In the performance of national wind music, tonality is the most commonly used and common technique, and the performance of cucurbit flute and bawu, without exception, borrows tonality performance techniques and techniques to express music.

The difference between cucurbit and Bawu accent

The cucurbit silk that is "blown vertically" and the Bawu that is "blown horizontally" are the same in many places. It is no wonder that some people say that "if you can blow the cucurbit silk, you will blow the Bawu". In fact, they also have many differences. The most critical and obvious difference between the two is the position and structure of the entrance of the blowing breath, which leads to different methods of blowing the mouth and voicing.

1. Different structural positions

The structure of the breath entrance of the two is different. The cucurbit silk "protrudes", hence the name "mouth blowing", and the Bawu "does not protrude", hence the name "mouth blowing". The position of the breath entrance of the two is different. The position of the cucurbit flute blowing mouth is at the top, which determines that the cucurbit silk must be blown vertically, and the Bawu mouthpiece is located at the left end, which determines that the Bawu must blow horizontally.

2. Different mouth shapes

Due to the difference in the structure of the "mouth blowing" of cucurbit flute and the "mouth blowing" of Bawu, the mouth shapes of the two are also very different. Therefore, there is a saying in the folk of the Dai people that "blow the gourd with a pouting mouth and blow the Bawu with a grin." The standard playing mouth shape of the two is:

Hulusi: The mouth shape is similar to the pronunciation of the Chinese character "house (pouting)".

Bawu: The mouth shape is similar to the pronunciation of the Chinese character "seven (grin)".

3. Different ways of exhaling

The correct pronunciation and exhalation methods of the two are:

Hulusi: "T" means Pinyin flat sound "tu"; "K" means Hanyu Pinyin flat sound "ku".

Bawu: "T" means Pinyin flat sound "te"; "K" means Hanyu Pinyin flat sound "ke".

After careful taste, you can realize that it is difficult to accurately pronounce "te" and "ke" with "pouting", and it is also difficult to accurately pronounce "tu" and "ku" with "grinning". Therefore, it is unscientific to make no distinction between the two in pronunciation and exhalation methods.

4. Emphasize that the tone of voice is meaningless

From the above analysis, we can also obtain an off-topic gain, that is, when learning to practice cucurbit flute, there is no need to consider some concepts that are only involved in playing the flute, such as tone of voice, mouth strength, and damper. I can tell every enthusiast responsibly, no need to waste your precious time and energy on this.

Techniques for voicing

The symbols of pronunciation are usually represented by "T" and "K", and the origin of these two symbols is generally understood as the first pinyin letters of "spit" and "bitter". We will not discuss the source of the playing symbols for the time being, but make a preliminary exploration on the tongue movement and application of the articulation, so as to obtain some new inspirations for the playing and processing effects of the cucurbit flute and bawu.

There are many different ways of expressing the pronunciation of simulated Chinese characters in the national wind music teaching materials, especially the bamboo flute teaching materials or teaching, such as "spit bitterness", "dege", "teke", "dugu", There are also English letters "TK", etc., which are pronounced as spit-tongue movement simulation sounds. The actual effects of these expressions and performances are also different. No matter which one is the most correct and authoritative, it is necessary to have a more detailed and scientific analysis of the movements of its respective articulating tongue movements to simulate pronunciation. The characteristics of the tongue movement range, strength, and pronunciation effect of each kind of action can be reasonably applied to the performance of cucurbit flute and bawu.

From my own practice and experience, the intensity and amplitude of pronunciation can be roughly classified into the following three types:

1. In the early stage of pronunciation training, in order to train the strength of the tongue, you can practice more by "spitting" and "bitter". In actual performance, the position of the tip of the tongue is more forward, and the position of the base of the tongue is more backward, the explosive force is strong, and the airflow speed Fast, the pronunciation is fuller and firmer, which can have the effect of strengthening training. At the same time, the tongue movement range is also large, so the tongue is more prone to fatigue, and it is easy to drive the lip muscles to link when pronouncing, and the poor control will affect the mouth shape and tone (it is more obvious in the performance of cucurbit silk and bamboo flute).

2. When the pronunciation is simulated as "de-ge", the position of the tip of the tongue is a little back than that of "spit", and the position of the base of the tongue is a little bit forward than that of "bitter". "Bitterness" should be small, and the lip muscles are also relatively loose.

3. When the simulated pronunciation of pronunciation is "du" and "gu", the position of the tip of the tongue is more backward than the above two, and the position of the base of the tongue is also more forward, that is, compared with the above two tongue movements, the "du" and "gu" The tongue movement is the smallest, and it is not easy to fatigue, but the explosive force is weak, and the emphasis of the sound head is relatively small.

In the application, the range of the tongue movement and the strength of the articulation should be used. For example, when playing pauses, staccatos, or the need to emphasize the beginning of the voice, the first or the second should be used. The pronunciation of the pronunciation is obvious and clear, and requires coherence, speed, and uniformity. At this time, the second type is more appropriate; in the case of the sound in the connecting line or the small connecting line inside the large connecting line, the small connecting line is used. The first tone of , should be emphasized, but the intensity should be different from the previous tone. Therefore, a third method with weaker tone is suitable here.

When playing the tonality, the fluttering of the cheeks and facial muscles should be avoided, the movement of the tongue should not be detected by the audience, and the expression should be natural and generous.

The magnitude of the tongue movement and the use of strong and weak effects should be designed according to the needs of the music.

Analysis on the articulation methods and skills of cucurbit flute and bawu

Pay attention to control the strength and weakness of the music

How to master the strength of music? Take a good breath first, then tighten the lip muscles to make the breath slightly thinner, and then slowly exhale the breath, which produces a weak sound. Pay special attention when playing bass 5, 6, and 7, because these three tones themselves require strong airflow, it is difficult to obtain the effect of weak tone, and it is not easy to control the tail tone. Only through repeated practice, slowly to experience, in order to find the best feeling. Only the 5th and 6th tones can be blown slowly, and the air flow should be slower to obtain the effect of weak sound. At the same time, it should be noted that the air flow is too slow to produce sound. Under the premise of mastering weak blowing, you can blow the sound to a normal intensity or stronger, and then gradually weaken from strong to weak. When playing the bass, the breath should sink, and when playing the high note, the breath should rise. Don't let it go. Special attention should be paid to controlling the change of breath. Excessive force will cause deformation of the reed or no sound. If the breath is too small, no sound will be produced. After mastering the weaker long tones, it is very easy to blow the sound from weak to strong. What we need to pay attention to is to control the breath and make it gradually increase in order to achieve good results.