The training of flute techniques includes qi, lips, fingers, and tongues. Playing the flute to practice qi first, this qi is not a simple breath of the breath, that is, not a single lung movement, Chinese medicine says, the human body has qi in all five organs, this qi is connected into a whole through the meridians, through the limbs and hundreds of barriers. Amateurs generally hear others blow first, be moved, and then learn, because the qi of the internal organs will form a certain frequency of fluctuations under the guidance of breathing movement, that is, rhythm, this rhythm once and the flute sound wave resonance, the human body will feel very comfortable, very wonderful (this principle will be discussed in detail in the emotional section), the breath at this time is integrated, is scattered, can not control and does not have a fulcrum, not suitable for playing the flute, The breath of the flute is a regular circulation in the body under the guidance of the breath (the amount of breath inhaled and exhaled should preferably be balanced).
The specific practice methods are: First, lying on the bed, the whole body relaxes, even breathing, then the abdomen and chest will rise and fall slightly with the breath, keep the chest as still as possible, do the contraction of the abdominal muscles with the breath, every morning and evening in bed can do a few minutes of exercises, the abdomen feels very full, we sit, stand, and even work and study can be so experienced! Second, the method of blowing candles and the method of blowing water are limited to space and will not be discussed here. Third, practice the long tone, first blow the midrange area, because the alto breath and mouth strength and abdominal support of the strength are more moderate, such as: blowing the alto 1, feeling the breath unobstructed, after the sound quality is full, maintain this state, blow the bass 7 (add a little bit), then the abdomen should be slightly looser on the basis of 1 tone, after blowing out the timbre, and then keep it, the bass 6, 5 is also in turn, the lower the tone, the looser the abdomen, the lower the fulcrum, the deeper the breath, the full bass is such a one by one, each tone must be "kept on" Do the subtle work. Then in the midrange area up to 7, blow the midrange 7, find the fulcrum of the abdomen, after you can blow stability, then move the fulcrum up a little, increase the strength of the abdomen a little, so that the high note 1 (add a little), the high 1 is blown well and then higher 2, and then high 3, 4, 5, 6, the standard of the long tone is not blindly long, first of all, stability, from the bass 5 to the treble 6, each tone with the point of gas, the tightness of the mouth is different, this is not a pinch, you need to persevere in exercise. After the single tone is practiced, then practice the single tone of the beating, trembling (finger movement as far as possible not to affect the domination of the breath), after a certain experience, and then practice the slow tone class to advance, the scale is in progress pay attention to listen to each tone is not up to the standard of the long tone, you can focus on practicing the five-tone scale. In fact, this kind of practice runs through the training of all skills.
Speaking of lips: lips are mouth shapes, including mouth strength, dampers, mouth wind, etc., beginners play the flute often have the phenomenon of lips trembling, because our orbicularis orbicularis muscles have not been trained and can not be controlled freely, in order to control the muscles, you must first relax. Our consciousness can participate in the controllable muscle movements mainly in the limbs, and there are two kinds of muscle movements in the limbs, namely the strength added by our consciousness and the contraction force inside the muscles themselves, while most of the muscles in other parts have only their own contraction power, the orbicularis orbicularis muscle. We eat, talk, lips in motion, this movement is holistic, its internal muscle fibers rarely participate in the movement, the internal contraction of the muscle is generally not governed by our consciousness, it has its own laws of movement, the more you work harder and more nervous, the more it will affect the internal flow of qi and blood inside the muscle and make it stiff, so for the muscle itself Contraction we can only use consciousness to guide it to relax, in the process of movement to experience, this process our consciousness participates in muscle activities from scratch, and then can freely control it, Is an accumulation, progressive, orbicularis muscle workout based on this principle! Therefore, at the beginning of the flute must not be rushed, to be relaxed, naturally, in the process of blowing to focus on the fulcrum of the breath, mouth strength is a long period of exercise gradually and naturally formed! Regarding the wind gate and the tone of the mouth, in The extremely incisive and detailed exposition in Madi's teaching materials, you can go to the details for yourself.
Speaking of fingers, the flexibility of the fingers is related to the shape of the hand, observing the shape of each player's hand, it can be said that there are many shapes, but there is a common one, that is, to sit in the bowl, the hand is curved, and the palm is like holding an egg. In the flute technique, the fingers are the most intuitive and the most content, trembling and leaning on the slippery spit chopping flowers... Flying and so on, playing the flute for many years, I feel that Zhao Lao's "Ten Lectures on the Flute" is the most scientific and systematic, trembling and relying on the calendar as long as you pay attention to the cooperation of breath and mouth strength, spit chopping flowers focus on tongue movement, here focus on the practice of portamento, I myself always feel that the portamento is the most used in flute skills. I basically spent a third of all my time practicing it, practicing portamento on the one hand can strengthen the coordination of the air lip fingers, on the other hand, it can lay a solid foundation for the half-hole technique, for the transposition, and can also play the unique artistic charm of the Chinese bamboo flute imitation singing voice. There are two degrees three degrees, four degrees, five degrees, six degrees, seven degrees exercises, and there are up and down compound exercises, which should be dominated by breath. The second-degree portamento exercise focuses on the promotion of the half-hole technique, and can also enrich the subtle changes in the musical tone; the third-degree portamento is the most widely used, because it is the concord interval, the breath is relatively easy to dominate, and the amplitude of the movement of the two fingers is moderate; the fourth to seventh degree portamento is used in a specific musical language, and the coordination of the breath and the coordination of the fingers are difficult, and it is necessary to strengthen the practice; there is also the air slip (change) tone, the fingers do not move, all rely on the breath and the change of the angle of the air gate, which is also a very important basic skill. It is precisely because of the existence of the air slip (change) tone, so in the actual blowing, many times a portamento of the rise and fall we can not have the fingers completely in place, such as blowing 3-5, you can open the 4 tones a little, at this time the breath is weaker and get 3 tones, so the tone head is very rounded, pushing up to 5 is also more stamina, blowing 5-3, 5 tones can also be properly covered with fingers, the breath is up, and then quickly slide down to 3 tones, the fingers open a little when the 4 tones, the breath is weak down is 3 tones, This can better reflect the charm of the bamboo flute! In short, the use of portamento can reflect the level and realm of a piper.
Finally, let's talk about the tongue, the mouth should be opened when playing the flute, and the state of the tongue is very important. When playing a more gentle and delicate music, the general tongue relaxes flat on the tongue bed, the tongue root can be slightly retracted (this is the result of the natural contraction of the muscle in the relaxed state, can not impose consciousness to control, of course, the master can control), so as to expand the oral volume, reduce the resistance of the exhaled breath through the mouth, the tongue root retraction is also conducive to opening the larynx, so that the connection of the breath is more smooth; according to the needs of the music, many times the tongue is in motion, if the lips are a door, then the tongue is the switch, Breath through the lips or intermittent or continuous to rely on the tongue, in Wang Ciheng's teaching materials there are a large number of sound head practice methods worth practicing more.
I mainly talk about the sound of the voice: because I was born with a stupid tongue, coupled with the fact that it was difficult to find the information on the flute before, I played the flute for ten years, and I did not know the point of the spit sound, and then I accidentally knew that the spit sound was obtained in the state of the tongue Tuku (Tuku) two tones, after that, I often blew the spit for several hours a day, usually walked, slept, and kept chanting "Tuku Tuku" (in addition to eating and not being able to read), insisted on five years, and then I first felt that the tongue was flexible (the tongue was practiced to spit for five years and two years). Through the experience of the past few years, I slowly felt that the key to practicing spitting is not to practice double vomiting at the beginning, but to practice single spit well first. As mentioned earlier, the long tone should be practiced one by one, the position of the breath should be found, and the single spit should also meet the breath requirements of the long tone. When blowing and spitting, the tip of the tongue is upturned, if the root of the tongue cannot be relaxed, it will seriously affect the circulation of laryngeal breath, coupled with the resistance of the exhaled air will also weaken a part of the energy, and the spit out sound is ambiguous and the strength is completely absent. Therefore, by practicing single vomiting first, we can ensure that each tone is full, clean and powerful, and the air tongue fingers are coordinated with a degree. Recently I began to use the big G to practice single spit, repeatedly in the bass department, pay attention, the big flute practice spit bass to make "da da da da or "·cluck··", (double spit is "click-click-click ), the tongue movement is slightly larger, with a small G or small A to practice the treble single spit, the pronunciation state is "culling culling culling ..." Or "Kekke... ", the tongue action in the tip of the tongue part, the amplitude of the bounce is a little smaller, and now it is found that in fact, many songs are not blown well, and the double spit is often not difficult, but the place to blow the single spit is not in place! Like the "Spring to Xiangjiang" Allegro section, the middle section of "Qin Chuan Lyrical Nostalgia", and the many passages of "Spring of Ordos", it is necessary to make a very dexterous conversion between spit and lian, and it seems simple and difficult to spit alone! In Teacher Hu Jiexu's textbook, there are many discussions on spitting, such as internal vomiting, external vomiting, light vomiting, etc., which are worth studying. Limited by time and space, the technique section is discussed here.