, I may make expansions to clarify some points that do not have a direct translation, for example, due to cultural references.
In this video, the topic is on how to switch from U mouth piece (used in Xiao) to Tang mouth piece (used in Tang Xiao and Shakuhachi). Enjoy the video.
00:00 - Now we'll talk about what to look out for when switching from a U mouth piece to a Tang mouthpiece.
00:10 - I'll use this mature madake (Taiwan) Tang Xiao in E to demo. Initially I had wanted to keep this piece but am letting it go, so this video serves as a personal record and also as sound test (for the buyer).
00:25 - Those playing U blowing edge are used to a narrower width for blowing, thus the embouchure is kept more rounded. Another habit is to have the upper lip protruding over the lower lip, which is quite typical for players of the Northern Xiao. This is not a natural position for playing Tang Xiao. Both habits are taboo.
00:58 - These habits limit/tighten the blowing. Another point, is that the cheeks are tensed up which becomes a barrier towards playing the Tang mouth piece. The Tang embouchure is essentially a lot simpler: rest the lips together. You can blow at your hand to test, the landing spot should be on your palm. Your nose should be in line with the second segment of your middle finger, and the breath will hit the palm.
01:42 - The degree of focus or width can be fine tuned. This palm exercise is to simulate for own observation.
01:49 - Next, when placing the Tang Xiao to the mouth, align the flat edge to the middle line between the lips. Firstly pick it up and do the alignment horizontally, then tilt the bell/tail of the instrument downwards.
[A mirror can be a good aid]
02:25 - Another thing to note, touch the upper lip to the edge. This touching provides 3 sets of information:
1) the lateral position (left-right) of the mouth piece relative to the lips
2) the vertical position (up-down) of the mouth piece relative to the lips
3) the lateral slant position (roll axis) of the mouth piece relative to the lips
02:18 - When you align the flat edge, ensure both corners of the edge are in contact with your lips. For lateral positioning do likewise and sense it for yourself.
02:33 - While you are performing, you can also do a brief check-in using this method. When you get an optimum tone, check-in also to recognise the position. Do it regularly. This will help cultivate accuracy in positioning of the instrument with the body.
02:58 - The consequence (of natural, relaxed embouchure) is that your breath utilisation can then be natural, unobstructed, and smooth.
03:08 - Pay attention to having a natural, relaxed embouchure, then you can enter a state of Zen via the Tang Xiao. This is crucial. If you use a tight, tensed embouchure, then it will be very difficult, you'd be far from the Path. Because it's too deliberate, too fixated. So we need to "put it down" (let go); let go of our mind, body, breath.
03:35 - When we're blowing, the first key factor is fixing/stabilising the position: the flat edge is aligned well with our lips (as described earlier) before bringing the bell/tail end downwards forming an angle of between 25 to 30 degrees away from our body.
For U mouth piece, the instrument can be tilted higher. For Tang mouth piece, lower it.
The Tang blowing edge is already cut at a slant of 22.5 degrees, so you can tilt the instrument more sharply.
4:08 - Just blow out directly. The blowing edge is straight/flat, so to achieve a fuller sound you can laterally shift the lower jaw a bit. It will help widen and shape the aperture more flatly.
4:25 - If you use the Song 松口 mouth piece (Winson's innovation), then you can simply open up the lips.
4:52 - You need to listen for the sound quality. It should be open and bright. Breath use becomes very efficient, and you'll be able to play in a more natural, relaxed state.
5:12 - For high register notes, narrow the aperture. As a beginner, practice with long tones. The sound should be flat, like calm water in a pond. This helps to stabilise the tone and your breath. Your mind-body will also settle down.
6:00 - When you switch to higher register, reduce the blowing aperture. It's not done forcefully. It's a gentle narrowing. Just like a water hose, if you pressed the opening, the expelled water will speed up.
6:23 - It's the same for high notes, you want to save energy and sustain its duration.
6:40 - Naturally keeping the lips closer. Another point is that the inner lips should have a guiding effect on air expelled, that is, don't purse the lips which uses only the outer surface to shape the airflow. Just bring the lips closer while keeping the cheeks relaxed.
7:15 - When you do this, air volume can more easily build up within the mouth (the cheek area naturally puffs up). This will introduce different velocity to the air expelled which results in greater resonance. A blend of slow and fast air expulsion will result in more overtones/multi-harmonics.
[This is Winson's theory which some may disagree with]
7:50 - Air flow that comes with diverse speeds leads to resonance.
Slower air speed is used for lower register notes, and higher speeds activate the higher register. It's that straight forward.
8:07 - Of course, we need to be in control of the air speed but priority should be on sustaining stable long tones. Don't be in a rush to play pieces of music. Get the foundation right, that is, stable long notes. Only then is the relationship between instrument and person strong enough to make variations and enhance playing. Your mind and spirit can then focus well on the playing.
8:56 - Once you've established these, and able to play the Tang or Song mouth piece, you can then reach for the "awakened" sound. Through precise and mindful playing, the sound can appear to be reed like. This means the overtones are richer. The embouchure has to be very efficient, very focused, very precise in relation to the mouth piece. In addition, the Xiao has to be very responsive, then you can find the sweet spot. These two types of sound quality are different ("awakened" vs normal).
As a beginner do not strive to achieve this "awakened" sound yet, just focus on establishing stable and clear single tones. Eliminate the "sa-sa-sa" wind-noise as that means wastage of breath, which results in breathlessness.
10:39 - A typical person would have sufficient breath capacity, the key is in air flow control. Just a fine air stream ... playing the Xiao can be slow inhale and exhale.
12:00 - Let your breath be focused on the sweet spot, let your mind and spirit be attentive on the relationship between breath and sound. You can gain much clarity on this, and thus attain an in depth experience of the Xiao sound. This means you've also reached the depths of your own mind/heart.
12:28 - Thus for playing the Tang Xiao, do not rush to learn pieces of music. First, get into the internal workings of producing the tones. Focus on your breathing and how it relates to sounds produced. With eyes closed, feel your lips, feel your breath, feel your sounds. These are inter-related and become an element for reaching a state of samadhi. Your mind can be very clear, undistracted.
There is no short-cut, each step has to be taken concretely on the path. Each step leads further into insights about the sound. Keep going further, don't think you're already the best because there's still a lot more ahead of us.
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