Beautiful flute sounds require correct breathing 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 remains round, instead of using the upper and lower lips to pull the "throttle" to the sides to compress the "throttle", the corners of the two mouths are drawn to the middle, enhancing 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".