Question 1: How to play the sound of Xun? Pay attention to the mouth shape and the control of the damper. First try to use a pen holder instead, and master the angle and intensity of the sound before blowing the Xun.

Question 2: How to play the plume? I will teach you to play a DJ music first and then run luck from the Dantian, one circle to the Small Zhoutian and two circles to the Big Zhoutian, then stand firm and steady, and keep holding the Dantian with your hands. Stretch one hand forward, straighten the thumb and index finger, and put the three fingers close to the palm. Then follow the rhythm of the music to find the feeling, and then shout "Hey!" Then blow hard immediately!

Question 3: How to play Xun, an instrument like Meteor - one of the important air-blown instruments in ancient times. The earliest Xun originated from the hunting tool of ancient ancestors - Stone Meteor (a kind of spherical missile). In ancient times, they were mostly made of stone or bone. Later, they were gradually made of clay to simulate the sounds of birds and serve as an auxiliary tool for trapping birds. There are many shapes including tube shape, olive shape, fish shape, cone shape, etc. There is a blowing hole at the top. Some of the xun bodies have no sound holes, while others have several sound holes. Most of them are made of pottery. The oldest xun discovered so far is an oval pottery xun with one hole found at the Hemudu site in Yuyao, Zhejiang more than 7,000 years ago. Two pottery xuns found at the Yangshao cultural site in Bancun, Xi'an are more than 6,700 years old. One has no sound hole and the other has one hole. The sound hole can blow out the minor third interval, that is, two tones. About four to five thousand years ago, a two-tone hole pottery xun was discovered in Jingcun, Wanquan County, Shanxi today, and Yijing Village, a suburb of Taiyuan City, which can blow three tones. The development of Xun was after it entered the slave society. More than 20 painted pottery Xuns were unearthed from civilian tombs at the Huoshaogou Cultural Site in Yumen, Gansu Province. They are fish-shaped, with a mouth for blowing holes, and there are three notes on the Xun body. Kong can play four notes equivalent to do, mi, sol and la in the pentatonic scale of later generations, and some can also play the sound fa. The performers have performed abroad and were once hailed as "the most ancient civilization in the history of music." ". The shape of Xun in the Shang Dynasty has been relatively stable, with more sound holes, enhanced pronunciation ability, and greatly improved expressiveness. The five-tone hole pottery Xun unearthed from the Yin Tomb in Liulice, Huixian, Henan, and the set of three pottery Xun unearthed from the Fuhao Tomb in Xiaotun, Anyang, Henan The animal-faced bone xun unearthed from the 1001 Tomb of Heyin Ruins has five sound holes and can play every semitone in the octave. Xun Xun is a unique closed-mouth wind instrument in my country and occupies an important position in the history of primitive art in the world. The origin of xun is related to the labor and production activities of ancestors. It may have been made by ancestors by imitating the sounds of birds and animals to trap prey. Later, with the progress of society, it evolved into a simple musical instrument, and gradually added sound holes, and developed into a melody instrument that can play tunes. Xun utensils in primitive society came in various shapes. For example, the pottery Xun excavated at the Hemudu site in Yuyao County, Zhejiang Province was oval in shape, with only blowing holes and no sound holes. It dates back about 7,000 years. The pottery whistle from the Yangshao Cultural Site in Banpo Village, Xi'an, Shaanxi Province is slightly shaped like an olive, with only one blow hole. It is made of fine clay and is one of the original forms of Xun bk.baidu/view/18570

Question 4: How to play the hand xun? Hand Yun means holding both hands tightly, leaving a slit in the middle of the thumb, and playing it with your mouth, which can produce a sound similar to Tao Yun. The tone is formed by controlling the size of the hollow cries of the hands. You can watch the video on this and try to figure it out yourself. It will be faster to figure it out by yourself than others. After all, the sound you can play is controlled by your own feeling.

Question 5: How to play the Xun instrument? 1. Air-playing skills

The air-playing skills of Xun include long tones, air tremolos, lip vibratos, etc. Among them, long tones are the basis of Xun blowing skills. They must be full and round, loud and smooth without any noise. The common techniques of Xun can be summarized into three categories: air, finger and tongue: including long sound, air tremolo, finger tremolo, labial tremolo, vibrato, glide, articulation, beat, empty beat, and cycle change. There are many kinds of breathing, double exhalation, circulation ventilation, virtual blowing sound, etc. These skills are necessary when playing Xun.

In Xun playing skills, long notes are the basis of Xun breath training. By practicing long notes, you can master the correct breathing method, develop a good playing embouchure, and develop a smooth, full, and pure pronunciation.

Therefore, you must practice for a certain period of time every day. During practice, you can combine the strength and intensity at the same time. The tone must be full and round, loud, steady and without noise.

Air tremolo, also called "abdominal tremolo", is produced by the tremor of airflow caused by the force of abdominal contraction. Air tremolos can be divided into large, small, fast and slow, which should be determined according to the needs of the music content in actual performance. For example, singing melodies should use even and free air tremolo, while passionate, sad and angry melodies should use exaggerated air tremolo, etc. Air tremolo can be used flexibly while ensuring pitch, and is required to be even and smooth.

Labial tremolo is a special undulating sound produced by using both hands to drive the xun body and causing the damper and blowhole to move back and forth quickly. When the Xun body moves backward, the blowing hole becomes smaller and the sound becomes lower. When the Xun body moves forward, the blowing hole becomes larger and the sound becomes higher. This playing technique is often used to express magical and ethereal artistic conceptions.

2 Tongue playing skills

Tongue playing is a common performance technique of Xun. It is suitable for playing warm, cheerful, exciting and lively tunes. The sound is required to be strong, clean and elastic, and the rhythm should be even and steady. Tuyin is a common Xun performance technique. Suitable for playing warm, cheerful, exciting and lively tunes. There are many types of articulation: single articulation (including single external articulation and single inner articulation), double articulation, light articulation, air articulation, lip articulation, etc.

For single outward exhalation (marked T), on the basis of maintaining the correct shape of the blowing mouth, the tongue is naturally upward and slightly attached to the inner edge of the lip. When exhaling, it is quickly retracted, allowing the airflow to rush into the mouthpiece to produce a short and powerful sound. , similar to the sound of "vomit".

For single-injection (marked K), on the basis of maintaining the correct mouth shape, the base of the tongue retracts to block the upper palate. When exhaling, the base of the tongue moves forward quickly, causing the airflow to rush into the mouthpiece and produce a short burst. A powerful sound, similar to the "ku" sound.

Double spitting is a combination of single internal spitting and single external spitting. The speed is twice as fast as single spitting. Its sound is similar to "Tuku" or "Kutu", which is suitable for playing cheerful and exciting tunes. Tonguing requires the sound to be strong, clean, and elastic, and the rhythm to be even and steady.

There is no essential difference between light vomiting and commonly used vomiting, except that the range of tongue movement is short and small, the voicing intensity is weakened, and the sound is light and soft, similar to the "Zu" sound, like the gentle bow of a stringed instrument. Suitable for expressive and lyrical fast music.

Breathing out relies on the sudden contraction of abdominal strength, coupled with the strong support of the diaphragm, which causes the airflow to rush into the blowhole in a short and powerful manner to produce sound. Similar to the "hu" sound, the breath sound is thick and round, but due to the slow speed of the breath, it is not widely used and is only used occasionally in special circumstances.

Lip thrust relies on the strength of the upper and lower labial muscles. At the moment when the upper and lower lips consciously open and close, the momentum of the airflow in the abdomen is used to input the airflow into the blow hole to produce sounds. Similar to the "plop" sound, the lip articulation is soft and is only suitable for use at the onset of weak passages or in special circumstances.

Hua Tongue is the tongue that speaks loudly. The tip of the tongue touches the roof of the mouth slightly. When the exhalation hits the tip of the tongue, the tip of the tongue vibrates continuously and rapidly, making a "beep, beep" sound. The tongue tone is like the fingers of plucked music and is only used when there is a special need.

3-finger playing skills

Vibrato: Use your fingers to quickly open and close the sound hole to create a wave effect in the sound. The most commonly used vibratos include major and minor second, third and fourth vibrato, which can be used flexibly according to the characteristics and styles of different works. Vibrato practice is the most important component of finger movement skills. During practice, fingers are required to be flexible and elastic. Portamento: A commonly used performance technique of the xun. It is mostly used in humorous, humorous, deep and sad music. This technique greatly enriches the expressive power of the xun. Portamento is divided into three types: upward portamento, sliding portamento and round portamento.

1. Upward portamento: After playing the original note, the finger slides upward without leaving any trace to the second note (higher than the original note), and at the same time, the exhalation intensity increases accordingly.

2. Sliding tone: After playing the original note, the finger slides downward without leaving any trace to the second note (lower than the original note), and at the same time, the exhalation force weakens accordingly.

3. Slip: After playing the first note, slide your finger upward or downward without leaving any trace to the second note and then return to the original position. At the same time, you press the downslide and upslide with your exhalation. Glide is also called compound glide, which is...gt；gt;

Question 6: I want to learn the instrument of flute! The sound is so nice... I don’t know where there is such a teacher. Buy a xun first, and then there will be tutorials online

Question 7: How does Tao Yun blow? Why can’t I blow out anything but air? I also tried pressing the sound, but it didn't work. How can I blow it? The basic playing postures of xun

are generally divided into standing and sitting postures. The standing posture is generally used for solos, and the sitting posture is generally used for ensemble or accompaniment. The basic points are: when playing standing posture, the body is required to stand firm. Stand vertically, with your legs slightly apart or one foot in front and one foot behind. Your fingers, wrists, elbows, arms and all joints in the body should be relaxed naturally. The sitting posture requires the body to relax and sit on the chair. The height of the seat should be suitable for the legs to be naturally separated. The body should be sitting upright, sitting two-thirds of the stool surface, and the feet to be naturally separated and touching the ground. The above two playing postures require the head to be straight, the shoulders to be naturally flat, the fingers to press the sound holes, and to look straight ahead to maintain the flexibility of the fingers and the smooth flow of the breath.

2. How to hold the Xun

Use your thumbs to press the two holes at the back. Use your little finger, ring finger, middle finger and index finger to hold the front hole from bottom to top. When the little finger is not pressing the holes, it should be placed naturally on the Xun. The bottom of the Xun body is supported by each finger. When pressing the hole, each finger must be tight to prevent air leakage. Do not let the fingers be too relaxed or stiff.

Three. The mouth shape of the xun blowing

The mouth shape of the xun blowing is very important. It directly affects the pronunciation of the xun and is the most important basic skill. Mouth shape includes three factors, namely "wind gate, mouth tone, and mouth strength". Only the organic and close combination of the three can achieve good pronunciation.

(1) Damper

When blowing the xun, the gap formed between the upper and lower lips is where the airflow passes, which is called the damper. It can be big or small. It must be adjusted and changed according to the level of the sound. The air flow is slow and the damper is large for bass, and vice versa for high pitch. It must be able to be freely retracted and released. Otherwise, the sound coming out will be very hollow and unreal. Beginners usually set the damper very large for the first time they play the xun, and they like to place several sound holes at one time. The reason why they always cannot play the xun is because the damper is too large, and a large amount of air is not blown into the blowing hole, but into the blowing hole. Outside, originally high notes require more rapid airflow to play well, and opening too many holes will definitely make it harder to play louder. Beginners must pay attention to these two points.

(2) Mouth Feng

It is the flow speed of Qi. The speed of the Qi is controlled through the Dantian and changes with the pitch of the sound. The high-pitched Qi has a rapid flow and a fast flow rate. The opposite is true for bass. This does not take a day. It takes long-term practice to realize how to use the qi of the Dantian. Beginners will feel dizzy when blowing the xun. This means they do not know how to use the qi of the Dantian and blow out the oxygen they just breathed in. This is a lack of oxygen. caused.

(3) Mouth strength

Refers to the force used to control the size of the damper and the repeated contraction and contraction of the upper and lower labial muscles and cheek muscles when the mouth wind is rapid and slow. When playing bass, the damper is wide and the wind is slow, and the mouth power is relatively soft, while the opposite is true for high notes.

The angle of the four-blow xun

After pressing the sound hole with your fingers, lift the xun and put it to your mouth. The lips and the blowing hole of the xun form an angle of about 75 degrees. Raise it up a little, but the angle is not static. The angle of the treble will increase and the bass will become smaller. You can slowly experience this by yourself.

Five breathing methods

Breathing is very important for any wind instrument. It does not take a day to master the correct breathing method. When inhaling, the whole body should be relaxed and take a deep breath. For example, if you want to lift something very heavy, the inhale before moving is to take a deep breath. Inhalation is the preparation stage for pronunciation. The amount of inhalation should be determined according to the length of the phrase. More is not always better, but you must inhale deeply. There is a speed issue in the middle. The longer the inhalation time is, the longer it is. The shorter the better.

Exhalation is the real pronunciation stage. For details, please refer to the chapter on the mouth shape of blowing xun.

Six About Pitch Blowing Sounds

The biggest feature of Xun that is different from other ethnic wind instruments is that its pitch changes with the strength of the mouth wind and the difference between the mouth wind and the blow hole. The angle changes. It is not very obvious in the middle and high range, but it is very obvious in the bass range. Sometimes be careful, even half a tone difference is normal. When fully closed, make the mouth wind weaker and the angle smaller. It can blow a lower sound than the tube sound (which refers to the normal tone of the mouth in the fully closed state), which is called a pitch blow sound. Generally, the effective sound is a minor third, for example, the tube pitch is bass 5, and pitch blow can produce bass 4 and bass 3. Practicing the pitched sound well can expand the range of the xun and increase the expressiveness of the xun.

7. About common fingerings and modulations

The common fingerings of Xun include tube sound for bass 5 or 6, alto 1, 2 or 3, etc. Each Xun has its own basic tune. The general basic tune of Yin's Tao Xun refers to the tune when the barrel sound is at bass 5, and other tunes can be changed based on this. This is already very difficult for beginners. I suggest that beginners only master the basic fingering. The basic fingering has the most comprehensive sounds. If you play the eight-note Xun tube with the bass 5, you can play the high note 1. You can also play the ten-note Xun tube. .....gt;gt;