Steps of flute self-study: breathing skills in playing
Breathing in performance refers to the use of breath in performance, and the correct use of breath is very important for playing wind instruments. If the method is improper, not only can you not learn to play well, but it will also affect your health. The correct breathing method (in line with physiological requirements) can not only meet the needs of playing, but also increase the vital capacity of the player, thus expanding the transaction of qi and blood, promoting blood circulation and vigorous metabolism. Diaphragm movement can also promote gastrointestinal peristalsis and enhance digestive function. This can promote people's health.
The form of breathing that mainly depends on the upper intercostal muscle in the chest is called chest breathing. Although the inhalation volume of this method is quite large, the inhalation volume is still limited because the diaphragm is passive. At the same time, due to the support of ribs, the tensile force of intercostal muscles is limited, lacking elasticity and difficult to control. When playing this breathing method, I often feel that my breath is not enough and my pronunciation is not very strong.
Another way of breathing is mainly through the movement of abdominal muscles, psoas muscles and diaphragm in the lower part of the chest, which is called abdominal breathing, also called abdominal breathing. These muscles are flexible, elastic and stretch greatly. However, because the upper intercostal muscle in the chest is passive, the inspiratory capacity is limited. When playing with this breathing method, it is easier and faster to inhale, and it is only suitable for playing short phrases, shortness of breath or strong exhalation.
The combined use of the above two forms of breathing is called thoracoabdominal breathing (mixed breathing). The whole respiratory system is actively involved in the work, so more gas is inhaled into the lungs than the above two breathing methods. After inhaling, the middle and lower parts of the chest, abdomen and waist feel full of breath (although the breath can't reach these parts). Due to the active participation of the diaphragm, inhalation is also easy and rapid. At the same time, due to the coordinated work of the whole respiratory system, the load borne by everyone is correspondingly reduced, and the fatigue is correspondingly reduced. Therefore, it is appropriate to use this breathing form when playing.
The specific situation and process of this breathing form when it is used for playing is roughly like this:
Inhalation: When inhaling, the chest and lower abdominal cavity naturally and obviously expand around. The diaphragm between the chest and abdominal cavity sinks and the lungs expand. The air pressure in the expanded lung lobe is lower than that in the air, so the air is continuously inhaled into the lung lobe. This is the first stage of breathing? Inhale.
After inhalation, the middle and lower parts of the chest and abdomen will swell. The lower end of the lower abdomen is slightly inward. The back waist and hips are slightly raised upward. The navel leans slightly downward. This inhalation, like an inverted thermos bottle, is getting higher and higher from the bottom of the bottle, and a lot of air is stored below, but the upper part of the chest feels looser. Playing ball under such circumstances can effectively play the control role of abdominal muscles, lumbar muscles and diaphragm. Don't squeeze your chest and abdomen when inhaling, and don't lift your shoulders.
To understand the method of inhalation, you can exhale all the gas temporarily stored in the lungs, then pause for a moment, and then inhale after the whole body is relaxed. At this time, there will be a feeling that cold air will immediately enter the chest and abdomen. At this time, the inhalation mode and gas storage position are more correct. This inspiratory movement can also be accurately experienced when taking a deep breath, such as taking a deep breath after strenuous physical activity, taking a deep breath when smelling the fragrance, and taking a quick and powerful deep breath before sneezing. Inhale through the nose, mouth or nose and mouth, depending on the needs of the performance. There should be no noise when inhaling.
Exhale: When the respiratory muscles such as abdominal muscles and psoas muscles contract, the diaphragm between the chest and abdomen will expand, forming a force of adduction and upward push. When the chest, abdominal cavity and lung are subjected to this pressure, the volume will be correspondingly reduced, and the air pressure in the reduced lung is higher than the atmospheric pressure in the air, so the gas in the lung will be continuously discharged from the body. This is the second stage of breathing? Exhale.
Exhale in performance requires controlled contraction of abdominal muscles, psoas muscles and diaphragm, and the breath is delivered to the outside in a controlled way. When inhaling, the larger volume of the chest and abdomen gradually shrinks (in vocal music? Keep? . You should basically keep this state when playing). This can meet the needs of playing music and the special needs of wind instruments for breathing skills.
The strength of controlling breathing in playing always depends on the contraction of abdominal muscles, psoas muscles, diaphragm and intercostal alum. Exhaled breath is always pushed from the bottom up. The circulation of breath is like flying a kite. There is always a string pulling the kite. No matter how high the kite flies above, it is always manipulated from below.
Steps of flute self-study: nine self-study methods
First, if a worker wants to do a good job, he must sharpen his tools first. No matter what instrument you want to learn, having a good instrument is the first step. Take the flute as an example. At first, try to choose an instrument that is labor-saving and has good intonation. Good use of musical instruments will make the practice in the primary stage more efficient, so that the learning progress will not be affected by the factors of musical instruments themselves. In addition, we should also pay attention to: a good musical instrument? Expensive musical instruments
Second, make sure that the learning materials of musical instruments are ready, and you can start learning. No matter what you learn, teaching materials are essential, and so is instrumental music. Determine a standardized and specialized teaching material and then conduct training in an orderly manner.
Third, prepare necessary auxiliary tools, such as mirrors, metronomes, sound calibrators, etc. This is an essential auxiliary tool for self-study flute. You can determine whether your appearance is standardized through the mirror; Stabilize rhythm and speed through metronome; Proofread the basic pitch through the calibrator. These three aspects play a decisive role in the future learning level, so it is necessary to standardize with the help of auxiliary tools.
Fourth, make an exercise plan. Exercise is the cornerstone of progress. For musical instruments, practice is an important guarantee to determine progress and degree. Therefore, if you want to learn a musical instrument well, you must actively make a practice plan and improve your practice efficiency as much as possible within the limited practice time. On the one hand, a fixed practice plan can improve the efficiency of practice, on the other hand, it can also reflect on the effectiveness of one's own practice within a time interval, and check for missing parts.
5. Set the goal of practice. Only when you have a goal can you have motivation. It is a boring process to start learning the basic skills of musical instrument practice. In the meantime, you can set yourself a short-term practice goal. Such as favorite songs. The difficulty should be moderate, neither too difficult nor too simple. On the one hand, it can improve the learning motivation, on the other hand, it can also test the practice effect at this stage with the target trajectory.
Six, listening, singing, music theory to learn musical instruments, in addition to the instrument itself, you should also have certain musical literacy, such as solfeggio, music theory and so on. Enriching the peripheral disciplines of music is also quite effective for the improvement of musical instruments themselves.
7. Seeking a like-minded companion Finding a like-minded companion to study with will be more motivated and inspire each other. It is a blessing to encourage, share and communicate with each other in practice.
8. Correcting mistakes in time self-study is a process of introspection and correction. Because there is no teacher's guidance, it is inevitable that there will be big and small mistakes or misunderstandings in practice. This requires learners to compare in time, such as listening to the model audio and the video that everyone is playing.
Flute learning method
1. Lips close naturally. Hold both ends of the flute with both hands, the flute head with the left hand and the flute tail with the right hand. Place the blowing hole on the lower edge of the lip and blow air at the blowing hole.
2. When the breath rushes out, only a small gap is allowed for the breath to pass through, and an air column is made to blow obliquely below the blowing hole. Its principle is like blowing a pen cover.
3, in order to make the breath rush out of the lips, and the breath is scattered, the muscles of the cheek must try to keep the breath outlet small.
4. The blown sound should be pure and avoid air.
5, practice in front of the mirror, how to aim at the pores between classes, so that the pronunciation position is correct and impartial, so that all the breath becomes a flute.
Flute playing posture
Pay attention to the posture when playing flute, which is not only a matter of playing image, but more importantly, in order to adapt to the physiological characteristics of the player, give full play to his skills and better express the music content.
There are two postures for playing the flute: upright and sitting.
Vertical is the posture of standing and playing, usually used for solo, ensemble and ensemble. The requirement is that when the body is at rest, the legs are upright and the feet are separated in a figure of eight (one foot is slightly in front and the other foot is slightly behind). If the flute tail is to the right, the left foot is slightly forward; The end of the flute is to the left, and the right foot is slightly forward). Under normal circumstances, the body's center of gravity falls between the legs and moves to the left and right if necessary. Keep your waist straight. The chest opens naturally. Keep your head straight Shoulder level. Foresight. Raise the flute with both hands, and the elbows will naturally droop. Place the air hole upward (don't tilt too much or flash too much) in the center of your lips. The flute tube is parallel to the lips and perpendicular to the bridge of the nose, or the flute body and the flute head are slightly inclined to the flute tail, so that the flute head and the flute tail are consistent.
In ensemble or accompaniment, sitting posture is generally adopted.
Sitting on the upper body is the same as standing upright. The height of the seat should be appropriate, and stools too high or too low will hinder normal breathing. You'd better not cross your legs when sitting. Only when your feet are apart can you sit steady.
The direction of holding the flute, that is, right or left, can be decided according to personal habits. It's not bad for the performance. However, from the point of view of flute reform, from the point of view that players and singers learn a variety of flutes at the same time, and from the point of view of seeking unity when participating in ensemble, it is best to hold the flute in the right hand. This is not to say that everyone who is used to playing the left flute should change, but it is suggested that beginners form the habit of playing the right flute from the beginning. This book was told with a flute in his right hand. If it is the flute stand on the left, understand it in the opposite direction.
There are two ways to hold the flute and press the hole.
One is the method of pressing holes in the stomach. That is, the first point, the second point and the third point are opened and closed in turn with the first finger belly, the toe and the index finger (the middle finger is slightly inward) of the ring finger of the right hand; The first section of the thumb of the right hand is supported under the flute body (between the third and fourth holes), and the tip of the little finger is attached to the flute side to cooperate with other fingers, which rises and falls from time to time. The fourth, fifth and sixth holes are sequentially opened and closed by the first finger pad of the left ring finger, middle finger and index finger (the middle finger is slightly inward). The first finger of the left thumb is supported slightly outward between the sixth hole and the membrane hole under the flute body, about one centimeter away from the sixth hole. The tip of the little finger is also attached to the flute side to cooperate with other fingers, and it fluctuates from time to time.
The other is fingertip acupressure. The basic method is the same as acupressure, except that the left hand presses the point with the fingertip. When pressing the hole with the fingertip of the left hand, the finger flexes greatly, and the first pulp of the thumb of the left hand needs to be moved to the lower part between the fifth and sixth holes to support the flute, and the third pulp of the index finger and the palm joint of the finger are diagonally supported on the lower side of the flute. The pressing hole of the finger of the right hand is basically similar to that of the pulp of the finger.
At present, the method of pressing points on the stomach is generally adopted. This hole pressing method makes fingers bend naturally and muscles relax easily, which is especially suitable for playing techniques such as sliding and flying fingers. Of course, this advantage is mainly in terms of Qu Di, Band-Aid and China. Not necessarily applicable to all grooves. If you choose a longer Qu Di, because the distance between sound holes is correspondingly widened, it is impossible to reach your fingers by pressing the holes with your fingertips, so it is more appropriate to press the holes with your fingertips.
The thumb and little finger cooperate with the lower jaw in playing, which plays a role in keeping the flute body stable.