The term reserved refers, borrowed from stringed instrument playing terminology. The author thinks: In the flute performance, when a note is played, the note will appear again after an interval of one to several notes. If the finger pressing the hole plays one to several notes in the interval, the original state of the hole will remain unchanged. It means to keep. When using the six-hole bamboo flute to play music with many changes of pitch, transposition, or using modern composition techniques, the proper use of reserved fingers can make some difficult finger manipulation difficulties simple and calm, which is beneficial to improve the performance speed and pronunciation. stability and clarity.

The reserved fingers of the flute can not only retain the half-hole fingering, but also retain the combined fingering. The reserved fingering is usually adopted when it is difficult to achieve the due speed by conventional fingering methods, and the notes between the note and its reappearance are not affected by the fingering of the reserved note, or can be compensated for a slight influence. This article only summarizes my opinions on the reserved fingers in the common six-hole bamboo flute performance in my country. The starting and ending sounds of the reserved fingers are represented by a square fold line “ ”.

(1) Retain the half-hole fingering

The reserved half-hole fingering can be applied to the first, second, fourth, and fifth holes, and the half-hole fingering reserved for the first and second holes is especially common.

Pressing and closing the first hole and the half hole does not affect the pronunciation of the fourth, fifth and sixth holes, which provides the possibility to retain the half hole fingering on the first hole.

The score example (1) is selected from [Hungary] Bartok: "Theme and Reflection", 2.

The flat mi (b3) note of the first measure can only be played by the half-hole fingering of the first hole, and it appears again after the do (1) note. Because the do(l) sound is not affected by keeping the first hole and the half hole still, no matter whether it adopts the combination fingering of the sixth hole or the closed fourth hole and the fifth hole (the latter is better here) Therefore, the conditions for adopting the reserved fingers are met.

Example (1) The e-sharp (#2) sound in the last three bars has the same fingering as the flat mi (b3) sound, and it appears many times. Since keeping the first hole and the half hole still does not affect the sharp do (# 1) sound played by all holes, the reserved finger can also be used.

Example (1) After adopting the reserved finger, every recurring flat m i (b3) or sharp: e (#2) needs to be pressed again during the regular finger movement, avoiding the trouble of pressing the half hole again. If you press the half hole again, the pitch difference or the pronunciation may be ambiguous, so not only the finger movement is saved, but the pronunciation effect is also good.

The example of using the first hole and the half hole as the reserved finger can also be seen in the score example (2), selected from "Song and Dance of the Festival", the tone is 5, allegro.

The notes here are dense, and in the first three beats, there is a sharp sol (#5) sound that needs to be played by the first hole and half hole. It is quite busy with conventional fingering, and it is difficult to achieve the due speed. Since the half hole of the first hole is closed, it does not affect the sound of mi (3) played only by closing the sixth hole, nor does it affect the sound of fa (4) played by pressing the half hole of the sixth hole. Reserved fingers may be used. In this way, each reproduced sol (#5) does not have to be re-pressed half-hole, making it easy to perform fast and clear performances. Pressing and closing the second hole and the half hole does not affect the pronunciation of the fifth and sixth holes, which provides the possibility of retaining the half hole fingering on the second hole.

For the situation where the second hole half hole sound can be reserved, see the score example (3), the barrel sound is 2,

The fa (4) sound can only be played by the second hole and the half hole, and the do (l) sound has two fingerings, but here it is easier to pronounce with the combined fingering that only closes the fourth and fifth holes. The reserved finger is adopted here, which not only does not affect the pronunciation of do (1), but also saves the pronunciation of fa (4), the pronunciation is also clear and stable, and it can easily reach a fast speed.

(2) Retain combined fingering

The combined fingerings are reserved, generally only used to lower the second hole and the fifth hole by a semitone.

Let's talk about retaining the combined fingering on the second hole. The combination fingering to lower the second hole by a semitone is to press the first hole below the second hole closed. Take the tube tone as 2 as an example, the fa (4) sound played by this fingering has a pitch in the middle of the minor third interval of mi (3) and sol (5), that is, the pitch is between the sharp fa (# 4) and fa (4), so it can only be used in suitable traditional style music.

The score example (4) is selected from the Hebei Bangzi music card "Dao Qing Song" adapted by Yang Lizhong, with the tone of 2, slightly faster,

The combination fingering of fa (4) is used here, and the pitch is exactly what the style of the song needs. The combination fingering of fa (4) is reserved, that is, when the si (7) is played, the finger of the first hole is still pressed and closed, then neither Affects the pronunciation of si(7), and is easy to use. It is common to keep the combined fingering on the fifth hole. The combination fingering to lower the fifth hole by a semitone is to close the sound hole below the fifth hole properly: only the fourth hole is closed when the octave is high, and the second, third, and fourth holes are closed when the octave is low. Keeping the closed sound hole below the fifth hole in this combination fingering still has a slight effect on the half hole sound on the sixth hole, but it can be compensated by the corresponding changes in the use of air and fingers, so it is in line with the reserved fingering. prerequisites.

Example (5) is selected from Wang Peiyuan: "Little Fugue No. 4", Tuan Yin Zuo 2, Small Andante,

Equivalent to five flats on the line spectrum. The flat si (b7) note of the first measure can be played according to the fifth hole and half hole, or it can also be played by the combination fingering of only closed fourth and sixth bar; do (1) sound can also be played according to sixth hole half hole and only open The first and the six-hole fingering.

Since the previous flat mi (b3) and flat la (b6) have no choice, they can only use the half hole fingering, so here the combined fingering is used for the drop 7 (b7) and reserved, and the do (1) sound uses the half hole fingering as well. In this way, from the flat 7 (b7) sound to the do (1) sound, only the sixth hole needs to be changed to a half hole, and when the do (1) sound goes back to the flat si (b7) sound, only the sixth hole is required. The hole from opening half hole to pressing closed, only involves one finger movement, and the finger movement is very simple.

The same is true for the reserved fingering on the flat 7 (b7) sound in the second measure of Example 5, except that the combined fingering of the flat si (b7) sound should be closed by closing the second, third, fourth and sixth holes, and playing the half of the sixth hole. When kongyin do(1), the second, third and fourth values should be reserved.

Note that the half-hole sound do (1) on the sixth hole of the score example 5 will be affected by the reserved finger of the lower 7 (b7) sound, and the pronunciation will be lower and less loud. The way to make up is: put the half hole on the sixth hole. Correspondingly, the dew is larger, the air is slightly slower, and the tone is more inward.

(3) The reserved finger of continuous semi-hole tone

The continuous half-hole tone is very difficult for the flute player, the pronunciation is not clear and stable, and it is difficult to be fast. When the necessary conditions are met, the use of reserved fingers can overcome the difficulty of continuously pressing the half hole, making the performance convenient and simple.

The fourth hole and the half hole are reserved to solve the difficulty of playing the continuous half hole sound. See Example 6. The fourth movement of Hindemith's "Clarinet Sonata" is selected. The tone is 1, 88 beats per minute.

The sharp fa (#4) here can only be played by the fourth hole and a half hole. And if the sound of raising la (#6) is combined fingering, then the fourth hole needs to change the half hole state of raising fa (#4) to full pressing hole, which is inconvenient to use. If the sharp la (#6) sound uses the sixth hole half hole fingering, it is convenient for the fa sharp (#4) sound to form a continuous half hole sound. The reserved finger is used to play the rising la (#6) with the sixth hole half hole fingering method, and the fourth hole is still pressed by the half hole, which avoids the difficulty of continuously pressing the half hole, which is convenient to play and has a good effect. Note that the sharp la (#6) sound played by the half hole of the sixth hole is low due to the influence of the reserved finger, and should be compensated according to the above method.

When encountering the fourth hole half hole and the fifth hole half hole continuously, for example, between the fa (#4) and the sol (#5) where the drum tone is 1, the fingering method of retaining the fourth hole half hole should also be used. The situation is the same as Example 6.

For the situation where the fifth hole and the half hole are reserved to solve the difficulty of playing consecutively with the sixth hole and half hole, see Example 7 of the score.

Although the do (1) and re (2) sounds here both have half-hole and combination fingerings, it is obviously better to use the half-hole fingering and keep the fifth hole and the half-hole. In this way, from do (1) to re (2) and back to do (1), only one finger in the sixth hole is required to move half a hole, the finger movement is simple, and it is extremely easy to play quickly. In this example, if the reserved fingers are not used, it is very difficult to achieve the required tempo of the music, which is a thankless effort.

Similar to keeping the fourth hole and the fifth hole half hole to solve the difficulty of pressing the half hole continuously, it is also applicable to the first and second holes.

Example 8 is from Li Huanzhi's "Spring Festival Overture", tone 5,

Its flat la (b6) and flat 7 (b7) sounds can only be repeated connection of the first hole half hole and the second hole half hole, which is particularly difficult to play according to the normal finger movement. If the reserved fingers are used: when playing the second hole half hole flat 7 (b7), press the first hole half hole of the flat la (b6).

Score example 9 is 2 for the tube tone.

The first measure of falling mi (b3) must be played by the first half hole, and the falling la (b6) must be played by the fourth half hole. The repeated connection of these two half holes, if you play flat la (b6), keep pressing the first hole half hole state when making flat mi (b3) sound, you can play quickly. Similarly, the fa (4) in the second bar of Example 9 adopts the second hole half hole fingering and retains it, and the descending si (b7) is played by the fifth hole half hole, then the link between the two half hole sounds is immediately followed by Hard becomes easy.

To sum up, the reserved fingering method, which is consciously used, has indeed opened up a new way to solve some fingering difficulties of the six-hole bamboo flute. It is unquestionable that it has an irreplaceable status, so why not adopt it? Of course, the use of reserved fingers should be taken seriously, and should not be added or abused indiscriminately. When the notes are not too dense and the speed is not too fast, whether to use reserved fingers in the same situation should vary from person to person.