Not particularly easy to learn...

The following is for reference:

The playing skills of the flute are basically the same as those of the flute, and you can freely play portamento and overlapping tones. and percussion, etc., but the sensitivity is far less than that of the flute. It is not suitable for playing unique techniques such as tongue and duo sounds, but it is suitable for playing long, quiet and lyrical tunes to express quiet and elegant emotions. The flute is not only suitable for solos and ensembles, but is also used in folk instrumental ensembles such as Jiangnan Sizhu, Fujian Nanyin, Guangdong Music, Changzhou Silk String and Henan Bantou Band, as well as accompaniment to local operas such as Yue Opera. In the ancient song "Moonlit Night on the Spring River", the flute plays a light and gentle sound at the beginning, which is matched with the simulated drum sound of the pipa, depicting the scene of the flute and drum playing on the cruise ship. Throughout the music, the sound of the flute is continuous and smooth and lyrical.

In addition, the piano and flute ensemble complement each other, are euphemistic and beautiful, and can express the profound artistic conception of the music.

Playing posture

There are two playing postures for Xiao, standing and sitting. You must keep your body in a natural state when playing.

(1) Vertical position

The vertical position is generally used when playing solo or duet. The arms are naturally forward, the flute is held in both hands, the fingers are naturally bent, the chest and waist should be straight, but the chest and belly should not be raised, and the head should be forward but not tilted forward, let alone backward. Let your shoulders and elbows droop naturally, and avoid shrugging. When the flute is placed on the mouth, it should be at an angle of about 45 degrees with the body. If the angle is too small, it is easy to lower the head, and if it is too big, it is easy to raise the neck. This not only makes the posture inelegant, but also affects breathing. Stand with your legs still, your feet slightly apart, and your body's center of gravity falling between your legs.

(2) Sitting position

The sitting position is generally used when playing in ensemble or accompaniment. The seated upper body position is exactly the same as the standing position. The height of the seat should be appropriate, and avoid placing one leg on top of the other. This not only makes the posture unsightly, but also affects normal breathing.

The flute-playing posture is most in line with the physiological structure of the human body. Therefore, the most basic principle of holding the flute is to maintain the natural state of the human body, so that you can quickly master the correct playing posture.

Breathing method

Correct breathing method is very important for playing wind instruments. Generally, the combined thoracoabdominal breathing method is used.

The correct breathing method is very important for playing wind instruments. Chinese folk wind music attaches great importance to the use of "qi". Only by using the breath properly can you play freely for a long time. Otherwise, you will lose your breath after playing for a while. If you feel tired, you may also have chest tightness and shortness of breath. Over time, it will be harmful to your body, so it is important to master the correct breathing method.

Breathing methods can be divided into three types:

Chest breathing

Completely control the breath with the chest. After the breath is inhaled into the lungs, it is squeezed outward from the chest. Pressure, in this way, the inhalation volume cannot reach the maximum value, the air flow is unstable, the breath cannot be sustained, and the body is easily fatigued. This method is not easy to control the breath and is harmful to health, so the chest breathing method is generally not recommended.

Abdominal breathing method

When inhaling, sink the diaphragm muscle and expand the abdomen and waist as much as possible. Folk saying is called "qi sinking in the Dantian". When exhaling, the Dantian should be tense and the air should be blown out evenly bit by bit. After repeated practice, this breathing method can be mastered. Abdominal breathing can effectively control the air flow and blow out the air evenly. It can also increase or decrease the intensity of the air flow according to the needs of the music, creating changes in intensity and abdominal vibrato effects. It is a correct breathing method.

Thoracoabdominal combined breathing method

When inhaling, the chest, ribs, abdomen, and waist expand outward at the same time to inhale the air to the maximum extent, so that the amount of air inhaled by the lungs is greater than The first two methods are larger.

When using chest and abdominal breathing. When the entire respiratory muscle tissue works together, the load borne by the respiratory muscles is distributed very evenly, so that the respiratory muscles are less likely to feel fatigued.

To sum up, beginners should first learn abdominal breathing, and after they become proficient, they should add chest expansion movements, which is combined thoracoabdominal breathing.

When practicing, first slowly inhale the air through the nose. At this time, you can feel the natural expansion of the abdomen and the waist. This is the feeling of correct natural breathing. Later, it will gradually speed up. Inhale faster, and then try to inhale through your mouth without changing the movements of your abdomen and waist. In this way, you will master the correct inhalation method of abdominal breathing.

When playing, the abdomen gradually contracts as the breath is exhaled, but the Dantian must be tense and feel the feeling of being pulled outward. This is control.

The mouth shape of the flute

The mouth shape refers to the shape of the mouth when playing the flute, which includes three factors: "wind gate, mouth wind and mouth strength". Correct embouchure can produce a good tone.

The damper is the oval-shaped gap between the lips that allows airflow to pass through. The shape of the damper is the main factor that determines the mouth shape. Mouth wind is also called the flow rate of air. The speed of the mouth wind (the speed of the flow of Qi) is mainly controlled by Dantian Qi. Mouth strength is the force used to control the size of the damper and the contraction and contraction of the upper and lower labial muscles and facial muscles when the mouth wind is rapid and slow. The shape of the mouth when playing is ever-changing, and its changes are concentrated in the size of the damper, the size of the mouth, and the displacement of the upper and lower lips.

When playing, the lip muscles naturally stick to the gums and the corners of the mouth on both sides are slightly contracted (like a smile), so that the power points of the upper and lower labial muscles are concentrated in the middle, making the center of the lips form an oval damper, and the tongue is in a natural state , the mouth is slightly expanded, and the positions of the upper and lower lips should be basically the same before and after, but the upper lip is slightly forward. When playing, the labial muscles are impacted by the airflow and swim forward freely, so that the mouth shape under the control of the labial muscles is the correct mouth shape. The damper should be aligned with the blow hole, and the lower lip should be attached to the inner edge of the blow hole, covering about a quarter of the blow hole, and the air flow should be merged into an air column. Play with a "woo" mouth shape to concentrate and balance the air flow. Stablize. The shape of the mouth changes with the pitch of the sound. When playing low notes, the damper is enlarged, the mouth wind is slower and the mouth power is smaller; when playing high notes, the opposite is true.

Mastering the relationship between the wind outlet, the tone of the mouth, and the strength of the mouth is the key factor for playing the flute well.

Edit this paragraph of fingering training

The purpose of fingering training is to enable each finger to move independently and cooperate with each other, so that the finger movements are flexible, rapid and lasting.

The action of holding the flute: arms forward, holding the flute in both hands, and keeping the fingers naturally bent. It is required that the shoulders, arms, hands and fingers must be relaxed and not stiff. In this way, finger movements can be flexible, even, rapid and lasting.

Second, the fingers should be flexible and maintain a certain strength, so that the sound hole can be pressed tightly without air leakage. When you lift your fingers, you need to relax them quickly.

Third, when opening the sound hole, the fingers should generally not be raised too high or too low. If it is too high, the distance between the finger belly and the sound hole will increase, and the movement cannot be completed quickly, which will affect the playing speed; if it is too low, the pitch and volume of the pronunciation will be affected. Generally speaking, when the finger is raised, it is appropriate to be two to three centimeters away from the sound hole. If the playing speed is faster, the note duration is shorter and the notes change more quickly, the finger should be raised slightly lower; while the playing speed is slower, the note duration is longer, the finger should be raised appropriately. .

Vibrato

The effect of vibrato is similar to the vibrato finger on a string instrument. When practicing, each finger should be able to vibrate independently. The speed of vibrato should be determined according to the emotion and speed of the music. .

Vibrato, also known as "beating" or "beating", has a similar effect to the vibrato on a stringed instrument.

The way to play vibrato is: first sound the original sound, then open and close the second sound hole above the original sound evenly and quickly, so that the original sound and the second sound above it appear alternately quickly and evenly. Trills are marked with "tr".

Second vibrato: Open and close the second sound hole above the original note. In addition to the commonly used second-degree vibrato, there are also third-degree vibrato, fourth-degree vibrato (not commonly used), etc. The third vibrato is the opening and closing of the third sound hole above the original note.

In the music of Chinese ethnic minorities, such as Inner Mongolia, Tibet and other folk music, the third refers to vibrato.

The speed of vibrato (the frequency of finger movement) depends on the emotion and speed of the music.

Vibrato is a common technique. When practicing vibrato, each finger should be able to vibrate independently. Third-degree vibrato requires two fingers to move at the same time. It needs to be rapid and even, and must not be fast or slow. The practice of vibrato requires that it last for fifteen seconds at a time, which is equivalent to about eight beats of Adagio.

In actual performance, the vibrato may go from slow to fast, or it may go from slow to fast and then slowly return to the original note without vibrato.

Finger tremolo

Finger tremolo is to use your fingers to fan or open and close evenly and quickly beside or on the sound hole to produce a sound similar to air tremolo. .

Finger tremolo is to use your fingers to fan or open and close evenly and quickly beside or on the sound hole to produce a sound similar to air tremolo.

The vibration of the tremolo on the sound hole is divided into "basic tremolo" and "lower tremolo".

(1) There are three ways to vibrate the tremolo in the basic position:

The first is to vibrate the finger up and down in the lower half of the sound hole.

The second method is to place your fingers next to the sound hole, and you can also add the fingers below to vibrate quickly and evenly next to the sound hole at the same time. Only touch the edge of the sound hole. The smaller the contact area, the better.

The third type is if it vibrates above the sound hole, the finger does not touch the sound hole.

(2) Lower finger tremolo:

After raising the finger pressing the sound hole, it does not make any movement, while one or several fingers of the sound hole below it, Vibrate on or next to the sound hole.

Because the finger vibrates at different speeds, its effects and uses are also fundamentally different. When the finger vibrates quickly (about five times per second), the result is a subtle, soft effect. It is often accompanied by special sounds or weak sounds. Jiangnan Sizhu music often refers to the tremolo technique to express the beautiful scenery of Jiangnan. When the finger vibrates slowly (less than twice per second), the effect is similar to an air tremolo. However, it is not as stretched and intrinsic as the air tremolo, and because it can only be pronounced below the pitch of the original sound, the vibration amplitude of the sound intensity is small, so there are not many practical applications.

Elegance

Elegance is the auxiliary sound of the proper note, and it is the decoration of the proper note. It should be played lightly and briefly when playing.

Episode is a decorative sound. It appears before the proper sound and tends to the proper sound, giving the proper sound a rich and special color. Appropriate notes are written in the upper left corner of the proper tone with smaller notes, and connected with the proper tone with a connecting line.

When there is only one appliqué note before the proper note, it is called a "single appropriation note". Single oblique sounds are divided into upper and lower sounds. Those that are higher than the original sound are called "upper obligatory sounds"; those that are lower than the original sound are called "lower obligatory sounds." When there are two or more appliqué notes before the proper note, it is called a "complex appropriation note".

When playing appoggio, you should play it lightly and briefly, because appoggio is an auxiliary sound of the proper note and a decoration of the proper note. It helps to produce the main tone. The playing time of appoggio is generally between The beginning of the first half of the beat may be intentionally before the upbeat, and the right note will be connected during the upbeat. Do not extend the appliqué arbitrarily or play it on the downbeat, otherwise it will take the spotlight.

Double tone

Double tone is when playing two consonants. Use your fingers to quickly open and connect the second sound hole above the second consonant tone to make the sound There is a sense of overlap between these two sounds.

When playing two consonant notes, quickly open and connect the second sound hole above the second consonant note with your fingers to make the two notes have an overlapping feeling, which is called overlapping. sound.

The symbol for the overlapping sound is "you". Do not write small grace notes on the score.

The overtone can be said to be a kind of "extremely fast ornamentation", and the overtone cannot be played as an appoggio. Remember that appoggio comes before the first note. The finger movement for the refrain is after the first note. No matter how short the appoggio is, it still has a process, and the finger movements of the second note of the overlapping tone are at the same time as the beat of the second note. We can only feel its existence because of the rapid opening and closing of the fingers, the second tone above the original note. It does not account for time value. Therefore, it is said that the refrain is an extremely fast decorative sound. It subtly enriches the relationship between two sounds, making them both separate and inseparable, creating a pleasant color.

There is also a folk adding technique called "calling out sounds", which can also be said to be another overlapping sound method. It is not only used between two consonants, but can be used on any tone in any interval, especially in opera or folk music. The pronunciation method is the same as the overlapping sound, but the overlapping sound is usually marked on the tune, and we must pay attention to it consciously when playing. The "calling sound" playing method is an unconscious overlapping sound playing. It not only appears between two notes, but may appear on any note. It has no mark, but the standard is that the melody progresses smoothly and vividly.

Percussion

Percussion is when blowing a note or two consonants, and quickly taps the sound hole of the note with your fingers, which requires your fingers to be "flexible, Accurate and stable."

When blowing a note or two consonants, the effect obtained by tapping the sound hole of the note quickly with your fingers is called "beating", and the symbol is "扌".

The difference between dubbing and dubbing is: the playing method of dubbing is to use the second sound hole above the original sound hole to pronounce the sound, while the dubbing method is to pronounce the sound through the original sound hole. Its actual pitch is a rapid repetition of the main note and the second tone below. For example, when the "1" sound is encountered during performance, the effect obtained by playing the sound is actually the effect of "71"

The purpose and color of the playing sound are roughly the same as those of the overlapping sound, especially in some Jiangnan In music, tapping is a common technique. It is also used in Inner Mongolia or Tibetan music, but the finger movements are slower, similar to appoggio.

When practicing playing, your fingers should be "flexible, accurate and stable". The so-called "spirit" means that the fingering should be flexible so that the pronunciation is not rigid; "accurate" means that the fingers should hit the sound holes without any false sounds; "stable" means that we should not be fast or slow when using the sound, and should not affect the sound. The tempo of the original song and the timing of the beats should be appropriate for the atmosphere.

Gift tone and sound tone

Gift tone is to quickly and briskly bring out a decorative, very short tone at the end of the original tone. The performer is based on the emotion and emotion of the music. Use style appropriately.

The complimentary sound is the opposite of the oblique sound. At the end of the original sound, a decorative and extremely short sound is quickly and briskly produced. There is no special symbol for the gift tone. In the etudes, we mark the gift tone with a smaller note behind the main tone, and connect it with the original tone with a connecting line; the radical "Bei" of the gift tone is also used as a mark for the gift tone. . The complimentary tone can be above or below the original tone, any second, third, fourth or fifth. Generally, the third and fourth are more commonly used.

The bonus sounds are appropriately used by the performer according to the emotion and style of the music. The gift of sound is widely used in Jiangnan Sizhu (Henan style music).

How to play the gift sound: When the original note ends, stop playing immediately and use your fingers to bring out the gift sound. The time of stopping the exhalation must be accurate and decisive, so that it can cooperate well with the fingers. If you stop it too early, the sound will not be produced; if you stop it too late, the duration of the sound will be too long, and it will not be a sound.

When playing the original note, Boeing quickly opens and closes the second sound hole above the original note and returns to the original note.

There are two types of Boeings: single Boeing and compound Boeing. The compound Boeing opens and closes the sound hole again on the basis of the single Boeing. The requirements for playing Boeing are: your fingers must be clean, neat and flexible. Boeing is also one of the ornamentation techniques often used in performance.

Portamento

Portamento is a technique that uses the action of fingers and breath to produce a coherent and smooth sound between intervals. The effect is similar to that of wiping the strings with a single finger on a stringed instrument.

Portamento is the technique of using your fingers and breath to make a coherent and smooth sound between intervals. It is also known as "mutation" or "twisting" among the people. Portamento is the gradual opening or closing of the sound hole with your fingers. The effect is similar to that of wiping the strings with a single finger on a stringed instrument.

Portamento is one of the most commonly used finger techniques. It changes the interval relationship from progressive to sliding, so it is suitable for some beautiful and melodious melodies or the imitation of opera vocals. It is especially widely used in northern music.

There are three types of portamento: ascending portamento, sliding portamento, and compound portamento.

(1) Upward glide: Starting from a lower note and sliding upward to another higher note, it is called "upward glide". The way to play it is to raise your fingers smoothly from the lower sound hole to the higher sound hole one by one, even if the fingers gradually open the sound hole from bottom to top to pronounce the sound. At the same time, the breath should be gradually increased from slow to rapid, the damper should be gradually reduced from large to small, and the mouth power should be gradually increased from small to large.

(2) Sliding tone: Starting from a higher tone and sliding down to another lower tone, it is called "glide tone". The method of playing is as follows: move your fingers from the higher sound hole to the lower sound hole, and then gradually and smoothly fall down one by one, even if the fingers gradually close the sound hole from top to bottom, the effect obtained. At the same time, the breath should be gradually slowed down, so that the damper should be gradually increased from small to large, and the force of the mouth should be gradually reduced from large to small.

(3) Complex portamento: a sound from low to high and then to low or from high to low and then to high.

Fingering for tube sound 5

The lowest bass sound produced by pressing all the sound holes of the flute is called "tube sound". The key of the flute (or what tune the flute is) is marked on the third hole. The tone of the third hole serves as the tonic 1 of this key. If the tube sound is 5, then the first hole is 6, and so on, the second hole is 7, and the third hole is 1. The English letter G is marked next to the third hole, which is the flute in the key of G. There is an F mark next to the third hole, so we say this flute is in the key of F. The sound marked under the first hole is the tube sound.

The third hole is G, the tube sound is D, and the D sound is 5 in the key of G. The third hole is F, the tube sound is C, and the C sound is 5 in the key of F. The third hole is A, the tube sound is E, and the E sound is 5 in the key of A. According to the calculation method, the third hole is 1 and the descending fourth is 5, which is exactly the barrel sound. We are accustomed to using the roll call of the tube tone to distinguish it from different fingerings. Tongyin 5 fingering is the most commonly used fingering, and it is also the fingering of this tune. Therefore, mastering the 5-finger method of the tube sound quite proficiently is the key to learning to play the flute. I have summarized and organized these words based on the principle of starting with the easier and then the more difficult, from the easy to the deep, so that the majority of friends who love flute can gradually reach a certain level through practice. As can be seen from the following fingering table, there are two fingerings for the four notes 4 and 5 in the alto area and 4 and 5 in the treble area. When doing fingering exercises, both fingerings should be practiced. Once you are proficient, you can use whichever fingering method is more convenient when playing music. When practicing the pentatonic and heptatonic scales, slow down at first and then gradually speed up. Instead of going from slow to fast in one exercise, keep one speed from beginning to end, and then switch to another speed the second time. For example, the first pass is 60 beats per minute (it can be slower), the second pass is 80 beats per minute, the third pass is 120 beats per minute (it can be faster), etc. Comprehensive practice of thirds, fourths, and fifths can not only continue to practice finger sensitivity, but also improve the practitioner's musical quality. The practice method is also from slow to fast. Sight-reading can be used to test the results of practicing scales. Of course, this does not mean that you can only practice the scales thoroughly and complement each other. In turn, you can further improve by practicing the scales. The 5-finger method for tube sound can be practiced with any tuned flute. However, in order to take into account the convenience of practice for most music lovers, the most suitable flute for beginners, and the key commonly used in general performances, we choose the flute with the third hole 1 as the G tone, that is, the G-tuned flute as the practice flute.

The fingering of the tube sound as 1

The tube sound as 1 is a commonly used fingering. This is a fingering method with completely unified note names, roll call, and tonality. Use the G key (three holes 1) flute, the tube tone is 1 (roll call), and the tube tone is D (note name), then the scale played is the key of D (tonality). Other tunes and flutes can be deduced in the same way. When the tube sound is 1, pay attention to the sound 7. The fingering method for 7 is to open all the finger holes. The alto 7 is the same as the treble 7. There is only one fingering method. Please pay attention to the pitch when playing the 7th note. Generally, when the flute tone is 1, all the finger holes are opened and the 7 tone is played. The pitch is still a bit low, so we have to control it from the breath.

The specific method is: strengthen the breath, make the damper slightly smaller, press the flute down a little, which is equivalent to turning the blow hole outwards, and correct the 7th note to the accurate pitch position. The actions mentioned above are just a little bit, and this method can also be applied to other sound holes. If a certain sound is slightly higher, then the action is just the opposite. The breath will be weakened a little, the damper will be slightly larger, and the flute will be raised a little higher, and the sound will be slightly lower. Of course, this cannot be done for all sounds. If there are too many inaccurate sound holes, it is time to use other methods to adjust the sound holes.

The fingering of tube tone 2

Tong tone as 2 is also one of the commonly used fingerings. What is the key of the scale played with the key of G (three holes 1) and the flute tone as 2?

There are two calculation methods,

One is to count down from the tube sound D, D is 2 and C is 1. Tone 2 is in the key of C.

First, count from three holes G upward, four holes A, five holes B, six holes C (half hole), D is 2, G is 5, C is definitely 1, and the key is C.

The following fingering methods should be noted for tube sound 2. The second hole is the 4th tone according to the half hole. You can also use the * fingering method. The 4th tone played by this * fingering method is higher. In the past, folk artists often used this fingering method, but now they generally use the half-hole fingering method. There are two fingerings for alto 1 and 2 and treble 1 and 1.

The fingering of tube sound 6

The fingering of tube sound 6 is not a common fingering. Since there are many half-holes that are difficult to control, etudes are relatively more difficult than other fingering techniques. However, the 6 fingering for the tube sound is a very unique fingering method, and other fingering methods cannot replace it. Therefore, it is very necessary to spend time practicing the fingering method for the 6 tone for the tube sound.

The ascending minor third of the flute when playing 6 is 1, and the flute when practicing the flute in G is D. D is equal to 6 (fully pressed), E is equal to 7 (one hole is opened), and F is equal to 1 (one hole is fully opened, and the second hole is half opened). Then, the fingering for 6 on the tube tone is in the key of F. When the barrel tone is 6, the second hole, fifth hole, and sixth hole should be opened with half holes. There are two fingerings for 1, 4, 5, and 6 in the alto area and 1, 4, 5, and 6 in the treble area.

Xiao - state of mind

It is best to maintain a peaceful and peaceful state of mind when playing the flute. The flute is an instrument that comes from nature and is nourished by the spiritual lock of nature. The sound of the flute is a kind of emptiness that seems to be far away in the mountains, as if entering a deep valley. Only by maintaining a good state of mind when playing can you truly express this wonderful sound better.

However, this is for ordinary people. When you achieve the so-called integration of human and flute as mentioned in the book, there is no need for it. Just like the old man I met while traveling in Huangshan, the sky is full of insights into the world, and the emotions are rich and colorful!

Xiao, in today’s performance, seems to have lost the flavor it had in ancient times. Too much of it is just complicated worldly atmosphere, obliterating its original agility.