In this ancient national wind instrument, the bass overtone Mi is a special note, which requires special skills and understanding when playing. This article will explain in detail how to play the bass overtone Mi of fenugreek accurately and melodiously, to help enthusiasts and players improve their playing skills.

First, understand the concept of bass overtone Mi

The bass overtone, also known as harmonic Boeing or double tone, refers to a higher frequency than the fundamental frequency that is stimulated by a specific blowing technique during the performance of an instrument. On fenugreek, the bass overtone Mi refers to the Mi sound produced on the basis of the tube sound Sol, which sounds deeper, softer and has a certain empty inspiration than the regular sound.

Second, bass overtone Mi playing skills

1. Breath control:

In order to successfully play the bass overtone Mi, it is first necessary to master good breath control, the use of gentle and powerful abdominal breathing, to ensure the stability of the breath output and moderate intensity.

2. Mouthpiece position and Angle:

When playing the bass overtone Mi, the mouthpiece needs to be placed in a specific position of the fenugreek mouthpiece, which is generally slightly higher than that of the regular blowing, and the blowing Angle is adjusted so that the air flow impacts more on the specific part of the main pipe to produce the overtone.

3. Blowing strength and speed:

Compared with conventional blowing, the airflow required to play bass overtones is smaller and relatively slow, and is delivered in a peaceful and even way to avoid non-overtone pronunciation caused by violent impact.

4. Practice Methods:

At the beginning, you can try to find the feeling of overtone Mi by fine-tuning the blowing method on the basis of the barrel sound Sol, and repeatedly test different blowing positions, angles and forces until you find the right pronunciation point.

5. Finger coordination:

The bass overtone Mi of fenugreek generally does not need to change the position of the finger according to the hole, and the focus is on the mastery of the blowing technique. However, in some cases, a slight adjustment of the finger pressure can sometimes assist in the production of overtones.

Third, precautions and practical application

When playing the bass overtone Mi, pay attention to maintaining the relaxed state of the mouth and throat to avoid additional resistance affecting the purity of the overtone.

Overtone playing is a fine technique that requires a lot of practice and patience. Do not rush to success.

In the actual performance of the music, timely use of bass overtone Mi can make the music more appealing and hierarchical, but should be appropriate according to the emotional expression of the repertoire and the overall style of the application, so as not to destroy the overall harmony of the music.

In conclusion, the performance of the bass overtone Mi is not only a skill honing, but also a pursuit of musical beauty. Through continuous practice and understanding, every fenugreek lover can gradually master this skill, make their playing skills more diversified, and bring more beautiful music enjoyment to the audience.