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 blowhole on the lower edge of the lip and aim at the blowhole.
Blow. 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.
The use of the tongue
Tongue is a complex composed of crisscross muscles. Its different movement modes in the oral cavity have many influences on the flute sound. In particular, it plays the role of "switch" in exhalation.
The movement of the tongue in the mouth depends on the contraction and extension of the tongue muscles. When the transverse muscle contracts, the tongue body thickens, the tip of the tongue moves backward, and the oral volume increases accordingly; The function of longitudinal muscle is opposite to that of transverse muscle, and its contraction can change the tongue body.
Flat and loose.
The different contraction and extension of the longitudinal and transverse muscles of the tongue can also bend and extend the tongue in all directions. In the process of playing, the tongue and palate alternately contract and expand, so that the tongue and palate are sometimes close and sometimes far away, resulting in intermittent exhalation.
When it continues, it produces a musical effect of playing separately. When the transverse muscle contracts, the tip of the tongue is impacted by exhalation, and it can also make a rapid and continuous shaking action in the mouth to interrupt exhalation, which can produce a "bead-like" feeling
Broken sound effects. In order to save muscle energy, tongue movement should be carried out under the condition of relaxation and elasticity. Any abnormal tension in the tongue is very harmful.
blow
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. Breathe correctly (consistent with life)
In addition to the needs of playing, it can also increase the vital capacity of the performer, thus expanding the transaction of qi and blood, promoting blood circulation and vigorous metabolism. The movement of diaphragm can also promote gastrointestinal peristalsis and enhance digestion.
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 ribbed branch
The tensile force of brace and intercostal muscle 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 mainly depends on 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 and elastic, and the stretching range is relatively large.
It's huge. 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, only when playing short phrases and breathing quickly or exhaling strongly.
More applicable.
The combined use of the above two forms of breathing is called thoracoabdominal breathing (mixed breathing). The whole respiratory system actively participates in this kind of breathing, so the gas inhaled into the lungs is more than the above two kinds of breathing, and inhalation is based on
After that, there is a feeling of breath in the middle and lower parts of the chest, abdomen and waist (although 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 whole respiratory system
The coordinated work of the system reduces the load and fatigue of each system. 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 dilated lung is lower than that in the air because
In this way, air is continuously sucked into the lungs. This is the first stage of breathing-inhaling.
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.
Up, a lot of air is stored below, but the upper part of the chest feels more relaxed. Playing ball under such circumstances can effectively play the control role of abdominal muscles, lumbar muscles and diaphragm. When inhaling, don't do it in the chest and abdomen.
Squeeze, don't raise 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, a cold air will immediately enter the chest and abdomen.
This feeling. At this time, the inhalation mode and gas storage position are more correct. This inspiratory movement can also be realized accurately when we take a deep breath, such as taking a deep breath after strenuous physical activity and smelling the fragrance.
Take a deep breath when smelling the fragrance, and take a deep breath quickly and forcefully 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, abdomen and lungs are subjected to this pressure, the volume will increase.
Accordingly, the air pressure in the reduced lung lobe is higher than that in the air, so the air in the lung lobe is continuously discharged from the body. This is the second stage of breathing-exhalation.
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 ("keeping" in vocal music). Play response
Basically keep this state). 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.
If you master the correct inhalation method and find the exact location of gas storage, you can also inhale deeply, but after blowing a few squares or even a few beats, you will soon feel that your breath is not enough and your mouth is dry. This is due to calling
When qi is flowing, abdominal muscles, psoas muscles, diaphragm muscles and intercostal muscles are out of control. Like a balloon, there is a lot of gas in it. When the hole is loosened, it is deflated. Therefore, we should also master the control of exhalation.
Experience the control of exhalation. On the premise of keeping the abdominal muscles, lumbar muscles and diaphragm in the inspiratory state, first exhale a little inhaled gas to relax the chest a little, then start breathing slowly, exhale carefully and intensively, just like blowing.
Walking is like a piece of tea floating on a cup of tea, barking all the time. At this time, the abdominal muscles, psoas muscles, diaphragm muscles and intercostal muscles are contracting. After training and consciously using this ability, you will basically master the control of exhalation. Play (a wind instrument)
Exhale can be divided into two types:
① Yang (slow blowing): When playing, the air speed is slow and steady, and the air flow is slightly turbulent. Respiratory muscle tissue is less contractile and more relaxed.
② Overblowing (sudden blowing): When playing, the airflow speed is fast and powerful, and the airflow is slightly thinner. Respiratory muscle tissue has greater contractility, so it is harder.
Counting from the drum sound, the basic seven notes of the flute belong to the flat blowing sector, and the octave above the basic seven notes of the flute belongs to the blown sector. When you play, you should pay attention to the fact that the amount of inhalation cannot reach the limit, and you can't inhale so much every time. We should inhale according to the specific requirements of the length, height and strength of the phrase.
Similarly, the exhalation during playing should not reach the limit, but should be ventilated when there is still some gas in the lungs. Otherwise, not only the ventilation is not easy to be rapid when playing, but also the health will be affected by chronic hypoxia.
In the process of breathing, it is extremely important to keep the respiratory tract unobstructed, which is also very important for the correct use of breathing.
Flute 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). The flute ends to the right,
Left foot 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 your flute with both hands.
Pipe, elbow drooping naturally. Place the water spray hole upward (don't tilt inward or protrude too much outward) 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 in the direction of the flute tail, and 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 flute reform, from performer to learning all kinds of flutes, from participating in ensemble to realizing unification, etc.
From the point of view, it is best to hold the flute on the right. 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.
Say, if you are the flute player on the left, make a reverse understanding. 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 thumb of the right hand refers to the abdomen and is held under the flute (about the first)
Between the third and fourth holes), the tip of the little finger sticks to the flute side and cooperates with other fingers, rising and falling from time to time. The fourth, fifth and sixth holes of the ring finger, middle finger and index finger of the left hand are opened and closed in turn, and the left hand
The belly of the first 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, and the fingertip of the little thumb is also attached to the flute side, which cooperates with other fingers and 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.