What should I pay attention to when learning flute for beginners?

The basic playing method of bamboo flute (1) Playing posture This is a place that we can easily ignore ... I picked up a flute and thought it was a unique POSS, full of excitement and the mentality of "I have a flute in my hand", but at the same time, I still sucked my milk with my strength and blew out a sound, which made people have an impulse to beat with bricks ... so I still advised. The second is to adapt to the physiological characteristics of the human body, including posture separation potential and sitting potential. When practicing personal exercises and performing solo on stage, the standing posture is adopted, that is, the legs are upright, and the feet are shoulder-width apart, showing a figure-of-eight external form; One foot is slightly in front, the other foot is behind (right piper's left foot is in front, left piper's right foot is in front), and the body center of gravity falls between his legs; The body is slightly to the right (the left flute player is to the left), facing straight ahead, eyes looking straight ahead, head straight, shoulders flat, chest out and abdomen in both hands, naturally drooping; Press the first, second and third holes of the flute with the belly of the first finger of the ring finger, middle finger and index finger of the right hand, put the thumb under the flute body (that is, between the index finger and middle finger), and gently press the flute body with the little finger; Press the fourth, fifth and sixth holes of the flute with the first pulp of the ring finger, middle finger and index finger of the left hand respectively, and hold the thumb slightly above the index finger at the lower end of the flute body (subject to comfort and relaxation); The little finger also gently presses on the flute body, so that the flute body can be held by the little fingers and big fingers of the left and right hands. When playing Qu Di and the big bass flute, you can also hold the flute with the lower end of the third section of your left index finger against your thumb and little finger. In this way, when holding the flute, the flute will not shake even if the three holes of the left hand are open when the right hand is flying. Sitting posture is generally used in ensemble and accompaniment. Sitting posture requires the upper body to be consistent with the standing posture, and the height of the chair should be moderate, which does not hinder playing and breathing. You'd better not cross your legs when sitting. Only when your legs are naturally separated can you sit safely. (2) Breathing breathing is a normal activity of human physiology, inhaling oxygen and expelling carbon dioxide. The correct breathing method is very important for the player. If you don't play the flute properly, it will affect your health. This method correctly conforms to the natural laws of human physiology, which can not only play a good role, but also exercise the vital capacity of the performer, so that the human body can get more oxygen, promote blood circulation and enhance the ability of metabolism. The movement of abdominal muscles and diaphragm can promote gastrointestinal peristalsis, enhance food digestion and promote human health. The physiological mechanism of breathing is realized by the rhythmic expansion and contraction of the chest and the passive expansion (inhalation) and contraction (exhalation) of the lungs caused by it. The form of respiratory movement, which is mainly rib movement, is called "chest breathing", which mainly relies on the movement of intercostal muscles in the middle and upper part of the chest to suck air into the chest. Its obvious feature is that the shoulders are lifted upward, and the breathing movement is mainly carried out in the chest. When inhaling, the diaphragm retracts a little, which can't actively help the breathing movement and affect the downward expansion of the chest volume. Because chest expansion is limited by ribs, the inhalation volume can not reach the maximum inhalation volume of the human body. In addition, lifting the shoulder makes the upper muscles tense, which is difficult to control when exhaling, and it is easy to make people nervous and tired. The form of breathing movement mainly composed of diaphragm and abdominal wall muscles is called "abdominal breathing". It is characterized by the outward expansion of the whole abdominal cavity (including "small belly", also known as Tian Chan). The abdomen is not surrounded by bones, so it has a large expansion range and a large inspiratory volume. However, due to insufficient chest movement, the whole abdominal viscera moves greatly, inhaling in the lower part, and exhaling is more laborious, which is easy to make people tired. At the same time, using the lower part of the chest and the upper part of the abdomen to perform main breathing is called "chest-abdomen breathing", which is a conscious expansion of human breathing in the natural state. When inhaling, the lower part of the thoracic cavity and the upper part of the abdominal cavity expand around at the same time, and the diaphragm between the thoracic cavity and the abdominal cavity sinks at the same time. With the movement of muscles, the nose inhales and air enters the lungs. When inhaling, the muscles of the lower abdomen (abdomen) contract at the same time, which makes it inconvenient for the abdomen to expand outward and allows the gas to be absorbed in the upper abdomen and lower chest. When exhaling, the muscles of the lower chest and upper abdomen contract at the same time, and the diaphragm pushes upward, while the muscles of the lower abdomen and buttocks and even levator ani are in a contracting state, so that the inhaled gas forms pressure and is continuously blown out from the mouth. Began to understand the method of chest-abdomen breathing. You can lie quietly in bed and carefully ponder the method of normal natural breathing, and then take a deep breath. Only in this way can we correctly grasp the essentials of thoracoabdominal breathing. The breathing during playing is different from the usual breathing. Because of the large amount of inhalation during performance, people usually inhale through the nose and mouth at the same time to speed up. Inhalation can also be divided into slow inhalation and fast inhalation. Generally, before the music starts and in music with slow playing speed and beautiful melody, you can use the method of slow inhalation. It is required to inhale fully, but don't inhale to the limit that you can't inhale any more, so as to avoid muscle tension and uncontrollable performance. Fast inhalation is generally used between happiness and continuous exhalation without ventilation signs (commonly known as "stealing inhalation"). The inhalation time is long or short, and the muscle tension is large or small, but the inhalation method is chest and abdomen. Exhale is not naturally exhaled from the two nostrils and mouth when playing, but is blown out from the "air door" controlled by the mouth (the gap between the upper and lower lips, where the breath passes), so the pressure formed by the contraction of the chest and abdomen muscles and the strong control of the cheeks and lips (also known as "mouth strength" and "mouth strength") make the blown breath (also known as the old wind U) even, moderate and stressful. Don't exhale until you can't breathe again when playing, so as to avoid muscle tension and trembling. Instead, leave two minutes to breathe in quickly next time, so that the music can be played naturally and coherently. In order to increase vital capacity and make the breath more abundant, you can insist on long-distance running, swimming and deep breathing at ordinary times. (3) It's really painful for me to play with the mouth shape ... I advise you to find the correct mouth shape in front of the mirror, and only when you get used to it will you find that your damper is wrong ... The mouth shape of playing the flute is directly related to the timbre of the flute. The same flute, the same membrane tightness, and different mouths have completely different timbres. Flute is played by air, so the path of breathing and inhaling is required to be unobstructed first, which includes relaxing and opening (that is, opening) the neck, throat and mouth when blowing and inhaling, aiming at the upper and lower lips as usual, so that the "valve" (that is, the air gap between the upper and lower lips) is located in the center of the lips, and the cheeks and corners of the mouth are close to the middle of the "valve" to make the "valve" oval. The upper lip leans forward slightly, so that the "breeze" blows down into the blowing hole slightly in the middle of the lower lip and covered by the lower lip for about a quarter. In this way, the airflow formed by the contraction of the chest and abdomen muscles is blown out through the open throat, mouth and the "air door" that feels mellow. In addition, other incorrect methods should be avoided, such as pulling back the corners of the mouth (such as smiling), tightening the muscles of the lips to both sides, making the "valve" flat and narrow, and at the same time causing the mouth to compress back and forth, the throat to be tense, and sometimes the throat to ring, so that the air blown out is the "mouth wind" that is squeezed, exploded and flattened. Compared with the correct method, the airflow blown out by the former is like a fully opened faucet with large diameter and large flow rate, and it is full of solid water. The latter is like a flat water pipe. When the water flows out of the faucet, it is held against more than half of the faucet. When water is squeezed and sprayed, it hisses and splashes everywhere. Although the speed is fast, the flow is small. The flute played by the former method is bright, firm, round, low in noise and low in pronunciation (measured by frequency meter, playing the same flute is about 10 minute lower than that by the latter method, which is of great use for the change of practice intensity and pitch control in the future). The flute played by the latter method is dull and sandy, with many noises and high pronunciation. The principle of flute pronunciation is that the air column blown by the "valve" is cut by the edge of the blowing hole, which excites the air in the pipe to vibrate and make sound. The flute has the correct mouth shape, but it also has a certain angle. Generally, the lips and the blowing holes form a 90-degree right angle. Try to reduce the sound of air leakage after cutting the air hole, so that the air entering the air hole is unimpeded and the flute is full. This requires players to carefully consider the shape of throat, mouth and lips, the quality of timbre and the size of flowing sound when playing long notes, so as to find the best method and timbre. (4) The use of the tongue is born at the bottom of the mouth and consists of striated muscles arranged in three directions. When playing, the movement of the tongue in the mouth has various effects on the pronunciation of flute. The different contraction and extension of the striated muscles of the tongue make the tongue bend and extend in all directions. When playing, due to the alternating contraction and extension of the tongue striated muscles, the tongue and the upper jaw are sometimes close to each other and sometimes far away, which acts as a "switch" for exhalation, producing intermittent musical effects of exhalation and flute playing, such as spitting, overlapping and so on. When the tip of the tongue is relaxed, the impact of qi and the elastic movement of the upper jaw from time to time make the flute sound "broken", such as tongue sound and elastic sound. When the tongue is not in use, it should be naturally relaxed in the lower part of the mouth to open the mouth and increase the passage of airflow. (5) Coordination of breathing and mouth shape and control of breathing. To make a beautiful flute sound, you need a correct breathing method and mouth shape. Playing the high notes, low notes, strong notes and weak notes of the flute needs to match the changes of breathing and mouth shape. In the performance, the first thing that comes into contact with is the coordination between the slow blowing (flat blowing) and the fast blowing (super blowing) of each pronunciation hole (including barrel sound) of the flute and the mouth shape. When playing the flute with the lowest pitch of seven, use the method of slow blowing (flat blowing) from the full press of the drum sound to the sixth hole. At this time, the contraction force of respiratory muscle tissue is small, the "damper" is relaxed, and the exhaled airflow is thick and slow and steady. When playing notes that are eight degrees higher than seven notes, use the method of sudden blowing (over blowing). At this time, the contraction force of respiratory muscle tissue is strengthened, and the pressure of qi is increased, so that the "air door" is correspondingly reduced (it feels round, and the mouth corners are closed to the middle instead of using the upper and lower lips to pull and press the "air door" to both sides, thus enhancing the pressure of contraction around the mouth), thus controlling the mouth force of the "air door" to increase, and the exhaled airflow is rapid and powerful. When the pitch is more than two octaves higher than the pitch, on the basis of sudden blowing (over blowing), the contraction of respiratory muscles is strengthened, the mouth strength is further strengthened, and the flow rate of "mouth phoenix" is accelerated. Beginners can start with the basic practice of playing long notes, starting with the lowest wind note, playing note by note, and playing note by note until the highest note. Pay attention to the correct posture, breathing method and mouth shape, so that every voice is even, full and loud, and avoid trembling and high and low. When blowing treble by sudden blowing (over blowing), we should pay attention to the changes of exhaled airflow speed, mouth strength and tone, so that the treble can be blown accurately and the timbre is bright and firm. Whether the sound is accurate or not, we must first have the concepts of pitch and interval (listening ability), and we should strengthen solfeggio training at ordinary times. The mouth force (mouth strength), tone and damper of the flute are constantly changing with the sound level. When playing the bass, the tune should be rough and slow. With the gradual increase of voice, the mouth strength is gradually strengthened, the tune speed is accelerated, and the throttle is gradually narrowed. Therefore, in practice, we must find the corresponding positions of slow blowing, fast blowing, mouth phoenix and sustained sound, because they are directly related to pitch. When the respiratory muscle strength is insufficient, the mouth strength is insufficient, and the mouth wind speed is insufficient, the sound will decrease; When the respiratory muscles and mouth muscles are too tense and the mouth breeze is too big, the voice will rise. Generally speaking, when playing bass, it will be high when rushing; Play high notes, because of lack of mouth power, so low to loose notes. When beginners play, they will feel dizzy and have a sore mouth at first, which is normal. If the breathing method is correct, it will gradually decrease and disappear after a period of training. At the beginning, you can play for twenty minutes at a time, and then rest for a quarter of an hour. Bamboo flute can not only play a strong, passionate and unrestrained tone, but also play beautiful, elegant and infectious music. Breath control is an important part of bamboo flute to express various feelings. It requires the performer to fully, subtly, skillfully and perfectly coordinate the strength of the mouth, the tone, the sound damper and its position change before and after the hole blowing, the volume, the timbre and the pitch when expressing the music content. Their mutual relations and natural laws are as follows: 1. When the mouth shape is strong enough, the volume is strong, the sound is high and the timbre is strong. 2. When the mouth is golden, the volume is weak, the voice is low, and the timbre is soft. 3. When the tone is urgent, the volume is high, the sound is high, and the sound is easy to make noise. 4. When the tone is slow, the volume is weak, the sound is low and the timbre is beautiful. 5. When the damper is large, the volume is large, the sound is high and the timbre is full. 6. When the throttle is small, the volume is weak, the sound is low, and the timbre is slender. 7. The position of the damper is inward (that is, the lip is forward, covering the blowing hole to make the air flow downward), and the volume is weak, the sound is low and the timbre is pure. 8. The position of the air door is outward (that is, the lips are backward, leaving air holes for the air to flow forward). Loud volume, high voice and noisy timbre. The requirements for breath control are: 1. The volume can be turned up or down. 2. The pitch should be strong but not high, and weak but not low. 3. The timbre is strong but not noisy, weak but not empty. Knowing the above eight relationships, we must meet the three requirements of breath control: 1. The mouth is golden, the mouth is slow, the air door is big, and the air door is located inside, so that the volume is strong, the timbre is not noisy, and the sound does not rise. 2. The mouth is strong, the mouth is urgent, the throttle is small, and the throttle position is outward, so that the volume is weak, the timbre is not empty, and the sound is not reduced. Beginners should first play the volume and timbre of the flute, adhere to the most basic long tone training, and don't rush to practice breath control to avoid distraction. After mastering the basic playing methods and having some luck, practice breath control step by step. There are several reasons for the inaccurate pitch when playing the flute: 1. Poor hearing and poor concept of intonation; 2. Unskilled playing skills; The flute itself is not accurate. If it is a problem of listening ability, we should first learn solfeggio and improve our ability to distinguish pitch. If the playing technique is not too difficult, we should strengthen the basic practice. If there is something wrong with the flute, please ask an experienced person to try to repair it. Don't dig flute everywhere without knowing the reason. (6) Playing the finger flute requires holding the flute with both hands, opening the finger hole and making different sounds. Therefore, in order to make every finger flexible and able to move independently and cooperate with each other for a long time, strict training is needed. When playing, relax your arms and hands and bend your fingers naturally. Gently cover the Yan Di hole with the middle part of the first finger pulp (the diameter of the small flute is small, and the hole spacing is close, so it is more appropriate to press it with your fingertips). When opening the sound hole, don't lift your fingers too high, about one to one and a half centimeters away from the finger hole. Fingers are too high to move quickly, which affects the playing speed; Too low a finger will make the pitch lower, the volume lower and the timbre dull. Finger sleeve should tightly close the sound hole without water leakage, but not stiff. When the finger holes are opened and closed quickly (vibrato) and closed continuously from top to bottom (when playing the calendar), the pronunciation holes should be tapped. At this time, you can hear the basic sound (bass) with the same pitch as when playing without playing the flute. Usually, you can also train the relaxation and hitting actions of all joints of your fingers (especially the third joint) without holding the flute. The frequency changes from slow to fast, and the faster it is, the more relaxed and flexible it should be. The ring finger is generally the most inflexible and needs more training. When the little finger is not in use, gently stick to the flute body, and don't use the little finger to help other fingers. In this way, when you play all kinds of vibrato and decorative sounds in the future, you can use them easily and smoothly.