Articulation is a basic technique in the performance of cucurbit flute, and many beginners always have some troublesome little problems to control, so today I am making a summary to make it easier for everyone to understand and practice, and I hope it can help everyone. The details are as follows.

Articulation, also known as "tongue articulation", relies on the tongue to make "spit" or "bitter" sounds under the control of breath. It is recorded as "T" and "K" on the technique label. The articulation makes the notes granular. Sexual expressiveness, the training of pronunciation in the performance of cucurbit flute is one of the three basic skills, so to play the cucurbit flute well, the training of pronunciation is extremely important.

In the learning process of cucurbit flute, due to the lack of correct theoretical guidance, the articulation method is often understood very simply. In fact, different musical instruments use different articulation methods. Articulation is mainly based on the impact of breath, and the sound of "TK" is produced through the tongue. There is a problem of pronunciation vibration. Whether the whole part of the tongue is pronounced or the tip of the tongue is pronounced, an experiment can be done. The tone sounds clumsy and inflexible. The pronunciation by the tip of the tongue is short and powerful, with strong granularity.

The effect of vocalization is mainly formed by the movement of the tongue. The frequency and strength of the tongue movement determine the speed and strength of the vocalization. The smaller the tongue movement, the shorter the back-and-forth stroke, and the faster the voicing speed. The general double pronunciation is played, and the pronunciation of the word is "spit, bitter". When the pronunciation is turned to the bitter sound, the difference and stroke of the tongue movement are large. Although this method of pronunciation is strong, the speed is not fast enough, and it is easy to cause the fatigue of the tongue.

Therefore, when playing fast accents, the spoken word should be changed to "dugu". Since the pronunciation of these two words is similar, the force is forward, the tongue movement is small, and the back and forth retraction stroke is short, so the tongue movement is extremely fast. , the voicing speed is correspondingly very fast. At the same time, attention should be paid to the coordination of the tongue, the tone of the mouth and the cheeks when playing the pronunciation. The fast vocalizations blown in this way are light, clean, and grainy, and the tongue is not easily fatigued.

Hulusi is a closed-mouthed wind instrument, so pronouncing it with the tip of the tongue has the following advantages:

1. Hulusi pays attention to the beauty of softness, and the pronunciation from the tip of the tongue is bright and light;

2. When playing the allegro part of the music, the spit out from the tip of the tongue can match the change of speed.

Another point is how to make the tip of the tongue more perfect, what is the method, the author's experience is that the power of breathing is concentrated on the tip of the tongue, and the sound of "spit" is produced at the same time, but when using the breath, it is necessary to control the strength and weakness. If the volume is too high, the pronunciation will not be clear if it is weak, and even a "goo" sound will appear. Therefore, it is very important to control the breath when using the articulation.

Double vomit is considered to be a difficult technique to master. Double vomit is mainly used in the rhythm of sixteenth notes. The pronunciation is "TKTK", "T" is a strong tone, and "K" is a weak tone. , Double accents are mostly used in allegro passages. Learning double accents should not be rushed, master the playing method well, and make more connections. The three-voice is the superposition of the single-voice and the double-voice. It is mainly used in the rhythm pattern of the first eight and the sixteen and the first sixteen and the eight. The practice method is the same as the double-voice, and the clarity and speed must be mastered.

Therefore, the training of articulation skills is not something that can be trained overnight. It is necessary to master the playing method well and strengthen the practice every day in order to practice the articulation well.

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.

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