To blow a beautiful and beautiful flute sound, you need the correct breathing method and mouth shape. To blow the flute's treble, bass, strong tones, and weak tones, it is necessary to coordinate the changes of breathing and mouth shape.

The first thing I came into contact with during the playing was the coordination between the breathing and mouth shape of the slow blowing (flat blowing) and sharp blowing (super blowing) of each pronunciation hole (including the barrel tone) of the flute. When playing the lowest seven fundamental tones of the flute, use the method of slow blowing (flat blowing) from the full-pressed drum tone up to the sixth hole. At this time, the contraction force of the respiratory muscle tissue is small, the "air door" is relatively relaxed, and the exhaled air is thicker. , the speed is relatively slow and stable.

When blowing an octave higher than the seven fundamental notes, use a sharp blow (over blow). At this time, the contraction force of the breathing muscle tissue is strengthened, the pressure of the air is increased, and the "throttle" is correspondingly reduced (the self-feeling is kept round, and the upper and lower lips are not pulled to the sides to compress the "throttle", but the corners of the mouth are drawn to the middle, strengthening the The pressure around the mouth to contract toward the middle), the mouth that controls the "air door" increases, and the exhaled airflow is swift and powerful.

When blowing a sound that is two octaves higher than the fundamental pitch, on the basis of rapid blowing (super blowing), the contraction of the breathing muscles is strengthened to further strengthen the mouth and speed up the flow rate of the "mouth phoenix".

Beginners can start with the basic practice of playing long notes, starting from the lowest barrel note and blowing one note in one breath, one by one, up to the highest note. Pay attention to the correct posture, breathing method and mouth shape, so that each sound is even, full and loud, and avoid trembling and fluctuating highs and lows. When using the method of rapid blowing (over blowing) to play high-octave notes, pay attention to the speed of the exhaled air, increase the force of the mouth, and change the tone of the mouth more rapidly, so that the treble is accurately played, and the tone is bright and strong.

Whether the sound is accurate or not, first of all, we must have the concept of pitch and interval (listening ability), and usually strengthen the training of solfeggio.

The mouth strength (mouth strength), the tone and the damper of the flute are constantly changing with the pitch. When blowing the bass, the air of the mouth should be thick and slow. As the sound gradually increases, the intensity of the mouth is gradually strengthened, the flow rate of the air of the mouth is accelerated, and the damper is gradually reduced. Therefore, in the practice, you must find the corresponding positions of the slow blowing and fast blowing, the mouth phoenix and the damper, because they have a direct relationship with the pitch. When the strength of the breathing muscles is insufficient, the force of the mouth is insufficient, and the flow rate of the mouth air is insufficient, the sound will decrease; when the breathing muscles and mouth muscles are too tense and the mouth wind is too large, the sound will increase. Generally speaking, if you play the bass, the rushing tone will be high; if you play the high tone, due to the lack of mouth strength, the loose tone will be low.

When beginners play, they will experience dizziness and sore mouth at first. This is normal. If the breathing method is correct, it will gradually ease and disappear after a period of training. At the beginning of the practice, you can blow for 20 minutes each time, and then rest for a quarter of an hour.

Bamboo flute can not only play strong, passionate and unrestrained tones, but also play beautiful, elegant and in-place music.

Breath control is an important part of the bamboo flute to express various emotions. It requires the player to use the force of the mouth, the style of the mouth, the damper, and the position change of the front and back of the blow hole, as well as the volume, timbre, and intonation when expressing the content of the music. Achieve comprehensive, subtle, skilled and perfect coordination. Their interrelationships and natural laws are as follows:

1. When the mouth is full, the volume is strong, the pitch should be high, and the timbre is strong.

2. When the mouth is loose, the volume is weak, the tone should be low, and the tone is soft.

3. When the tone of voice is urgent, the volume is strong, the pitch should be high, and the sound is easy to make noise.

4. When the tone is slow, the volume is weak, the tone should be low, and the tone is more beautiful.

5. When the damper is large, the volume is strong, the pitch should be high, and the tone is full.

6. When the damper is small, the volume is weak, the sound should be low, and the tone is slender.

7. The position of the damper is inward (that is, the lip is forward, covering the blow hole to make the airflow downward), the volume is weak, the sound should be low, and the tone is purer.

8. The position of the air door is outward (that is, the lip is backward, away from the blowing hole, so that the airflow is forward). The volume is strong, the tone should be high, and the tone is noisy.

The requirements for breath control are:

1. The volume can be strong or weak.

2. The pitch should be strong but not high, weak but not low.

3. The tone should be strong but not noisy, weak but not empty.

After understanding the above eight relationships, in order to achieve the three requirements of breath control, we must do:

1. The mouth is loose, the air is slow, the air door is large, and the air door is positioned inward, so that the volume is strong and the sound is not noisy, and the sound is not raised.

2. The mouth is strong, the air is urgent, the damper is small, and the damper is positioned outward, so that the volume is weak, the timbre is not false, and the sound is not lowered. Beginners should first blow out all the volume and timbre of the flute, adhere to the most basic long-tone training, and do not rush to practice breath control to avoid distracting energy. After mastering the basic playing method and having a certain amount of luck, then gradually practice breath control.

There are several reasons for inaccuracy in playing the flute:

1. Low listening ability and poor pitch concept;

2. Unskilled playing technique;

3. The flute itself is inaccurate. If it is a problem of listening ability, it is necessary to learn solfeggio first to improve the ability to distinguish pitch. If the playing technique is not too hard, it is necessary to strengthen the basic practice. If there is a problem with the flute, ask an experienced person to debug and repair it. Don't dig the flute here and there without knowing the reason.