Regarding the playing of cucurbit flute, the following will introduce the relationship between breath, tongue and fingers.

Breath is the first element of blowing cucurbit silk, followed by tongue and fingers. Breath is invisible and intangible, and it is difficult to grasp. I usually compare breath to the bow of the right hand of a stringed instrument. Many of our musicians can't hold their breath and float on the top, just like the right arm of the violin is caught under the ribs. If the breath is not resolved, the functions of the tongue and fingers cannot be fully utilized. Therefore, in order to blow the cucurbit silk, the breath is the most critical part, and it is also the most difficult to master. It can't be seen, it can't be touched, it's all about feeling. The player's breath can't sink, and it floats on the top because of not only the breath, but also the lack of coordination between the speed of the air and the shape of the mouth, just like the speed of the bow moving on the string and the friction of the bow pressing the string. The relationship didn't work out. The player can only solve this problem through repeated experience and pondering. I think good breath requires the use of thoracic and abdominal breathing methods. To inhale in place, exhale and the muscles of the mouth should be coordinated, and at the same time strengthen the control of the muscles of the mouth and breathing.

The movement of the tongue during playing depends on the muscles of the tongue on the one hand, and the impact of breath on the other hand. I think it is impossible to rely solely on one of these aspects to complete the movement of the tongue during playing.

Blowing cucurbit flute requires both hands to hold the barrel, and the fingers must open and close the sound hole to make different sounds. The fingers are required to be able to move independently and cooperate closely. When opening the sound hole, it is not advisable to lift it too high, as it will affect the speed of the performance, and it should not be too low. The fingers should be pressed tightly so that no air leaks, but they should not be pressed rigidly, but should be flexible. To make the timbre of the blowing sound elastic, it should be achieved not only by the movement of the fingers, but also by a full breath.