First, posture is very important.
The first step in learning to play cucurbit flute is to have a good posture. The correct posture of playing Hulusi is conducive to the smooth flow of breath, the improvement of speed, and the appeal of Hulusi playing. The postures I am talking about are divided into three parts: fingers, body, and lips. Fingers should be flexible and elastic. Keep your left hand on top, press the hole with your fingertips, and make the finger tube vertical and naturally curved. The body should be straight with the head upright, arms loose and feet relaxed, and it can be done in either standing or sitting position. Fingers, wrists, elbows, arms and other parts should be relaxed, natural, coherent and coordinated. There are two types of postures. Standing and sitting each have their own purposes.
Solo performance is generally performed in a standing position, while accompaniment in a sitting position is more elegant.
The body should be upright when standing, and the feet should be standing naturally;
Keep your chest up and your head up without crossing your arms, and focus on looking forward.
The upper body of the sitting posture is the same as the standing posture, and the waist is straight and the legs are flat and look good.
The performance image is very important, and you should develop good habits in daily life.
The posture is formal and not out of shape, casual and unsightly.
Body movements should be appropriate and not too artificial or tacky.
The audience praised it for its calmness and concentration, and its beauty and elegance.
The tail end of the cucurbit silk should be slightly inclined downward, forming an angle of about 45 degrees with the body. The mouth of the cucurbit flute is located outside the inner teeth of the lips. The upper and lower lips should be blown out with a little force and medium force. In addition, the little finger must be placed on the tube and not hanging in the air. Placing the little finger on the tube can fix the cucurbit silk and is also helpful for grasping the intonation.
Second, breath is the most important.
Beginners to learn Hulusi should start by learning the breath. The various changes in the volume of the Hulusi tone depend largely on the exhalation technique. Beginners only need to be able to achieve the correct pitch and full tone. They must never blow loudly or reblow multiple times because of inaccurate playing, otherwise the reed will soon be scrapped. By the way, in order to make the reeds last longer, you should pay attention to the maintenance of the cucurbit reeds with your breath during daily practice. Do not play for a long time. Generally, you should stop playing for half an hour to let the reeds rest before continuing. practise.
Hulusi is completely different from other wind instruments in the use of breath. That is, generally, the higher the high pitch of a wind instrument, the stronger the breath. The deeper you play the bass, the weaker your breath will be. The cucurbit flute is just the opposite. The higher the high pitch, the weaker or slower the breath, and the higher the bass, the stronger the breath. This requires our beginners to grasp this issue well in the process of learning Hulusi. Otherwise, problems may occur that should not occur at critical times. For example, when we played the famous cucurbit flute piece "Phoenix Tail Bamboo in the Moonlight", at the climax │6 – 51│, the 6 could not be played because the breath was too strong, which directly affected the performance. What's the reason? This means that you have not mastered the breath principle of the Hulusi instrument. If you grasp the breath principle of this instrument well, this problem will not arise. In the application of portamento technique, the coordination of breath is also required to achieve the desired effect.
In order to meet the breath requirements of Hulusi playing, in actual performance, the player is required to quickly inhale a certain amount of air in a short period of time and then exhale the breath, so it is required to "breathe in quickly" "Slow exhalation" means to inhale through the mouth and nose at the same time, so that the breath can be inhaled in a short period of time, and then the breath can be blown out in a controlled manner according to the requirements of the music. In actual performance, the amount of inhalation and exhalation is not the same every time. Inhalation and exhalation cannot be done mechanically. Breathing must be done reasonably and flexibly according to the length, strength, speed, etc. of the phrase. The amount of air inhaled or blown. After a period of repeated training, you will gradually master the ability to use and control breath.
In addition, when we inhale, we should inhale for long sentences and inhale for short sentences, so that the amount of air inhaled just meets the needs of playing the phrase. This is also an important part of the art of cucurbit inhalation. content. Our inhalation should be deeper and sink to the Dantian, so that the sound produced will be full, beautiful and penetrating.
Reasonable luck is breath control. In the process of playing the cucurbit flute and breathing, you must always maintain control over your breath. You cannot exhale and inhale arbitrarily like pure natural breathing in daily life.
Usually we should pay attention to practicing playing long notes to make the sound stable and strong. To practice long tones, one is to practice playing long tones flatly. The beginning and end of the sound are the most important when practicing long tones. The beginning and end of the sound should not change, and the breath should be stable. As long as there is no noise when practicing long notes, we can ensure that there will be no noise when playing music in the future.
The second is to practice playing strong and weak long tones, to understand the role of breath control and sound changes, and to lay a solid foundation for practicing abdominal tremolo (air tremolo) in the future. The third is to practice long vibrato, which not only exercises the breath, but also exercises the flexibility of the fingers. The fourth is to practice long pronunciation, especially single pronunciation.
Third, hand shape is very important.
In order to ensure that the hand shape is beautiful and easy to play, the requirements for hand shape are particularly important, and these postures should be avoided.
(1) Inverted wrist pose (the so-called inverted wrist pose means that the palm and wrist form an angle so that the wrist collapses, which will make the finger pressing the hole awkward, and secondly, the appearance makes people feel uncomfortable , the correct wrist angle should be close to 180 degrees, so that the instigation of the fingers is both beautiful and flexible);
(2) Wings (the so-called wing style means that the posture of pressing the holes with both hands is like the wings of an airplane, that is, The fingers and main joints are too flat, and the fingers are not bent normally. When playing like this, the finger movements will appear stiff);
(3) Peacock style. (The peacock open-screen style mainly forms the shape of the fingers after opening. The fingers move away from the sound hole after leaving the sound hole. This will cause the instrument to be unstable and have no sense of reality. Secondly, because the finger separation is too high, the fingers cannot accurately close the sound hole. onto the corresponding hole). ?