Breath is the first element of playing cucurbit flute, 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. If it is not used properly, the phrasing will not vibrate well, nor will it make a good sound. Many of our players can't hold their breath and float on it, 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, to blow the cucurbit silk well, 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 couldn't hold his breath. In addition to the reasons for the breath, the floating on the top is also due to the lack of coordination between the speed of the air and the shape of the mouth, just like the relationship between the speed of the bow moving on the string and the frictional force of the bow pressing the string in a string music is not well resolved. 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 the breathing muscles.

The movement of the tongue during playing depends on the muscle contraction of the tongue on the one hand, and the impact of breath on the other hand.

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 the finger is open to the sound hole, it is not easy to lift it too high, too high will affect the speed of performance, and it is not easy to be too low, too low will affect the accuracy and volume of pronunciation, and the sound will be ambiguous. The fingers should press the holes tightly and not leak air, but they should not be pressed rigidly, but should be flexible. To make the timbre of the blowing sound elastic, it should not only be achieved by the movement of the fingers, but also by a full breath.