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 many kinds of flutes at the same time, and from the point of view of seeking unity when participating in ensemble, it is better 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.
Because the finger directly opens and closes the sound hole, it can wipe, slide, fly and vibrate on the sound hole, making the flute sound delicate, changeable and unique. This is a feature of China's flute.
Breathing method
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 inspiratory capacity of this method is quite large, the inspiratory capacity 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-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, 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, through the mouth, or through the nose and mouth, depending on the performance needs. There should be no noise when inhaling.
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). 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.
If you have mastered the correct inhalation method and found 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 because the control of abdominal muscles, psoas muscles, diaphragm muscles and intercostal muscles is insufficient when exhaling. 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, and keep breathing like blowing away a piece of tea floating on a cup of tea. 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.
Exhale in performance can be roughly divided into two types:
① Yang (slow blowing): When playing, the air speed is slow and steady, and the airflow 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.
Mouth shape of performance
The mouth shape refers to the mouth shape when playing the flute. Mouth shape is directly related to pronunciation. Only when the mouth shape is correct in performance can we achieve good pronunciation. Mouth control training, like breathing training, belongs to the basic training of playing.
The main forces that control the mouth shape are the muscles of the lips and the muscles of the neck. Therefore, the size and direction of elasticity of labial muscles and facial muscles become the key.
The expansion and contraction of lips are the result of the overall contraction and contraction of facial muscles. Facial muscles communicate with lips through the corners of the mouth. Therefore, when playing, the strength of the mouth muscles is mainly concentrated in the corners of the mouth, not in the center of the lips, and the lips only need proper contraction and support. If the main force is concentrated on the lips, it will inevitably narrow the lip seam and the exhaled airflow will not be full.
The so-called "mouth strength" (mouth strength) refers to the stretching strength of labial muscles and facial muscles when playing. The so-called "damper" refers to the lip hole through which the airflow passes.
Generally speaking, flute playing requires moderate mouth force and balanced mouth force on both sides. Damper should be located in the center of the lip, oval, moderate size, suitable for the blowing hole of the flute. The damper should not be narrow and long. When it is narrow and long, the airflow is difficult to concentrate and full, and it will leak from both sides of the blowing hole, making a sound of "feeding". The position of the upper and lower lips is basically the same, but the upper lip is slightly forward. Open the damper forward (slightly downward). Don't put your lips too far forward, and don't put your lips too far back. If the upper lip leans forward too much, the airflow is downward and the pronunciation is dull; The lower lip is too forward, the airflow is upward, there is no blowhole, and there is no flute sound.
The mouth shape of flute playing is formed under the coordination of lip muscles and facial muscles. The corners of the mouth on both sides are miniature (like a smile) and attached to the gums, and the lips are controlled to extend and move backwards by the power of proper contraction of the corners of the mouth. On both sides of the upper and lower lips near the corners of the mouth, they are folded like jiaozi and wrapped slightly inward, with the middle part slightly protruding. The central part of the lip forms an oval damper. The tongue retracts slightly and naturally lies on the lower palate, and the tip of the tongue seems to touch the lower gum. The larynx between the mouth and trachea opens to the mouth in a trumpet shape, and at the same time drives the upper and lower valves to expand around, so that the mouth expands to a larger volume. When playing, the soft membrane (sponge membrane) on the inner side of the lips will naturally swim forward under the impact of airflow. This mouth shape is the correct mouth shape.
Coordination and change of breathing and mouth shape
When we lift the flute horizontally, the blowing hole is facing the air door, and the lower lip is attached to the inner edge of the blowing hole, accounting for about a quarter of the blowing hole, and the air flow is used to blow forward (slightly downward). A small part of the air flow is scattered along the periphery of the flute tube, and most of the air flow rubs against the sharp edge (transverse wall) of the blowing hole, and then enters the flute tube after making a sound. The vortex movement in the tube causes the air column in the tube to vibrate and produce certain sound waves. This is the sound of a flute.
As the saying goes, "Play the flute for 1000 days and 100 days and 15 minutes". This only shows that flute pronunciation is easier. However, it is not easy to make the length, height, strength and timbre of the flute fully meet the needs of music works. It is necessary for athletes to use the correct methods and practice hard often. One of the most important links is to master the close coordination between breathing and mouth shape and develop the function of coordination between breathing and mouth shape.
The breathing and mouth shape in playing are not fixed. This is the most essential feature of breathing and mouth shape.
The change of breathing is mainly manifested in the amount of inhalation and the priority and thickness of exhalation. The change of mouth shape is mainly manifested in the size of air door, the strength of mouth and the displacement of upper and lower lips. They are all controlled by muscle contraction of related organs. When the contraction force is large, the exhalation is urgent, the contraction force is small, and the exhalation is slow. When the throttle is large, the exhalation is thick, and when the throttle is small, the exhalation is thin. The priority of exhalation is directly related to the pronunciation of the flute. The thickness of exhalation is directly related to the strength of pronunciation. Breathing and mouth shape also play a decisive role in timbre. Strictly speaking, any different pitch, different dynamics and different timbre are obtained through different breathing and mouth shapes.
The so-called "breeze" refers to the airflow exhaled through the damper, that is, the airflow formed by the combination of breathing and mouth shape.
Exhale is divided into priority, throttle and mouth strength are divided into size. As a comprehensive application of breathing and mouth shape, tone contains the content of priority and severity. Players rely on the control of exhalation, throttle and mouth strength, that is, the change of tone priority and thickness, to obtain different sound quality required by music.
(1) pitch difference: the degree of luck is mainly determined by the priority of the tune. Pronunciation with a sharp tone is higher, and pronunciation with a slow tone is lower. Different pronunciations are also related to the direction of tones. A slightly higher pitch and a slightly lower pitch.
Generally speaking, the middle tone of the flute, take "opening three holes for 1" as an example. When playing alto, the tune should be natural and moderate. When playing in the high-pitched area, it is required to have a sharp sound (the air door is small, and the lips are slightly conveyed forward on the basis of a slight backward inclination, so that the airflow is thin and concentrated). When playing the bass zone of 1-5, the timbre is required to be slow (the damper is slightly larger than the midrange zone, the lips extend to both sides of the mouth and move back, and the lower lip clings to the flute body to make the airflow thick and powerful).
Tune is directly related to the accuracy of different highs and lows. When the strength of the mouth muscles, especially the respiratory muscles, cannot meet the pitch requirements, the sound will rise or fall. For example, the weakening of lip muscles, especially respiratory muscles, will inevitably lead to the reduction of sound; Excessive tension of lip muscles, especially respiratory muscles, will lead to an increase in sound.
The pronunciation of the flute is not accurate, sometimes it is the quality problem of the flute itself, and sometimes it is caused by the improper tone of the player. Therefore, if you find that the flute is not accurate, don't start digging the flute hole easily. You should first find out what causes the flute to be inaccurate.
The accuracy of pronunciation is the result of the coordinated movement of breathing and mouth (and of course fingers), and it must be corrected at any time with the help of auditory organs when playing.
(2) Different strength: The strength of sound is mainly determined by the thickness of timbre. Strong pronunciation with thick sound, weak pronunciation with thin sound. Just like using a folding fan to fan the wind, if the whole fan is opened, the fan area will be larger, and if it is folded in half, the wind area will be smaller. So is the damper. If the mouth is wide and the damper is enlarged, the air conditioner will be rented, and the mouth is narrow and the damper is small, so the wind will be thinner. When a thick breeze blows into the flute, the vibration amplitude of the air column in the flute is greater, so the pronunciation is stronger. A thin breeze blows into the flute, and the vibration amplitude of the air column in the flute is small and the pronunciation is weak.
When playing strong and weak notes, we should strive to achieve "strong is not high, weak is not low." Strong and powerful, weak but not empty. "When playing strong notes, the wind is strong, and it is necessary to prevent the gas speed from accelerating; When playing a weak tone, the tone is fine, so as to prevent the gas speed from slowing down. On the premise of keeping the air speed constant, only by making the pitch thicker and thinner (increasing and decreasing the air volume) can the sound with the same pitch and different strengths be played.
The flute body is slightly turned inward, which can overcome the problem that the flute sound often rises when strong sound is played, and the flute body is slightly turned outward, which can prevent the flute sound from decreasing. To be strong but not scattered, it is necessary to strengthen the control ability of the mouth muscles and let the airflow exhale in a controlled and free way. In order to be weak but not empty, we must strengthen the control ability of respiratory muscles and let the airflow exhale gradually like being pulled. After mastering the above dynamics control, it is not difficult to gradually strengthen and weaken the sound.
(3) Different timbre: The timbre of the flute is generally "loose, thick, round and bright". Sometimes it needs to be "flat, narrow and dull". As for the pronunciation of "tight, floating, scattered and miscellaneous", it should be overcome.
From the point of view of playing, the timbre of the flute is determined by the coordination of breathing and mouth shape. Therefore, in order to make the sound of the flute rich and varied, it is necessary to constantly adjust the breathing state and mouth shape. The respiratory muscles contract naturally, harmoniously, forcefully and elastically. The parts through which breathing passes, such as the lungs, trachea, glottis and oral cavity, are relaxed, unobstructed and open, so that the airflow is continuously input into the blowhole from bottom to top, and the air column in the flute tube, flute tube and flute membrane fully vibrates, and the sound presents the characteristics of looseness, thickness, roundness and brightness. However, reducing the contraction strength and elasticity of respiratory muscles, properly tightening and narrowing the parts where breath passes, so that the air flow is limited to a certain extent, and the vibration of the air pole in the air hole, flute tube and flute membrane is limited to a certain extent, thus obtaining a "flat, narrow and dull" tone.
In addition, the timbre is also related to the tightness of the soft membrane inside the lips. The lips are tight and the soft membrane inside the lips is tense, so the timbre must be stiff, dull and noisy. On the contrary, the lip is weak, the soft membrane in the lip is out of control, and the timbre is bound to be loose and complicated. Only when the breathing is completely coordinated with the mouth shape and the soft membrane in the lip is moderately elastic can the ideal timbre be obtained.
Finger use
When the breathing action is coordinated with the mouth shape, you must have fingers to open and close the sound hole to make different sounds. Without the cooperation of fingers, breathing and mouth shape will become meaningless, which shows how important fingers are for playing. It is an important subject to train fingers so that each finger can move independently and cooperate closely, and make finger movements accurate, flexible, rapid and lasting.
Keep your fingers naturally bent and your hands and arms relaxed when playing. Because finger movements are accurate, flexible, fast and lasting, they are obtained when all joints and related muscle tissues of the arm relax.
When opening a sound hole, it is generally not advisable to lift your fingers too high. If it is too high, it will not move quickly, which will affect the performance speed. It should not be too low. Too low will affect the accuracy and volume of pronunciation, making pronunciation ambiguous. Generally, when playing a phrase with faster speed and shorter notes, it should be slightly lower; When playing phrases with slow speed and long notes or some special skills, we should improve them appropriately.
Press the sound hole tightly with your fingers, but not too hard and be flexible. When your fingers are raised, you need to relax quickly.
Finger movement is not a spontaneous activity of joints and muscles, but a conscious activity (conditioned reflex) under the control of cerebral cortex. Therefore, in order to expand the freedom of finger movement, it is necessary to train knuckles and muscles regularly (through etudes, etc. ).
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 make the tongue 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 body and the palate alternately expand and contract, so that the tongue body and the palate are sometimes close to each other and sometimes far away, resulting in intermittent exhalation and musical effects 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" sound breaking effect.
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.
Flute unarmed practice
This unit introduces the famous flute player Yu Xun, who summarizes the methods of practicing flute by hand, that is, the practice of breath, lips, tongue and fingers. My own practice has proved that this exercise method is simple and easy to learn, saving time and effort and getting quick results. Beginners can be effective as long as they keep practicing for half a month. It is indeed an effective method.
Gas training method
The first section: the legs are shoulder-length apart and the knees are slightly bent. The arms naturally hang to the sides, and the nose and mouth inhale slowly at the same time. At the same time, the palms are opposite, and gradually lifted from the front to the chest, and then the arms are pulled left and right to expand the chest, so that the diaphragm is pressed down as much as possible, and the inhalation should be sucked until it can no longer be sucked. After standing still for 2 seconds, exhale slowly. The arms are above the sides, and the palms gradually droop to the sides of the body, returning to the original position. When you want to spit out your breath, you will make a "hiss" sound in your mouth until you can no longer make a "hiss" sound, so as to test whether you really spit out your breath. Suction and spitting were repeated, and 16 times were done.
Section 2: Legs are shoulder-length apart, knees are slightly bent, arms naturally hang down at both sides of the body, nose and mouth inhale slowly at the same time, and gradually press down the diaphragm. At the same time, the palms are opposite and gradually lift from the front to the chest. Then pull your arms sideways and expand your chest. Breathe until you can't breathe any more. Then the palm of your hand looks straight ahead and your arms suddenly straighten forward. At the same time, the contraction function of the abdomen can be used to eject the gas at the fastest speed. It should be explosive, and the faster the airflow, the better. It is best to eject the gas immediately. Repeat 16 times.
The third quarter: the legs are shoulder-length apart and the knees are slightly bent. Tilt your arms left and right to expand your chest, then open your mouth slightly and suddenly inhale a lot of air at the fastest speed. The more, the better. Then, the arms gradually hang down at the sides of the body from the top of both sides, palms down. At the same time, exhale slowly until you spit it out. Repeat 16 times.
The above-mentioned unarmed exercise is very lucky, and the throughput has reached the extreme. Long-term persistence can increase vital capacity, enhance diaphragm elasticity and abdominal function. So you can hold more gas, and with the skill of luck, the gas will be longer and you can use it freely when you play.
Lip training
Section 1: Lip massage. Pinch the muscles on both sides of the upper lip with your forefinger, and rotate "massage" (knead) clockwise or counterclockwise for 8 times. Then press the muscles on both sides of the lower lip with two index fingers, and rotate them clockwise or counterclockwise in the same direction for 8 times before and after rubbing.
Section 2: Close your lips and let your mouth expand, contract, expand and contract again, just like swallowing food. At the same time, open the pharynx and roar department, like making an "ah" sound, but making no sound. Repeat 16 times.
The third section: close your lips and pout, then the corners of your mouth shrink inward and let your lips move back and forth repeatedly. Then the upper lip wraps the lower lip, and then the lower lip wraps the upper lip, alternately. Do the above actions 16 times. Finally, the upper teeth scrape the lower lip and the lower teeth scrape the upper lip, crossing each other 16 times.
Lip training focuses on the flexibility of lip muscles and the adjustment function of the damper (lip) to strengthen the adaptability of lip muscles and oral and laryngeal muscles to music. This is a time-saving, labor-saving and effective method. After a long time, it can freely adapt to the needs of all kinds of music.
Tongue exercise
Section 1: When the upper and lower teeth contact, the tip of the tongue naturally contacts the lower teeth, and the mouth makes a "click-click-click" sound. Four tones are one beat, and 170 beats are repeated once every minute, totaling 8 times (it can be slow or fast according to its own conditions). The position of the tongue moves forward four times and backward four times.
Section 2: Play with vomiting. Close your lips and retract your tongue. Take three tones as a beat and make a "bang Ba Le" sound. Repeat 16 8 times at a speed of 224 beats per minute. Stress is placed on the word "bang", and the word "Ba Le" is the natural curl of the tongue, which is emitted by the root of the tongue.
The third section: the tongue extends out of the mouth and then retracts, circulating 16 times to enhance the flexibility of tongue control in anterior and posterior positions.
Tongue training is a kind of training of tongue function, which aims to strengthen the elasticity of tongue and the flexibility of tongue position control.
Finger training
The first section: the palms are relatively closed, the fingers are straight, and then the hands are placed in front of the thighs and rubbed for 32 times.
Section 2: Keep the natural hand shape, relax the wrist, rotate the wheel back and forth 8 times, do 16 times, and practice with your left and right hands respectively. Then the right palm rubs the left back 8 times and fingers 8 times, then the left palm rubs the right back 8 times and fingers 8 times. Everyone does it four times. Finally, the left and right hands make a fist, then the fingers suddenly straighten out, and so on 16 times (pay attention to wrist relaxation).
Section 3: Finger pulling action: spread out the palm of your hand, press each finger in the direction of the back of your hand, then press it to the left and right sides, and then relax your fingers and return to their original state. Then, throw each finger in a changing way and relax absolutely. The thrown finger is like a broken joint bone, just like a skin connection. It would be better if ten fingers could swing. Shake each finger 32 times.
Finger is the basis of flute playing melody and various techniques. The finger training method mentioned above aims at training the relaxation of muscles, ligaments and hand shapes of all parts of the hand, and is also the functional training of fingers. Especially in the third quarter, we should flexibly pull the finger and gradually increase the range of pulling the finger. Be careful not to increase the amplitude and intensity of finger pulling at once to avoid finger breaking.
Flute playing skills
Due to the relationship between skills and regions, flute playing has simply formed two schools: one is the Southern School; First, the northern school, skills: Nanqu hand shaking, folding, vibrating, playing; Beiqu is good at spitting, sliding, splitting and flowering. So distinguish between different styles of play. Here are some common flute techniques:
Tremolo (tr): For example, the vibrato of 6 is equivalent to playing 67676767.
Virtual vibrato: a kind of vibrato in which the finger does not completely cover the sound hole when shaking (pressing half hole).
Boeing (W): A short trill, also called ripple, which means that the finger jumps quickly above the main note.
Overlap (again): For example, the overlap of 6 is equivalent to 7 17 6. 6 is the tonic, and 7 17 is equivalent to polyphony, which is a decorative sound, also called summoning sound.
Gift sound: the decorative sound appearing at the end of the sound will indicate the pitch of "gift", also called gift-giving sound.
Typing (D): Quickly "tap" the next hole of the tonic with your finger. Also known as leading sound.
Vomiting (TK): The technique of gently spitting with the tip of spit, including single spitting (T), Shuang Tu (TK) and triple spitting (TKT or TTK), is a staccato technique.
Slip: the process of moving between notes is "slip", including sliding up, sliding down and re-sliding. With the help of finger movement, the sound hole is slowly opened or closed, resulting in a singing-like effect (referred to as sliding sound), or with the help of breath control, a soft effect (air sliding sound) is produced.
Cracking sound: similar to the bird's call, each finger rises and falls rapidly at the same time, and with the sudden sound (heavy spitting sound), it creates a special sound effect.
Flower tongue (*): a technique that uses the natural and continuous vibration of the tongue to create the density and graininess of notes.
Calendar sound: rapid scale progress similar to piano arpeggio. When it's fast, it can imitate bird calls. There is a diachronic sound.
Strong sound (>): similar to heavy vomiting, it mainly uses the breath of "shout" to spit out the sound, which has the function of emphasizing the sound.
Pause: obvious staccato, repeated pronunciation with the tongue.
Tongue sound onset: Generally speaking, when playing the first range of Legato or notes without Legato, the pronunciation of the tip of the tongue is moderate (slightly lighter than light spitting), similar to the action when making "Ti" sounds, and these sounds are blown out very clearly and definitely.
Laryngeal sound: similar to the acoustic effect of the flower tongue, but different from the flower tongue is that the drooping uvula vibrates in the throat. The pronunciation is coarse.
Overtones (. ): the sound blown by the same fingering is different from the octave relationship, and the strength is between two octaves, which is an over-blowing.
Flying: A playing method in which one or several fingers (at most three fingers) of a hand quickly wipe left and right on one or several sound holes driven by arm force. Can produce a strong sound breaking effect.
Calendar sound: a sound that rises or falls rapidly step by step from low to high (upper calendar sound) or from high to low (lower calendar sound), which is called "calendar sound". It is required that the fluctuation of fingers should be clear and decisive when playing, so that every sound you experience is very clear and smooth, and it looks like going up and down the stairs quickly step by step.
Abdominal trill (-): Use the strength of the abdomen to control the breath to fluctuate like waves, fast or slow, big or small, so as to express emotional excitement.
Generally speaking, the playing skills of the flute can be summarized into four basic skills: qi, finger, tongue and lip. Qi kung fu is the most difficult to master, and finger kung fu requires cleanliness, average speed and flexibility. Tongue kung fu requires average strength, average granularity, average rhythm and average durability; Lip kung fu must pay attention to the proper performance of the big and small throttle and mouth strength. No matter what skill, as long as you practice it often, you will definitely make perfect. But the most important thing is that flute players must be responsible for the music when using various skills, otherwise it will be superfluous and destroy the original aesthetic feeling of music. This is the proper understanding.