How to play the alto on the flute, how to play the alto of the bamboo flute

Align the lower edge of the mouthpiece with the lower edge of the lower lip, press the lower third of the mouthpiece with the lower lip, place the tip of the tongue between the upper and lower teeth, and pull the tip of the tongue back sharply while exhaling to make a sound. The midrange exhalation should be stable, and the breath should be biased towards the middle part of the front, and the general training course for beginners is: the bass area and the midrange area can make sound for 2-3 months.

Compared to the bass, the tuyere should be slightly smaller, the chest should be a little tighter, and it should not be as relaxed as blowing the bass, and it feels like a force pushing the sound up. As for the shape of the mouth, everyone is different, you can try it, wrap the upper lip a little forward. Practice more, and as the breath improves, the timbre should be better.

Bass 5

Bass 6 degrees.

Bass 7 Know

Alto 1

Alto 2

Alto 3

Alto 4 times or or A: Alto 5 or

Alto 6

Alto 7

Treble 1

Treble 2

Treble 3

Treble 4 or or Treble 5 or

Treble 6

Note: Closed Hole Hole Semi-open hole

Playing the bamboo flute alto 5 has the following essentials:

1 Lips naturally closed, hold the ends of the flute with both hands, hold the mouthpiece head in the left hand and the tail of the flute in the right hand, place the blowing hole on the lower edge of the lower lip, and aim the blowing hole to blow the air.

2 When the breath rushes out, only a small gap is allowed for the breath to pass through, and a column of air is blown diagonally under the blowing hole. It works like blowing a pen sleeve.

3 In order not to dissipate the breath without opening the lips when the breath is flushed out, the muscles of the cheeks must be vigorous and the outlet of the breath must be kept small.

4. The sound of blowing should be pure, and avoid mixing with air sound.

5 Practice in front of the mirror and understand how to align the air holes, so that the pronunciation position is correct and impartial, so that all the breath can be turned into flute sounds.

The breathing method is correct and conforms to the natural laws of human physiology and can be played well.

The breathing during blowing is different from the usual breathing, because the inhalation is large during blowing, and it is common to inhale through the mouth and nose at the same time to speed up the speed. There are also two types of inhalation: slow inhalation and fast inhalation, and the slow inhalation method can generally be used before the start of the piece and in the slow, melodic music. It is required to inhale fully and sufficiently, but also do not inhale to the limit of no longer inhaling, so as not to tense the muscles and be uncontrollable when blowing.

Rapid inhalation is generally used in rapid music and between continuous voicing without a ventilation mark.

The exhalation during blowing is not naturally exhaled from the two nostrils and mouth, but from the gap between the upper and lower lips, through which the breath passes, so the pressure formed by the contraction of the chest and abdominal muscles and the strong control of the cheeks and lips make the breath blow out into a uniform, controlled, and pressured column of air to blow the flute.

During the blowing, the exhalation should not be exhaled to the limit of no longer exhaling, so as not to tense and tremble, but should leave half of the remaining breath, so that the next inhalation can be rapid, so that the music can be played naturally and coherently. In order to increase lung expansion and make breathing more abundant, you can usually continue to run long distances, swim and do deep breathing exercises.

It is easier to blow after opening the sixth hole. I guess you're a newbie, you don't have good damper control right now, and your breath isn't in place. Practice is not enough, practice a little longer and you can control it freely.

The way to do this is to keep practicing, blowing long mid and high notes, octave jumps, etc. These blows naturally, and your problems are solved naturally.

Pipe, lift the sixth hole up, so that basically the above situation will not occur.

The first note of the legato should be pronounced, and the first note should not be pronounced except for the first note, otherwise the effect of the legato will be destroyed. If there is the same sound connected in the legato, such as 22, then the second one is distinguished by a beating sound (beating: quickly "hitting" the next hole of the main tone with your fingers), and the hitting effect is softer than that of the stub.

In other words, if the sound in the legato line is the same, then the tone is blown as a single note for the beat length. If the sounds in the ligato line are not the same, it is necessary to blow these sounds out continuously in one breath without pause.

Generally speaking, the sound below the legato line is a musical phrase, of course, it is not necessarily, but it is generally required to be blown in one breath, just like a person speaking, there must be a pant in the middle, and then it must continue to be played according to the score. It is not difficult for people with a certain foundation, but it is inevitably a little difficult for beginners to take a breath in one breath, and I generally ask students to take a small measure or two beats in one breath in teaching, and after slowly practicing, they will gradually become competent in a musical phrase. Practice the long tone well, firstly, to ensure the breath, and secondly, the timbre is also stable in the long tone.

Good luck comes how to play the legato of the simple notation.

Tips for whistling to blow out tones:

1. Practice vocalization. It is normal to start practicing without blowing sound, only the sound of air currents. At this time, don't rush the noise, slow down. The correct whistle shape is not only the premise of whistle sound, but also one of the bases for the increase of whistle volume after long-term practice.

2. Blow different tunes. On the basis of blowing sound, it is necessary to change the size of the mouth and the tightness of the lips, the speed and urgency of the airflow, and the front and back of the tongue. Practice repeatedly, using your lips, tongue, and airflow flexibly.

While being able to blow different sounds, practice syllables, which are 1 to 7 in **.

3. Find the most familiar accompaniment to practice. It is necessary to take it step by step, have the courage to explore, and practice boldly. On the basis of mastering and consolidating simple songs, gradually increase the difficulty. Find some difficult pieces to practice appropriately, and gradually become familiar with and master.

First of all, practice air storage and exhalation, exhale with the lower jaw to store air, and blow the flute; Then inhale through the nose, taking care to inhale quickly through the nose, and inhale through the nose at the same time as the exhalation (blowing) (i.e., the mouth and nose inhale at the same time); Finally, the nose inhales the air and then transfers it to the lungs and exhales.

The sound principle of the flute is made by using the principle of air vibration sound and air column resonance. When we play the flute, the gas enters the inside of the flute from the edge of the blowing hole, and vortex at the blowing hole, so that the gas pressure inside the blowing hole decreases, so the gas at the end of the flute is like the blowing hole movement, and the sound backlog is generated at the blowing hole, this movement causes the pressure at the blowing hole to increase, and the mouth wind continues to blow the blowing air, and pushes the gas to the tail of the flute, and then the pressure at the blowing hole decreases, and the gas moves to the blowing hole, and so on, and the vibration makes a sound.

The player's nervousness and unrelenting attitude accelerated the difficulty of the treble blowing. Many players will be very nervous when they encounter the treble playing, and in their subconscious they have always thought that the higher the treble, the greater the force and energy they may use, so the excess force they invisibly exert on the body and breath will further aggravate the displacement of their mouth, the stiffness of their fingers, and the rise of their breath, resulting in not relaxing when playing, and the treble cannot come out.