Flute fingering

I just learned it recently. I believe there are many friends who want to learn this skill. I will share my self-study experience in the hope that it will be helpful to all the enthusiasts who want to learn this skill.

First, let’s take a look at the definition: Use the remaining air in your mouth to blow the flute while inhaling through your nose! Then pick it up! Squeeze——Inhale——Continue. Actually, it’s just three steps!

Look at the first step of squeezing in to blow the flute. This can be said to be difficult or simple. For those who have a correct understanding of the oral style and a certain degree of breath skills, it can be done with almost no practice. The key is that the size and angle of the damper cannot be changed. Some people may use their lips to help blow the sound and feel that the remaining air pressure is not high enough (I have made such a mistake. Self-study, it is normal to make mistakes). Obviously this will Change the blowing (angle, intensity), so that the sound will become quieter the more you blow. In fact, as long as you use any part of the mouth to make a slight squeezing movement, you can play the flute smoothly without changing the tone of your mouth (bulging your cheeks, pushing your tongue forward, squeezing your chin back, and lifting your Adam's apple - ---In short, everything works! It has been tested!) In a word: Everything will be OK if your tone remains unchanged!

Look at the inhale again! The flute player certainly knows how to inhale! I will only mention one detail: when breathing is synchronized, when the inhaled air enters the mouth, there is often a clear "pop" sound in the back of the mouth. Or called gas bumps. This is because the mouth is in a relatively high pressure state at this time, while the air pressure in the nasal cavity is lower. The moment of intersection will cause the intersection to vibrate, so you will feel a "bump". The root of the problem lies in the pressure difference, and the solution is naturally there! If the pressure in the mouth is higher, we can squeeze air first and then inhale (of course, what I am talking about here includes pressure. The time difference between squeezing and inhaling is immeasurable and varies from person to person, so you can control it appropriately). This time difference is very small. Yes, almost all it takes is one first and one last!

This second step is very critical. I think all those who have failed in self-study probably gave up because of this problem!

Finally, you just need to catch your breath and continue blowing!

When practicing, it is better to play the flute in the keys of D, E, and F. Fully open hole, because I found that the best sound produced by any flute is this low #4!

In fact, all this does not take as long as some books say. Two hours is enough to learn to play the long tone loop!

By the way, let’s talk about application. The currently popular looping tunes are probably as follows: 357, Partridges Flying, Qinchuan Expresses Love, Spring Dawn on West Lake, Orchid Meets in Spring, etc.! I had just learned to play a long note and I couldn't wait to play partridges flying. In fact, what I played was a bunch of things that I couldn't even recognize! Because when I was breathing, what I was thinking about was not the music score or how to move my fingers, but how to move my mouth. How could I do two things with one mind, so I practiced until I didn’t need to use my brain. When you think about how to make a loop, you can blow the partridge and fly! Also, I think the cyclic ventilation in Qinchuan Shuhuai is more difficult. The lips should not be tense at all, and you have to use the strength of the abdomen when squeezing! Or just play with a long note!

I have gained a lot recently. In the process of learning cyclic ventilation, I naturally relaxed my mouth and maintained the angle of my mouth in order to unify the tone volume. After a period of time, the bass became thicker and the treble made great progress. People who listen to me playing the flute face to face don’t feel that the high pitch is too loud. These are the biggest gains. If everyone comes to practice, they will definitely learn it! I have given up countless times, maybe as long as I have a flash of inspiration, I will be able to do it! Once you practice, you will gain something!

The pronunciation of the flute, the pitch, strength, length, hardness and softness of the sound are closely related to the "luck" during playing. We call this kind of luck work "qigong", which means that if you want to play the flute well, you must work hard on "luck".

In daily life, the time for us to exhale and inhale is roughly equal. When playing the flute, we need to take a deep breath, which means using the diaphragm (located between the lungs and the abdomen), that is, the combined thoracoabdominal breathing method. . It is best to use a combination of mouth and nose to ventilate.

Focus on the mouth, that is, slightly open the two corners of the mouth to inhale, so that the inhalation is faster. When exhaling, you should use the control capabilities of your chest muscles, abdominal muscles, and diaphragm to allow the breath to be exhaled evenly and rhythmically. Beginners should consciously pay attention to their breathing methods from the beginning, and do not violate the normal breathing movement rules, otherwise it will affect their performance and be detrimental to their health. Generally, beginners are good if they can spit for 10-15 seconds in one breath

Luck is very important for players. It is the basis for beautifying the timbre and controlling the strong, weak, long, short and various emotional changes of the sound. In order to master the correct "luck" method, you can combine playing long notes and do the following two exercises:

1 Inhale slowly and exhale slowly - take a deep breath and blow a long note. When inhaling, you need to inhale enough without making a sound; when exhaling, you need to be even, steady, long and effortless. Therefore, when you exhale, the breath has not been finished yet (leaving about one-fifth of it, when the lower abdominal diaphragm is still under control). That is, you should take a second breath. The movement of the chest must be consistent with the movement of the diaphragm and abdomen. Otherwise, the airflow entering the mouthpiece will not be smooth, and it is easy to cause air leakage from the corners of the mouth, screams, and unpleasant tone.

2 Breathe in quickly and exhale slowly—this is the most commonly used breathing method when playing the bamboo flute. The shorter the inhalation time, the better, because the time allowed for inhalation during the progression of the piece is very short.

Luck is very important for players. It is the basis for beautifying the timbre and controlling the strong, weak, long, short and various emotional changes of the sound.

In breathing luck, you should pay attention to avoid mistakes such as shrugging your shoulders, tightening your abdomen, and pushing your belly out. You should also pay attention to the control of weak sounds.

A few mistakes to avoid when it comes to breathing luck:

①Shrugging. When inhaling, raise your shoulders so that the breath is very shallow and can only be drawn into the chest. Inhale in this way, tightening your chest. The lack of strong breath support during performance not only makes the tone tight, but also makes long sounds unsustainable.

②Tighten the abdomen. When inhaling, you mistakenly contract the lower abdomen forcefully inward. As a result, the breath can only be inhaled to the upper chest, causing the chest muscles to press against the ribs, causing the breathing to lose elasticity.

③Put your belly up. When inhaling, the lower abdomen pushes out like a drum, and the abdominal ribs are pulled down. Because the breath is inhaled too deeply, the chest and abdominal muscles are tense, causing the breathing to lose elasticity.

Therefore, to play the flute well, you must master the correct breathing, luck and other methods

Cyclic ventilation of long notes and melody

This kind of cyclic ventilation It is the basis and premise of all cyclic ventilation. Without mastering this ventilation method, the other two types of cyclic ventilation cannot be learned.

Circulating ventilation is difficult to learn. When you first practice, in addition to studying hard, you also need to carefully look for patterns and breakthrough points. What is so difficult about circulating ventilation?

On the surface, it seems to be the word "ventilation", but in fact it is difficult to "circulate" during ventilation. The breakthrough point for continuous breath circulation lies in "exhalation" and "inhalation". When comparing exhalation and inhalation, it is mainly difficult to inhale while exhaling. It can also be said conversely, it is difficult to inhale and exhale at the same time. Analyzing further, when exhaling at the same time as inhaling, where does the air come from? Does it come from the chest, abdomen or mouth? Of course it is the oral cavity (mandibular), so while inhaling, exhaling the air stored in the mandible is the most critical point of the circulation ventilation method.

When practicing long-sound cycle ventilation, first retract the tongue (root of the tongue) inward (back) to make the throat cavity form the shape when pronouncing the "Ou" sound. When you pronounce this sound, your lower jaw will inevitably expand outward (downward), the throat cavity will also expand, and the space in the mouth will be round and large. The application of breathing is similar to the "cheek puffing method". Whenever you are about to finish blowing a breath (leaving about one-third of it), draw back your tongue (base of the tongue) and store the breath in your throat. At the cavity (lower jaw), try to increase the amount of air stored in the throat cavity, and then inhale quickly through the nose (when inhaling, draw the lower abdomen inward and lift the air upward). Remember, while inhaling through the nose, the lower jaw contracts upwards (the tongue naturally extends forward), so that the stored air can be pressed out according to the needs of the music with different pressures of jaw contraction, blowing the flute and keeping the sound of the flute. Continuously. After taking the second breath, you should quickly take it in, so that the flute sound will continue through repeated cycles.

When starting to practice, you can first practice playing the three notes "1", "2" and "3" in the lower octave (i.e. flat blowing) with the Qudi. After you have mastered it to a certain level, you can then practice other or change to bangdi or alto flute for practice.

The practice can be divided into the following three steps:

The first step: practice storing and exhaling. First, use your lower jaw to store the air and exhale it, and then blow the flute. The method is:

1. Contract the base of the tongue inward (backward) to form the shape of the sound "Ou", and store the Qi in the lower jaw.

2. Contract the lower jaw upward (the tongue naturally extends forward) to release the stored air pressure and exhale. The most important point at this time is to maintain the shape of the mouth when playing the flute. The damper cannot change or shake. Otherwise, the flute cannot be played. The longer and louder the sound is, the better.

Step 2: Based on the completion of the first step, add inhalation through the nose. Note here:

1. Inhale quickly, break down the exercises one breath at a time, and do not rush to perform them continuously.

2. You must inhale through your nose while exhaling (blowing) (that is, breathing in through your mouth and nose at the same time). This step is more difficult, but as long as you lay the foundation in the first step, it is easy. mastered.

The third step is to practice continuously in a loop. The key to practicing this step is to inhale the air through the nose, transfer it to the lungs, and then exhale it. At this time, the nose and mouth need a connection conversion process. During this transformation, there is often a trace of discontinuity, which is a common problem encountered by beginners. To solve this problem, you must pay attention to the following during daily practice:

1. Don’t be too tense throughout the body, especially the mouth and nasal cavity, and consciously relax.

2. Strengthen the control of the lower abdomen (dantian) to reduce the control and tension of the oral cavity.

3. When you are first practicing, when you switch between blowing and sniffing, you can narrow your breath to make the sound weaker, and slowly complete the switching process.

4. During the transition between the two movements (inhalation and exhalation), the head and upper body should try not to move and should remain stable.

As long as you pay attention to these aspects and practice carefully, you can quickly break through this level.

It is best to practice on the flute on weekdays, but you can also practice without a flute. The method is:

1. Lift one hand (either left or right) and practice breathing with the palm of your hand facing the damper (mouth). Rely on the feeling of the palm of your hand to measure whether your and my Qi are concentrated. No interruptions.

2. Use the circulation ventilation method to practice blowing out lamps (candles). Make the lamp swing but not extinguish it to measure whether your luck is consistent and even.

3. In the past, when folk artists practiced the breathing method of suona, they often inserted a small hollow stick into the water to practice blowing, causing the water to bubble and roll continuously to practice blowing and sucking. Continuous conversion. Although this method is not suitable for the flute (because when playing the flute, you have to constantly change the intensity, angle and shape of the mouth), it is still advisable to practice breathing movements.

During the practice, you can gradually increase the distance between your mouth and the target object (lamp or hand) from closer to farther to measure whether your gas volume increases.

When practicing and using this technique, you should pay attention to the following points in summary:

1. Inhale quickly.

2. When the second breath is taken, it must be consistent and even, not sometimes more and sometimes less, sometimes slow and sometimes urgent.

3. When playing, the light can be slightly lowered, but not straight up. This allows the larynx to expand forcefully to increase control of the mouth and larynx.

4. During the process of ventilation, the lower abdomen should always maintain control and should not be loose to avoid losing control.

5. The body should be stable and should not shake up and down, forward and backward.

6. In order to make the flute sound soft and pleasant, and to facilitate ventilation, when encountering long sounds, you can use the base or lower virtual vibrato (that is, the tremolo) to help