Suona fingering has a direct relationship with the coherence and smoothness of the melody and the emotional expression of the music. If the fingers are used properly, the tongue and fingers are easy to coordinate and coordinate. On the contrary, it will inevitably affect the required speed, the effect of playing, and the full play of skills. Therefore, fingering plays an important role in Zona's performance and cannot be ignored.

At present, the understanding of suona fingering is not quite consistent. I think that fingering, in addition to referring to the number of holes called "do" (or what sound the drum makes) - to determine the tune of the music, far contains the content of the change and application of fingering. .

In terms of fingering and tuning, different places are not very different (in the following, we will use the D suona with the third hole as "do" and the tube tone as "sao" as an example). There are fingerings that are accustomed to using D-tone as sao, C-tone as re, and C-tone as la and A-tone as do. In practice, due to the influence and requirements of the local style, it is normal for folk music to first use the fingering suitable for oneself and then set the key. These music often place the fingering in an important position and the key is subordinate. But in ensemble and accompaniment, it is different (usually, the fingering is determined according to the tune, or suona can be used for the convenience of fingering), so not all music are treated the same. Or change the fingering without changing the suona. The most basic way to press the hole with your fingers, from the low to high order of the scale, of course, it is better to use the fingering of sao first. If you use the fingering of re, the first sound of the scale, do, will inevitably turn up. The blowing method, (the original l23 has become i23), this obviously increases the difficulty of controlling the pitch. Therefore, in teaching, the fingering of sao should be used first. This fingering not only conforms to the teaching principle of starting from shallow to deep, but also brings convenience to the mastery of intonation. It also reflects the teaching requirements of pronunciation from low to high. In addition, some people say that the D suona with the third hole as do is the key of G, and the key of E is said to be yes

The key of A (that is, the do of the third hole is regarded as sao), which is a way of saying that the positive key is regarded as the opposite key. In my opinion, it is more appropriate to use the third hole as the do to determine the tune. Currently, Dizi also adopts this notation tune.

The fingering and tone setting of suona is usually called by the fingering of what sound is made by full pressing (ie, the drum tone). For example, full press for sao and full press for re, it is called the fingering of sao and re. The sound of the whole press and the sound of the third hole are the same thing, but the way of saying it is different. If you press all the way to do suo, it is equivalent to do the third hole. No matter what fingering is used, the fingering of the upper octave and the lower octave is the same, and the middle tone of the barrel tone and the first hole tone generally use the upper position (seventh and eight-tone holes), but sometimes due to the requirements of the music and the convenience of fingering , can also be used in the lower position (tub sound and first sound hole). The lower position is difficult to control in pitch control, so beginners generally use the upper position first. In the use of fingers, no matter which sound is made, there are generally at least three or more fingers (distributed in the upper and lower positions of the left and right hands) attached to the rod wall, so that the suona can maintain a certain balance and stability, so as to facilitate the flexible use of the fingers. In fact, this is the use of reserved fingering (the use of fork fingering).

The use of reserved fingers starts from the lower position. Generally, when the first, second, third, and fourth sound holes are opened, the first sound hole finger is reserved. If the fifth, sixth, seventh, and eight sound holes are opened again , the fifth sound hole has become a reserved finger. When the eighth sound hole is pressed, the finger of the fifth sound hole is opened again. When pressing the fourth sound hole, the first sound hole finger is also open. When the fourth sound hole is fingering quickly, the finger of the first sound hole can also be lifted. If the fourth sound hole needs to slide up and down on the sound hole (without leaving the rod wall) to produce a special fingering technique, not only the first sound hole The fingers of a hole should be opened, and the thumb of the right hand should be temporarily removed from the wall of the rod. However, when the finger of the eighth soundhole is fingering, the fifth soundhole finger can still remain motionless. Generally, when the sixth sound hole is opened, the fifth sound hole is reserved. According to your specific situation, you can control the pitch without keeping the fingers. Of course, you can also open them together, which can make the movement of the fingers more flexible. However, when playing the fast melody of the pentatonic scale, for the convenience of finger movement, you can keep the fifth Hole fingers. For example, the fingers of the eighth sound hole are the same as the fingers of the fourth sound hole, when a special finger flower technique is to be produced, the fifth sound hole finger must also be opened. In addition, the drum tone fingering is also a typical method of using reserved fingers. The above is the reserved finger according to the fingering of sao, if the fingering is changed; because the scale interval has changed, the reserved finger will also change. For example, in the fingering of sao, when fa is played, the fifth sound hole is the reserved finger; when the la fingering is played with fa, the fourth sound hole becomes the reserved finger, etc. From the above description alone, it can be seen that the correct use of the reserved fingers really helps the flexible use of the fingers, the full play of the skills, the accurate control of the pitch and the emotional performance of the music. In order to make everyone understand the fingering of suona and its application, the determination and selection of fingering is generally based on the range and style requirements of the music. Usually, the lowest note of the music is used to determine the fingering. Place style requirements to determine the fingering used. For example, "Battle March", its range is from a in the first group of small characters to b in the second group of small characters. According to its tonality, it is determined as the fingering of sao; Hebei folk song "Jasmine", the lowest note is do, which should be used. Fingering, in order to meet the requirements of the local style, the fingering of sao can be used, and of course its range must be taken into account. The use of fingering is closely related to the control of chromatic intonation. The half-open and half-pressed fingering (actually accounts for less opening and more pressing) controls the chromatic, and is often used in slightly faster and faster music; Semitones are often found in slightly slower and slower pieces. Most of the control methods mentioned above are the control methods of changing semitones, natural semitones, generally using lip and air coordination control (including low control and high control), some are solved by reserved fingers, and some are solved by semi-reserved fingers, such as the fingering of sao When fa, the mi sound hole is the reserved finger, and when playing si, the do sound hole can also be half-opened (half reserved finger). When raising a semitone (high control), the control method with the lips as the main gas and the auxiliary can also be used; When the semitone is flat (low control), the control method with Qi as the main lip and supplemented by the lip can be used. Of course, this control method is not generalized. More common.

Due to the different requirements of the emotion, style and technique of the music, the fingerings are constantly changing (here refers to the fingering changes in a certain key). For example, the sixth, seventh, and eighth sound holes in the fingering of sao can be controlled by the coordination of qi, and the pitch of sao can be respectively produced, and the eighth sound hole can produce three different sounds of la, si, and do. High; there is also the fingering of re, mi, fA, sao can be issued by the eighth sound hole, if the fourth, fifth, and sixth sound holes are half-reserved fingers, combined with lips and breath, it can be issued within an octave Of course, it is generally applicable to the singing in the imitation adagio. There is also a special overtone control method, which emits several tones with different heights from one sound hole. Taking sao fingering as an example, "5" can give 5512, "6" can give 6623, but this fingering is rarely used. So it is more difficult to grasp. For example, the call of "spring owl" in "hundred birds toward the phoenix" is all pronounced from the sixth hole of the single opening as the fingering of re. It can also be seen from here that several different sound holes can produce the same pitch, and one sound hole can produce several sounds of different heights. In addition, there are borrowed hole fingerings. For example, when playing Hebei Bangzi singing, the upper borrowed hole fingering sao fingering is mostly used for high notes, do is issued from the upper hole of do, and re is pronounced from the upper hole of re (in high-pitched sounds, Slightly opening the eighth sound hole is also a special borrowing hole fingering). The sound produced by the upper-borrowing hole fingering gives people a sense of lightness and ease, and is labor-saving, but it is only suitable for imitation in the adagio, and is mostly used in the high-pitched area; the lower-borrowing hole fingering sounds (such as re fingering, sao is issued by the fa sound hole), which has a strong inner sense and is suitable for the middle range of the upper position. When playing Shandong folk music and local opera, use re fingering. When the upper position mi and sa0 are used together, the high control method can be used to make the mi sound hole emit two pitches of mi, sa0 and sao, mi, and the effect is delicate and smooth. ; And when playing si, la, sa0, the three sound holes of do, si, and la can be half-opened at the same time, and the sound is pronounced with a low control method, and the effect is subtle and humorous. Due to the change of mood and the needs of the content of the music, the consonance of the upper and lower positions can also change accordingly (especially when the same phrase is repeated). For example, in re fingering ①56562321 and ②56562321, the 2321 in ① uses the upper position, and the 2321 in ② uses the lower position. This method of alternating the upper and lower positions is also a variation of the beat method. Using this technique, the timbre and effect have a sharp contrast, which enriches the expressiveness of the music.

The fingering changes also have a special relationship with the use of pitch control for the treble and superblow treble. For example, in the sao fingering, "mi, fa, sao in the three high-pitched sounds, sometimes the pronunciation is not pure. At this time, the re sound hole can be used as a reserved finger, or the overtone fingering of mi is used to reserve the three sound holes of mi and F. Fingers, you can also use the method of opening the eighth sound hole a little (similar to opening the treble key in Western wind music). The treble fa and sao are not easy to spit and pronounce, so you can use the method of opening as little as possible and pressing as much as possible. The quick-opening, quick-pressing and spit-out methods can generally be used to ensure the spit-playing results of these two tones (sao’s spit-playing is more difficult, and must have the correct mouth shape and a certain amount of mouth wrestling). Retaining the fingers destroys the coherence and fluency of the melody. In this case, the reserved fingers can be changed to the method of semi-reserved fingers (open and half-pressed) in the pronunciation hole. For example, when la fingering plays 23463432l-, the fa sound in it It is pronounced from the original mi sound hole reserved finger to the half-open fa sound hole.

Fingering in the use, must be purposeful and well-founded changes and use, otherwise it will have the opposite effect. In particular, when playing modern creation music, as well as accompaniment, ensemble, and ensemble music, you must determine a reasonable fingering (including tuning fingering) according to the specific situation, and must not abuse it casually.

Fingering and mouth shape, although two issues, but they are often inseparable. In particular, pitch control and pitch change and special techniques require close cooperation between the two. Such as re fingering, when playing the super bass (lower than the lowest note in the fingering), press and hold the re sound hole to make a do sound (re-drop re). Due to the change in fingering, the mouth shape also changes greatly (the lips are relaxed and stretched forward), of course, the breath control also needs to be matched accordingly; on the contrary, when the sao sound is issued on the eighth sound hole mi sound, due to Special fingering is adopted, and the mouth shape is also matched accordingly (the lips are tightened and tightened), and the coordination effect of breath control cannot be ignored here. The various bird songs in "Hundred Birds Chaofeng" require special skills due to their special sounds, so they can only be heard through special fingering and special mouth shapes. Taking an owl's call as an example, the mouth shape it needs is neither the lips retracted to cover the cusps nor the lips relaxed and forward, but the corner of the mouth, the orbicularis oris muscle close to the gums, and the chin raised. The mouth is closed, and the lips are flat, similar to a smile. The fingering method is neither to open a certain sound hole, press a certain sound hole, nor to fully open and press some sound holes, but to use multiple fingers with the same rise and fall, slightly gradually open and slightly gradually press some sound holes, all active The fingers do not substantially leave the wall of the rod. Another example is the Shaoyin technique of Hebei, although it is a kind of weak tone, but due to the special mouth shape (the upper lip touches the base of the reed forward, the lower lip retracts and touches the part close to the reed, and the upper lip pushes upward and the lower lip). Force downwards, there is a feeling of expanding the mouth and opening the mouth) and special fingering (except for si opening the first and second sound holes, the other sound is the fingering of which sound is used to open which sound hole), so the sound is unique and special. color.

The fingering of suona is a very complicated issue. Above, I have expounded my own fingering and pitch control, the use of reserved fingers, chromatic control, the combination of fingering and music emotion, the combination of style and technique, and the pitch control of fingering and super blowing. view. Of course, the fingering of suona is not the only problem. The above-mentioned problems also need to be further explored. This article is just a summary of my own teaching and performance for many years. It is inevitable that there are omissions and errors in my perspective. I sincerely invite everyone to criticize and correct me.