It is generally believed that the ancient character for "flute" is "篴". However, in addition to the "Zhou Li", the historical books such as "Book of Songs", "Shangshu" and "Lü's Spring and Autumn" do not contain "篴", and most of the edge-edged sound air sound instruments contained in them are "籥", "Chi", "Xiao" and so on. However, today's "dong flute" refers to a single-pipe flute, which was called a flute before the Tang Dynasty. We often mistake the flute at that time for the horizontal flute, but in fact, the flute mentioned in Ma Rong's "Flute Fu" of the Eastern Han Dynasty, and the twelve rhythm flutes made by Xun Xun in the Jin Dynasty are all vertical flutes.

An important evidence of the evolution of the single-pipe dong flute from the flute of the Han Dynasty is the nine-section vertical flute and the four-stringed Ruan Xian ensemble diagram can be clearly seen in the brick paintings of the Wei and Jin tombs in Jiayuguan.

In the Sui Dynasty, the vertical flute still maintained the title of flute.

"Book of Sui: Music Chronicles": "Since Gaozu was ordered, he ordered the palace to hang...... Sheng, Zhu, flute, transverse flute, flute, flute, 筚篥, chi, Xun, eight people on each side, under the chime. ”

and "Sui Shu Music Chronicles": "Western Liangle ...... Its musical instruments include: bell, chime, zither, zither, lying gonghou, vertical gonghou, pipa, five strings, sheng, flute, big flute, flute, small flute, horizontal flute, waist drum...... and other nineteen kinds. ”

In the Tang Dynasty, due to the wide range of ethnic minority music culture in court music, there were recorders and transverse flutes in bands of different music genres. In order to distinguish it, the horizontal flute is often prefixed with the word "horizontal" and called "horizontal flute", while the vertical flute is directly called "flute", which shows that the previous concept of "flute" was clearly distinguished. As recorded in the historical records, among the ten plays of the Tang Dynasty, the horizontal flute used in the Tianzhu, Gaochang, Qiuzi, Shule, and other departments is called the "horizontal flute"; the vertical flute used in the Qingle, Anguo, Kangguo, and Yanle departments is directly called the "flute"; and the two flutes used in the Xiliang dance, both vertical and horizontal, are called "flute" and "horizontal flute" respectively.

"New Tang Dynasty Book: Lile Zhi 11": "Xiliang has ...... Sheng, Xiao, Xianjiao, Xiaoxianjiao, flute, transverse flute. The transverse flute is also called "horizontal blowing" and "horizontal bamboo". However, the "horizontal bamboo" in Li He's poem "Dragon Night Yin" "Curly hair and beard eyes are green, and high-rise buildings blow horizontal bamboo at night" is only called for poetic rhyme.

Due to the appearance of the standardized shakuhachi made by Lu Cai in the vertical flute of the Tang Dynasty, it was equipped with the same orchestra as the flute and piccolo (both vertical) in the large-scale orchestra. In the Song Dynasty, due to the popularity of the horizontal flute, and the shakuhachi derived the names of "flute", "vertical flute", "middle pipe", "shakuhachi pipe" and so on, many people have not been able to understand the difference between the flute and flute before the Tang Dynasty and the horizontal flute of the Song Dynasty, so that Shen Kuohua put a lot of effort into explaining them.

"Mengxi Writings" volume 5: "The flute endowed by Ma Rong of the Later Han Dynasty is hollow and bottomless, with five holes on it and one hole on its back, just like today's 'shakuhachi'." Li Shanwei noted the clouds: 'Seven holes, one foot and four inches long', this is today's horizontal flute ear, too often called 'horizontal blowing' in the propaganda department, not the one endowed by the fusion. ”

Zhu Xi, a scholar of the Song Dynasty, also made such a clarification in "Zhuzi's Language": "Today's flute is the flute of the ancients, and the cloud flute is the flute of the ancients." The cloud flute is also a flute. ”

Since the Ming Dynasty, the single-tube hole flute is directly called "Xiao".

"Ming Huidian, Ministry of Industry III, Honor Guard II": "Xiao, 12 pipes (branches)." It is made of bamboo, one foot eight inches long, and there are six holes wrapped in strings, five in the front and one in the back. A new concept of the "flute" that has been formed.

Zhang Erqi, a person in the late Ming and early Qing dynasties, also believed in "Artemisia Gossip": "The cave flute, that is, the single bamboo flute played today, the ancients were called the flute." Today's so-called flute blows horizontally. ”

At the end of the Qing Dynasty, Zhu Ju also made a similar explanation in the "Interpretation of the Anthology of Literature": "In ancient times, the flute was mostly blown vertically, and now it is blown horizontally. Today's flute is like the flute of the ancients, which has been changed by later generations. ”

2 Instrument-related edits

History

The flute is one of the most distinctive wind instruments in China. In May 1986, 16 vertical bone flutes (made of bird and poultry limb bones) were excavated in the early Neolithic site of Jiahu Village, Wuyang County, Henan Province, which has a history of more than 8,000 years. Vertical blowing, the sound hole from five holes to eight holes range, of which the seven-tone hole flute is the majority, with the Chinese tradition we are familiar with roughly the same scale, the bone flute sound hole is engraved with an equal symbol, some of the sound holes are also added to the small hole, which is completely consistent with the tone of China can still be used to play the current folk music "Little Cabbage".

During the period of the Yellow Emperor, that is, about 4,000 years ago, a large number of bamboos grew in the Yellow River Basin, and began to choose bamboo as the material to make the flute, the "Historical Records" recorded that "the Yellow Emperor made Linglun cut the bamboo in Kunyu, cut and make the flute, and blow the phoenix to sing", taking the bamboo as the village material is a great progress in the flute system, one bamboo has good vibration than the bone, and the pronunciation is crisp; During the Qin and Han dynasties, there were seven-hole bamboo flutes, and two-headed flutes were invented, Cai Yong, Xun Miao, and Emperor Wu of Liang all made twelve flutes, that is, one flute is the same.

In ancient times, the flute was called "篴". In the Han Dynasty, Xu Shen's "Shuowen Jie Zi" has a record: "flute, seven holes, bamboo rafts".

In 1978, two bamboo flutes were unearthed from the tomb of Zeng Hou B in Suixian County, Hubei Province, two bamboo flutes were unearthed from the No. 3 Han Tomb of Changma Wangdui in Hunan, the unearthed Chi and the Han Chi recorded in the ancient books, except for the slight difference in length, the other shapes are exactly the same; It can be seen from the unearthed chis and flutes: chi, 6 holes, closed mouth, can play five tones plus one change tone, the whole body is lacquered, flute, 7 holes, open, can play seven tones plus two change notes, no lacquer. During the Warring States period, the chile was one of the main melodic instruments played during the sacrifice to the gods or the banquet pavilion, and the flute was also very popular.

Basic construction

The bamboo flute is made of a bamboo pipe, which is hollowed out into an inner chamber and cylindrical on the outside, and has 1 blowing hole, 1 membrane hole, 6 sound holes, 2 base sound holes and 2 auxiliary sound holes on the pipe body. The flute body is made of a bamboo pipe, and the inner part is hollowed out into an inner chamber. The plug is made of cork and is housed at a certain depth in the upper end of the tube with a blown hole. Blowing hole: It is the first hole at the left end of the flute body. The flute can be pronounced, that is, the air is poured into the flute pipe through the blowing hole, so that the flute membrane and the bamboo spring in the bamboo pipe vibrate. Membrane hole: It is the second hole at the left end of the mouthpiece. It is mainly used to paste the flute film. The diaphragm plays a role in changing the timbre here. The flute can be played without a membrane hole, but it does not have the unique timbre of a flute membrane. Flute film: It is generally made of reed film, and a small square is used after kneading. After the air flow vibrates the flute membrane, it can produce a crisp and bright sound. Sound holes: There are six sound holes (according to the finger holes), and these sound holes can be opened and closed separately to produce different high and low sounds.

The base hole can be used for tuning, which plays a role in delineating the lowest note range of the flute.

The two holes at the lower end of the base sound hole can be used to adjust the treble, play the role of beautifying the timbre and increasing the volume, and can also be used for floating ears.

The bottom of the sea, also known as the flute brain, is a section of the inner chamber of the flute body from the inner edge of the flute plug to the center of the blowing hole, which prevents the air flow upward, so that the mouth wind flows downward, and concentrates the pronunciation.

Silk winding uses silk strings, which are wrapped around the outside of the mouthpiece, with a total of 21 to 24 lines to protect the body from breaking.

Tassel: An ornament tied to a sound aid hole, usually made of ribbon.

Rim: Usually the left end (or both ends) of the flute body is inlaid with cow bones, horns, jade or ivory, which is called a rim.

Varieties and specifications of bamboo flutes

The bamboo flute spreads in a wide area and has a wide variety. The most commonly used are the Qu flute, the Bang flute, and the set flute. There are also jade screen flutes, seven-hole flutes, piccolos and shun flutes, and so on.

Qudi: Named after the accompaniment of Kunqu Opera, it is also called Bandi, City Flute or Tie Line (i.e., Winding Silk) Flute, which is also known as "Su Di" because it is abundant in Suzhou. This kind of flute is mostly in C or D key, and the pipe body is thick and long, which may be the remnant of the large horizontal blowing. The tone is rich and soft, fresh and rounded. It is widely popular in all parts of southern China, and is most suitable for solo or ensemble play, and is one of the important musical instruments with characteristics in local music such as Jiangnan silk and bamboo, southern Jiangsu wind and percussion, Chaozhou flute set gongs and drums, and opera music such as Kunqu opera.

Bangdi: Named after the accompaniment of Bangzi opera. This kind of flute is commonly called: F-key, G-key, A-key. The body of the pipe is thinner and shorter than that of the curved flute, which may be the remains of the small horizontal blow. The timbre is high-pitched and bright, it is a kind of flute used to blow high notes, which is mainly popular in the north, and is mostly used in the accompaniment of the northern blowing song meeting, Pingju and Bangzi opera (Qin dialect, Hebei Bangzi, Pu opera, etc.), and can also be used for solo performance, rich in strong local flavor and local color.

Tune-setting flutes: Each flute has a fixed key, and each set has 6, 7 or 12 flutes. It adapts to the performance of pieces in different keys, and is best suited for solo or orchestral performances. It is convenient for the player to play the flute without changing the fingering and only playing with the flute corresponding to the tune corresponding to the piece. The tone flute is equipped with a copper socket between the blowing hole and the sound hole of the flute body to adjust the distance between the blowing hole and the sound hole. This improved tone flute can be controlled in different climates by adjusting the length of the pipe. The tuned flute will play a positive role in the unification of the name of the bamboo flute in our country, because it no longer has the distinction of the song flute and the bang flute, but is named after the pitch of the third hole, which is not only in line with the traditional folk performance habits, but also solves the confusion of the flute in the problem of height, and brings great convenience to the notation and performance, it is fully applicable to the traditional six-hole flute and various reform flutes.

Yuping flute: produced in Yuping Dong Autonomous County, Guizhou. Made with small local water bamboo. The flute body is oval, and the appearance is engraved with landscapes, flowers and plants, birds and beasts, insects and fish, poems and other decorations, and the craftsmanship is fine. The pairs of male and female flutes are more famous, with the male flute pipe slightly thicker and engraved with "Tenglong" on it, and the female flute pipe slightly thinner with a bright pronunciation and engraved with "Caifeng". This kind of dragon and phoenix pair flute is quite distinctive in craftsmanship. In addition to the jade screen flute, the jade screen flute is also famous. "Jade Ping Xiao Flute" is often called "Ping Xiao Jade Flute", which is all over the country and has been exported to the United States, the Netherlands, Germany, Japan, South Korea, Singapore, Hong Kong and other countries and regions. However, due to the limited number of product masters, the products have not been produced on a large scale, and none of them have dealt a heavy blow to the flute lovers.

With the development of domestic e-commerce, Yuping Xiaodi has successfully become a strategic partner of Jugou Technology. It makes the Yuping Xiaodi sold on well-known domestic platforms such as Amazon, Jugou Mall, and Jingdong Mall, which solves the embarrassing situation of buying Xiaodi in the past.

Piccolo: also known as the student flute, the flute body is short and generally has no base sound hole. There are two kinds of membrane pores and non-membrane pores, which are used for practice or ensemble.

Bass flute: Nowadays, with the improvement of musical instruments, coupled with the development of musical diversity. The variety of flutes is becoming more and more abundant. For example: bass longpipe, elbow bass flute, etc. The pitch of the third hole is lower than b1 is called the "bass flute", such as: major A, major G, major F, major, major C, etc.

Introduction to the flute membrane

The flute membrane has reed membrane, bamboo membrane, casing membrane and so on, among which the bamboo membrane is too brittle and easy to break when blowing, and the elasticity of the casing membrane is too large, and the resonance is small when blowing. Reed membrane is the best, not easy to break and has moderate elasticity. The reed film is a thin film adhered to the reed stem, the tender reed film is thin, bright and transparent, and has a certain stretch force, and the flute is pasted, the pronunciation is bright and strong. Too thick and too thin membranes are not suitable, too thick pronunciation is dull, too thin pronunciation is loose, sandy, and easy to break. Sticking the flute film is a very delicate work, the flute film is good but the paste is not good, and it can not produce the best timbre. The correct method is: cut the flute membrane into small square pieces larger than the membrane hole, dip it in water with baiqi (traditional Chinese medicine), gum, peach gum or garlic, wipe around the membrane hole, and then use both hands to thumb the flute membrane after the gum is produced. Pinch the index finger and gently pull it to both sides to make it appear dense and neat wrinkles (perpendicular to the texture of the reed membrane itself), so that it is perpendicular to the flute body, and neatly attached to the membrane hole, so that the texture of the flute membrane itself is consistent with the texture of the bamboo flute, and then press the flute membrane on both sides of the membrane hole with the thumbs of both hands, and gently wipe it on both sides to make the flute membrane elastic and moderate, and the bass is mellow and the treble is bright when playing. When applying the film, pay attention to the cleaning of the fingers and the inside of the membrane hole, and do not stain or wet the flute membrane, which will deteriorate the flute membrane and affect the blowing and timbre.

The membrane is thin and delicate, and it is easy to loosen or tighten due to changes in temperature and humidity, so it needs to be adjusted frequently and carefully. When the flute membrane is loosened, you can use a method called "waking up membrane" to put the flute close to the mouth, heat the flute membrane, and then blow cold air away from the flute membrane or put the flute membrane against the face, or put it under the armpit, so that it is heated and the water vapor evaporates, and so on many times, the flute membrane gradually becomes tighter. The "waking film method" is more time-consuming, and another method is necessary to adjust it quickly: soak the flute film paste, if the film is loose, wipe it tightly on both sides, and if the film is tight, gently press it on the film to make it loose, this method is fast and time-saving.

In winter, the flute membrane is easy to water, because the hot air blown out of the mouth turns into air and water when it is cold in the flute pipe, and is soaked in the flute membrane. When a single flute is not loaded with a flute box, it should be rolled on the flute membrane with slightly stiff paper and wrapped with elastic bands to protect the flute membrane and prevent the flute membrane from aging and rupture.

The main species

1. Bang flute and qu flute

Bang flute is used for the accompaniment of the northern Bangzi opera, the flute body is thin and short, the timbre is high-pitched, bright and powerful, focusing on the use of tongue skills, such as the famous flute player Mr. Feng Zicun played the northern folk music "Wu Bangzi" and "Happy Meeting", which showed a strong local color in the performance, and used the rapid and jumping tongue sound, the powerful buttress sound, the interesting flower tongue sound and other special skills. Bangdi is good at expressing strong and bold, lively and brisk feelings, with a strong northern color, which is inseparable from the regional characteristics and living and working habits of the people in the north. It is mostly used for the accompaniment of blowing songs, Pingju and Bangzi opera (such as Qin dialect, Hebei Bangzi, Pu opera, etc.) in the north, and can also be used for solo performance.

Qudi is used for the accompaniment of southern Kunqu opera and other operas, also called "Bandi", "City Flute" or "Tie Line (i.e., Winding Silk) Flute", because it is abundant in Suzhou, so it is also known as "Su Di". It is mostly in the key of C or D. The pipe body is thick and long, the timbre is pure, mellow, pay attention to the luck of the long, the strength changes carefully, often use the first to put and then receive, one tone and three rhymes, melodious and euphemistic, the tune played is more beautiful, delicate, gorgeous, with a strong Jiangnan charm.

The Qudi is in stark contrast to the rugged and powerful solo music of the northern style Bangdi Dizi. For example, the famous flute player Professor Lu Chunling, he played "Partridge Flying", "Little Cattle" and other folk music, the timbre is smooth and clear, the timbre control, the contrast between strength and weakness is free, and the use of "calling", "transmitting", "playing", "leaning", "vibrato" and other techniques on the flute, in the use of breath requires full and even, as little as possible to use the spitting interrupt.

Qudi is widely popular in southern China, suitable for solo and ensemble performance, and is one of the distinctive musical instruments in local music such as Kunqu opera, Jiangnan silk and bamboo, southern Jiangsu blowing, Chaozhou flute set gongs and drums, etc.

Most of the newly composed solo flute pieces absorb the performance characteristics of "Qudi" and "Bangdi".

Playing techniques

(1) Liyin and flower tongue

The calendar can add to the warm, rugged and powerful atmosphere of the music. Flower tongue is a broken sound effect produced by striking the upturned tongue with air currents and rolling it.

Calendar:

Starting from a note in front of the original note, it progresses rapidly and continuously from the bottom to the top or from the top to the bottom of the note, which is called "calendar tone", which can add to the warm, rough and powerful atmosphere of the music.

The time taken up by the calendar is very short, and each finger should be opened rapidly and evenly in turn when playing the upper calendar, and the sound hole should be pressed quickly and vigorously when playing the lower calendar. Each note should be blown out short and clearly.

Flower Tongue:

Flower tongue is a special bamboo flute tongue technique, similar to the rolling of the erhu's shaky plucked instruments, and is often used in the accompaniment of rap music in the north.

Playing the flower tongue is to use the air flow to impact the upturned tongue, so that it rolls to produce a broken sound effect, the folk are generally called "wheezing", you can first train the tongue to "play the lur", must be speed, strength balanced, long-lasting flute

Material 2:

Wind Playing Technique2006-12-0116:45Cyclic ventilation method Chinese flute open hole film, so that its crisp and bright timbre is different from any kind of flute in the world, which is in our country There are many suona players, can make the breath uninterrupted blowing, won the appreciation of the audience. They created a special method of ventilation------ "puff cheek ventilation".

Around 1957, Mr. Zhao Songting, a flute player, applied the suona method of "drum and cheek ventilation" to the flute, and named it "extra-long tone performance". Received very good results. Its method is as follows: in the blowing process, when the first breath is about to be blown (about one-third of the time remains), the remaining qi is stored in the two cheeks, so that the two cheeks are puffed up (smaller than when playing the suona), and then inhale through the nose, and at the same time, the two cheeks are gradually contracted, and the flute is played with the air stored in the two cheeks, until the second breath is connected, and then continue to play. In this way, the flute continues to be heard. Although this method of drum and cheek ventilation can solve the special long note performance on the flute, the effect is not very ideal because of the following shortcomings:

1. If you have to puff out your cheeks, it will cause changes in the shape of your mouth, which will affect the timbre and volume of the flute.

2. Blowing up the cheeks is not only very laborious to blow, but also unsightly, which is easy to cause the audience to worry about the player, distract the audience's attention, and affect the performance effect of the music.

3. The storage capacity of qi is small, the intensity is poor, and it is often impossible to play high-strength long notes and large pieces of music, which is easy to interrupt the flute sound.

This kind of "drum cheek ventilation method" is good for suona, but it is not ideal for copying it in flute performance, and the following reasons have been found through research and practice:

1. Because the suona is an oboe instrument, it wraps the oblate round whistle with the mouth and blows it with the breath to make the whistle vibrate and pronounce. In other words, as long as there is air, it can basically be blown. Therefore, although the shape of the mouth changes after you puff up the cheeks, it does not affect the shape of the mouth (inside the mouth). The flute is a blown hole instrument, which is pronounced by the "damper" to properly feed the breath into the blowing hole. Therefore, when the cheeks are puffed up, the shape of the mouth cannot be kept as it is. The damper will cause changes, so the flute will not be pronounced normally.

2. Most of the suona also has a file, this file can help the control of the mouth, after the cheeks are bulging, the lips are strongly against the plate, which greatly increases the compression (control) power of the two cheeks. This also effectively increases the pressure of gas storage and exhaust. However, this file cannot be installed and used on the flute.

At the end of the fifties, on the basis of the original drum and cheek ventilation (special note performance), the performers made this technique more substantial, complete and standardized through repeated pondering, practice and performance practice, and named this technique ----- "Circulating Ventilation" method and made a theoretical summary, in 1962 and 1963, successively

Playing technique

Due to the relationship between technique and region, the performance of the flute is simply formed into two major schools, one is the southern school and the other is the northern school, in terms of skills: the southern song trembles, stacks, vibrates, and hits; the northern song uses hand spitting, slipping, chopping, and flowering. Therefore, the different playing styles are distinguished, and the following is a brief introduction to several commonly used flute techniques: Trill (tr): For example, the vibrato of 6 is equivalent to playing 67676767. False vibrato: A kind of vibrato, a tremor technique in which the fingers flutter and completely cover the sound hole (press the half hole). Boeing (): A type of short vibrato, also known as ripple, which means that the finger above the main tone jumps once rapidly. Overlapping (again): For example, the overlapping sound of 6 is equivalent to 717 6 general. 6 is the main tone, while 717 is equivalent to the compound tone, which is a kind of ornamental sound, also known as the call sound. Gift: A decorative sound that appears at the end of the note, which will indicate the pitch of the "gift", also known as delivery. Playing (D): Quickly "hit" the next hole of the main tone with your fingers. Also known as sound conduction. Tuyin (TK): A technique of spitting lightly with the tip of the spit, there are single spitting (T), double spitting (TK), triple spitting (TKT or TTK), which is a staccato technique. Gliasmento: The process of moving between notes is "sleek", with glissandos, glissandas, and compound glissandos. Slowly open the sound hole or press it back with the help of finger movement to create an effect similar to that of a singing voice (finger portamento), or with the help of breath control, to achieve a effect similar to that of softness (air glissando).

Chopping: Similar to the sound of a bird's call, each finger rises and falls rapidly at the same time, and the pause (accentuated sound) is added to create a special sound effect. Flower tongue (*): A technique that uses the natural and continuous vibration of the tongue to create a dense and grainy texture of musical notes. Calendar: A fast scale progression similar to the piano arpeggio, which can also imitate the sound of a bird when the speed is fast. There are upper and lower calendar sounds. Strong sound (>): similar to the accent sound, it is mainly used to pronounce the breath of "exhalation", which has the effect of accentuation. Stuttering: pronounced staccato and pronounced with the tongue. Tongue attack: Generally when blowing the first range of a line or a note without a line, the tip of the tongue is gently and moderately (more lightly than spitting) to play it, similar to the action when pronouncing the word "ti", and these sounds are blown out very clearly and certainly. Guttural sound: Similar to the sound effect of the flower tongue, it is different from the flower tongue in that the vibrating part is the small protruding and drooping tongue in the throat. The articulation grains are coarse. Overtones (. ): The same fingering blows a sound that is different from the octave relationship, and the dynamics are between two octaves, which is a type of overblowing.

Flying fingers (flying): Using the driving effect of arm strength, one or several fingers (up to three fingers) of one hand quickly wipe left and right on one or several sound holes. It produces a strong crackling effect. Epoch: The sound that rises or descends rapidly from low to high (upper epoch) or from high to low (lower epoch), which is called "epoch". The fingers are required to rise and fall with certainty and decisiveness in the blowing, so that each note experienced is very clear and smooth, as if it were going up and down the stairs quickly. Abdominal tremor (—): The use of abdominal force control to make the breath rise and fall like waves, fast or slow, large or small, in order to express emotional excitement. Generally speaking, the playing skills of the flute can summarize the four basic skills of qi, fingers, tongue and lips, and the kung fu of qi is the most difficult to master, the kung fu of the fingers requires the finger movements to be clean, neat, average speed, flexible and elastic; the kung fu of the tongue requires average strength, granularity, average rhythm and long-lasting; and the kung fu of the lips must pay attention to the appropriate performance of the damper and the strength of the mouth. No matter what kind of skill you have, as long as you practice it diligently, you will be able to practice and make perfect. But the most important point is that the flute player must be responsible for the music when using a variety of techniques, otherwise the painting will add to the snake and destroy the original beauty of the piece, which is a proper understanding.

Wrap-and-blow method

1. Introduction to the bag blowing method:

(a)

About pronunciation

Bao Blowing is not only a flute playing technique, but a completely new method of blowing.

As the name suggests, the bag blowing method is to completely wrap the hole of the flute with both lips to play, it is a kind of flute and similar blowing instruments, such as the flute, has never been, a new method of blowing.

Although the blowing method is to use the upper and lower lips to wrap the blowing holes of the body and blow (similar to blowing the bau), its pronunciation is not through the reed vibration, nor is it pronounced with laryngeal or oral vibration like the guttural sound, but on the inside of the lip that wraps the blowing hole (the outside is not visible) to form a damper, and when the breath passes through the damper, it hits the lip edge of the inner lip to vibrate, and then vibrates the flute body to make it sound. It is similar to blowing a brass instrument, but the difference is that the flute only has a hole and no mouthpiece, nothing like a mouthpiece to block the lips, and no need for a large, hard mouth and air flow like a trumpet. The formation of the damper of the bag blowing method is the control of the leading dantian and the tightening of the cheeks (the lips cannot be tightened, but should be naturally relaxed) The size and tightness of the damper, and the softness, hardness, slowness and urgency of the mouth wind determine the accuracy of the sound and the quality of the timbre.

The effect of blowing with the bag blowing method is similar to that of the bau and the throat. The volume is loud, the sound quality is deep and deep, and if it is weakly controlled, it is very similar to the timbre of Bau.

The sound produced by not using the flute membrane (or sticking the membrane tightly) is mellow, but the resonance of the vibration is slightly poor, and the sound is transparent, beautiful and crisp when blown with the flute membrane, these two timbres can be used.

The sound produced by the Bao Fu method on the flute is one major two degrees higher than the tone on the original flute, that is, one key higher than the flute. The flute with the third hole as the D is played, and the actual pitch is E (the third hole becomes E). Therefore, in actual use, the wrap-and-blow method should be based on the second hole (the second hole is "1") and the cylinder sound is "bass 6". If a piece of music is played on the D-key flute (all pressed as bass 5), when the blowing is to be changed to the wrap-up blowing method, the change must be played with the fingering of the second hole as "1" (full press as bass 6), and the tone will be as high as the third hole used in the whistle blowing method as the key of "1". Due to the size of the air flow and the softness and hardness of the mouth wind, it has a great impact on the pitch (the maximum can reach a major second to a minor third), so the same pitch can be played with the same finger hole as the whistle blowing method, such as the D sound of the third hole, and the D sound can also be blown into the D sound by the bag blowing method, but the sound blown out in this way is not mellow enough, not full enough, and not bright enough. Therefore, after repeated comparisons and continuous exploration, we finally selected a full tone blowing method, and the effect is more ideal.

(b)

About fingering

The fingering of the bag blowing method is the same as that of the whistle method, but because it is pronounced one major second higher than that of the flute, it must be transposed (changed fingering). However, these tones (fingerings) are rarely used in whistle blowing. So it's more difficult to play. For example, the whistle blowing of the small gong tune (full press is bass 5) is turned into a package blow, and it becomes the fingering blow of the second hole as "1" (full press is bass 6). After the whistle blowing of the main palace tune (all pressed as bass 2) was subcontracted, it became the fingering of the six-character tune (full press as bass 3). And so on.

(c)

About use

The bag blowing method is mastered, and it is very widely used in practical work, which can be used instead of Bau to blow, loosen the membrane a little, or breathe a little harder, and the timbre is very similar to the middle and low timbre of the throat and Western clarinet, and the flute has developed into a variety of functions, a variety of uses, and enriched the expressive ability.

There are two aspects to the use of the bag blowing method, one is to use it alone, and the other is to use it interchangeably with the whistle blowing method. Because it can be played interchangeably, two completely different timbre effects can be played on the same flute, which is the greatest success of the wrapping method. Its unique features are refreshing. In the solo, a variety of alternating blowing techniques are widely used to make the performance add a wonderful timbre contrast in the changes of high, low, fast and slow, long and short, strong and weak, which can surprise people, can be fascinating, and receive excellent results.

About the use of flutes

The wrap-and-blow method is suitable for flutes of any tune. As long as the flute and Western flute that rely on the sound of the blowing hole can be applied, but the alto flute (such as D, E) and the bass flute, (such as the major C key, B key, A key, etc.), the effect is especially good. In the Bang flute, the Bao blowing method is used, the pronunciation is high, thick, powerful but the timbre is dry, and the blowing is more strenuous when blowing, not as easy as on the middle and low flute, and the timbre and sound quality are as soft and beautiful.

The traditional six-hole flute can play an octave of tones with the wrap-and-blow method, and if you add a sound hole above and below the traditional flute (above the sixth hole and below the first hole in the appropriate places), the vocal range can reach ten tones. As the flute continues to be reformed, the range of the bag blowing method will be expanded.

Related exercises

When the bag blowing method is first practiced, it will be a little dazed, very unaccustomed, and there will be some dizziness and numbness in the mouth after blowing for a long time, especially after practicing hard for a while, even a note has not been made, and it is most likely to have doubts and lose confidence in this blowing method. "Where there is a will, there is a way", if you persist in practicing, you will break through a little, as long as you break through a little, you will fully blossom and achieve victory. The practice of bag blowing must be carried out step by step from shallow to deep, from easy to difficult, and cannot be rushed. Therefore, the following steps should be followed when practicing the wrap blowing method.

Step 1: Prepare before practice

The first thing to prepare is to choose a good flute, generally speaking, choose E, D, C key (the three holes are "1" The flute is good, and it is best to have a double-section flute with an adjustment head, when playing, first turn the blowing hole and the sound hole two sections, so that the blowing hole and the sound hole membrane hole do not become a straight line (like the whistle blowing method to become a straight line, although it can also be played, but the fingers press the hole is a little awkward, so it is better to turn it a little), to turn the blowing hole inward and the sound hole of the membrane hole into an inclination of about 20 degrees, so that the lips are wrapped up conveniently and naturally, so that the fingers keep the original flute posture unchanged, just like blowing the bau.

With the traditional six-hole flute blowing, in order to widen the vocal range of the bag blowing, you can do it yourself in the appropriate place above the sixth hole (the exact position should be determined according to the requirements of the pitch and the habit of holding the flute), add an additional hole, if you make your own flute (you can also customize) you can remove the two rear sound holes (also known as the rope hole), and change an additional hole in the appropriate place (that is, add a 4 tones of the flute's original tune), so that not only adds a tone (the original tone of the bag blowing is bass 5), but also is very convenient to use. At the beginning of the exercise, you should pay attention to finding the correct mouth shape, pay attention to the moment when the lips are about to cover the blowing hole, the mouth should not be opened too wide, not nervous, and naturally relaxed, and the mouth should be slightly opened like a smile, and gently wrap the blowing hole. The outer edge of the lips should be wrapped with the blowing holes, but the area should not be too large, and it should occupy as little area as possible, so that the blowing holes cannot be seen outside. The inner edges of the lips should be slightly connected, taking care not to force them tightly. The flow of the breath causes a natural damper to form between the lips, and the impact of the air flow (mouth wind) causes the lips to vibrate slightly numbly, and then vibrate the flute to produce the desired sound.

Pay special attention to the following when practicing:

(1) Things can be played with a straight belly, a hunched back and a raised neck.

(2) It is necessary to use a combination of chest and abdomen breathing.

(3) Don't work hard to blow and practice violently, pay attention to groping, and experience skillful practice.

(4) The mouth and throat should be relaxed, not nervous, and the breath should be smooth. You can't raise your neck and throat to make sounds

(5) Pay attention to the correct posture of playing the flute, do not lie down, tilt and Erlang's legs.

(6) Concentrate your energy, and do not play the flute, but your heart thinks otherwise. Because in this way, it is most likely to unconsciously produce many problems, and over time they become bad habits and difficult to change.

(7) Do not retreat in distress and lose confidence.

Step 2: Practice pronunciation

When practicing pronunciation, special attention should be paid to calm down, not to be impatient, not to bury one's head in hard work, to use one's brain, while experiencing, while groping, while playing. Practise the pronunciation of the third hole (this sound is easier to pronounce). Don't worry about the pitch first, try to make it sound as soon as possible. The sound of the third hole can be sent out, and then the fourth hole, the first hole, and the second hole can be made. As long as the first note is sounded, the next note can be blown more easily.

When blowing one note and then blowing other notes, you can use the line blowing method to practice, that is, between the notes (one sound hole turns to the other) do not breathe, do not pause, do not change and re-determine the mouth shape and adjust the damper. When the sound is being played, in the mouth shape, damper, dantian control and other things remain unchanged, only open or press the fingers, so that it is easier to send out the sound of each hole, but also can naturally and slowly find and grasp the mouth shape, damper, mouth strength, dantian control of loose, tight, slow, urgent, large, small, soft, hard and other subtle changes in all aspects of the dantian control.

The most difficult sound to play with the bag blowing method is the highest and lowest pole sounds, and the strength of the mouth shape, damper and dantian control of the two pole tones is relatively different from each other, so it is more difficult to jump from blowing the high note to the low tone, or from blowing the low note to the high note abruptly, so in the process of practicing pronunciation, when the notes can be blown in turn, you should carry out the practice of jumping forward the tone of the third, fourth, fifth and octave. In this way, from easy to difficult, from shallow to deep, the results will be very fast if you practice step by step.

Step 3: Flat blowing exercises

When the second step of the exercise is basically up to the mark, you can perform the flat blowing exercise. In addition to playing some etudes, you can also choose some folk songs with a range of one octave to practice. The main purpose of the flat blowing exercise is to make the damper, mouth style, and mouth strength change freely with the continuous changes of the tune, such as high, low, long, short, strong, weak, fast, and slow, so that the pronunciation is more consolidated and the fingers are more flexible.

Flat blowing is the basic skill of the blowing method, must be practiced in a down-to-earth manner, requiring accurate pronunciation, pure, beautiful, bright, stable rhythm and control of strength and weakness, in the notes and notes, between the phrase and the phrase when the connection and transformation to be natural and coherent, can not be intermittent, can not be anticlimactic, the beginning is very strong, but the end is empty and weak. When each sound is pronounced, it is necessary to prevent the tongue from spitting out and the breath from rushing violently, so that the sound produced is dull and unpleasant.

Step 4: Breath practice

When you can play a tune freely, without fear, and accurately, you can perform the spitting exercise. The practice of spitting should start with the single spitting exercise, and then move on to the double and triple spitting exercises.

The method of playing the blow is basically the same as that of the whistle. Theoretically, all the techniques that can be used on the flute can also be used in the wrap-and-blow method. However, it should be noted here that the spitting of the bag blowing method should use more "internal spitting" (the pronunciation of "Qi"), because the use of the spitting in the whistle blowing method, the effect of the spitting is strong, clean, powerful, and elastic, but although it can also be used in the bag blowing method, the effect is too rigid and too rigid, so the inner spitting should be used more in the blowing method. The dynamic effect of the internal vomit in the wrapping blowing method is basically balanced with the dynamic effect of the external vomiting in the whistle blowing method, and it is more uniform and harmonious when the blowing is exchanged. For this reason, when we practice the pronunciation of the Bao Blowing method, we should practice more internal vomiting "Qi".

When practising the art, you should also start with the second and third holes, then expand to other notes, and then play the etude. In this way, we can practice from shallow to deep, from easy to difficult, so that the foundation can be firm, so as not to cause problems and adverse consequences.

The practice of double vomiting, triple vomiting and reverse three vomiting is also the same as the practice of single vomiting, which should be based on internal vomiting, that is, the pronunciation of "Tuku" in external vomiting is changed to "Ziken". Because the line of movement of the tongue is shortened, the impact of the tongue is reduced, and the sound of the spit out is soft and round, and it has a bit of a taste like spitting, and some people say that the inner spit is "light spitting", which is a misunderstanding. Vomiting is a method of vomiting, which itself can be strong or weak, and the timbre can be large or small.

Step 5: Technique exercises

When the practice of flat blowing and spitting (single, double, and triple spitting) has reached a certain level, you can practice the technique. The techniques referred to here are the various techniques commonly used in whistleblowing (which can be called regular techniques) and some special techniques. As long as it is a technique that can be used in the whistle blowing method, it can generally be adapted and applied with a little practice in the blowing method.

We divide these general techniques into two categories: one is finger skills, such as glissando, calendar, chopping and various decorative techniques, and the other is tongue skills, such as flower tongue, guttural sound, cyclic ventilation, etc., compared with these two types of skills, finger skills are easier to master in the blowing method. However, due to the difference in the mouth shape, damper and mouth style of whistle blowing and bag blowing, it is more difficult to apply the tongue skills in whistle blowing to the bag blowing method.

When practicing skills, you should concentrate your time and energy relatively well, practice one skill at a time, and don't do what you want. Concentrate your energy, concentrate your time to practice, you can

You are well acquainted with it, you can feel the ingenuity, increase your endurance, and consolidate the results of your practice.

Step 6: Exchange exercises

After the pronunciation and flat blowing of the bag blowing method meet the requirements, in the process of practicing the spitting and technique, you can also exchange the whistle blowing method and the bag blowing method.

The main purpose of this practice is to become familiar with and get used to the interchangeable use of the two blowing methods. It is required to complete the exchange action correctly, shorten the time required in the exchange process, so that the pronunciation can be accurately and played smoothly after the exchange, and lay a good foundation for future practical use.

There are several ways to exchange exercises:

(1) Exchange practice of the same tune, that is, a melody with the same tune can be played by two blowing methods, first blowing once or twice with the bag blowing method, and then switching to the whistle blowing method to play, and constantly repeating the practice.

(2) Transformation exercises of connection forms. That is to say, use a melody with a wide range to play its high register with the whistle blowing method, and when it reaches the low range (the sound area that can be reached by the package blowing method) is exchanged into the package blowing method to blow, regardless of the upward or downward melody can be used in this method, this method is practiced, and it will be very useful in the actual blowing in the future, especially in the use of solo.

(3) Exchange exercises in the form of fast and slow. When a melody is played in a sixteenth note legato or spitting with a wide range and extremely fast speed, it can be played by whistle blowing, and when the music reaches a climax and suddenly closes to an indulgent free board or adagio, it can be exchanged for a wrap-and-blow method. In addition to the three exchange exercises discussed above, you can also use other exchange methods to practice, which will not be discussed here, and you can choose this tune to practice at your own discretion during the practice.

The wrapping method can make the flute be used alone for accompaniment and solo like the bau and throat, but more use should be to take the method of exchanging the two blowing methods. Therefore, attention should be paid to the exchange practice of the two blowing techniques.

5. The practice and application of harmony (double tone).

Harmony can also be referred to as a diphonic. The harmony practice we are talking about here is not the double tone played by the double flute, double pipe, double recorder, etc., but refers to the blowing technique of practicing two notes in one sound hole on the original traditional flute. There are two ways to play harmony:

1. Overtones and sounds

This blowing technique is to practice the ability to pronounce the first, second, and third holes and barrels of the flute, and at the same time as pronouncing the original note (567 and treble 1), and then pronounce their relative overtones. Or an octave.

The main skill of this blowing technique is on the damper and mouth wind. It requires the damper to be loose and small, and the mouth air to be concentrated and gentle. It needs to be blown with the two mouths that are used to play the original note in order to produce a double note.

When practicing, you should be calm, ponder your experience, and you must not be in a hurry, blow violently, and be similar to the kind of elegance when you blow the flute. The more anxious you are, the more unsettled and uneasy you are, and the harder it is to find its ingenuity.

This blowing technique is theoretically applicable, but it is rarely used because the volume of its pronunciation is too small, the double sound effect of the harmony is relatively weak, and it is not easy to pronounce accurately.

Especially in ensembles and accompaniments, its sound will be drowned out by the sound of other instruments. But when playing solo, unexpectedly, a few words suddenly come out, and you may receive a peculiar effect.

This is a new technique to explore, which has yet to be studied and developed, so beginners should not practice it first, so as not to lose a big mistake, but should first try to practice those commonly used techniques.

2. Self-vocal accompaniment

In the autumn of 1958, Hu Jiexu used the "guttural" technique for the first time in the solo flute piece "I Am a Soldier", which made the performance of the piece receive unexpectedly good results. Bu into the flute solo "Qian Ma Club" used the "guttural" technique. Although the mood, speed, rhythm, tonality, and style of the two pieces are the same, they have also received good results, and these two songs have won awards, been published and made into records, and are popular throughout the country, Hong Kong and Macao, and cannot be said to have nothing to do with the successful use of "guttural" techniques in the songs. This technique has spread and is one of the regular techniques used in flute playing.

For more than 30 years, Hu Jiexu has been constantly adding new feelings in the process of using this wind technique for a long time. In the early 80s, inspired by the original "guttural voice", he explored another new wind technique----- "self-vocal singing". The principle and method of playing this technique, as well as its expressiveness, are briefly described as follows: The name "vocal accompaniment" has pointed out the essence of this blowing technique, which requires that at the same time as the flute is played (in the middle of the flute's performance), the player produces (sang) the same or different sounds as the flute sound in the mouth. Notes of the same rhythm or different rhythms. It can also hum a variety of harmonies and simple polyphonies with flute tones such as thirds, fourths, fifths, sixths, and octaves.

It's not a difficult skill, but it's hard to master without a lot of effort. It is difficult to hum various sounds in the mouth while playing the flute. On the other hand, while singing, you should be able to keep the shape of your mouth unchanged and keep your breath continuous, so that the flute can be played normally. In addition, the difficulty is that the requirements for the musicians of the musicians have been raised, and the concept of intonation and breathing requirements have also been stricter. In particular, it is even more difficult when two rhythms, two different melodies (counterpoint) flow at the same time, and both sides have to proceed accurately and smoothly. All of the above are the keys to mastering the 'self-vocal accompaniment' blowing technique. Secondly, there are some requirements for the voice of the player, although it does not require the quality of the voice, but it requires the voice to reach the width of the vocal range of the average singer. The pronunciation is accurate, no walking (running) in tune, and no spiky noise.

To practice this skill, there are three stages:

The first level is singing. The practice of singing here does not require the resonance, position, mouth shape, articulation, etc., like the singers, and there is no need to sing loudly and non-stop. It is practiced by gently closing the mouth (lips) and humming various pitches and melodies in the mouth. It is required to hum accurately, the rhythm is stable, the mood is appropriate, and the transition of the pitch is coherent. At the same time, it is necessary to expand the vocal range as much as possible through singing practice, so that it can reach more than 10 degrees. Of course, not having a wide vocal range does not mean that you cannot play and use 'self-vocal accompaniment', but that you can play and use this technique better with a wide vocal range.

The second stage is the simultaneous practice of blowing and singing. Synchronous practice means that you should practice humming (singing) in your mouth while playing the flute. It should be noted here that when pronouncing (sound) in the mouth, it is necessary to practice the sound of "woo", not the sound of "hum". Because the pronunciation of "hum" resonates in the nasal cavity, it lifts the qi upwards without an impact to the mouth (to the blowing hole), so that it is difficult to play the flute again while singing. It is also difficult to harmonize the flute with the singing. When the sound of "woo" is pronounced (sung), a stream of air will naturally be generated from the mouth, and it will rush out of the mouth (to the blowing hole), which will naturally make the flute continue to play, and it will be emitted together with the singing, blending into one, harmonizing into the ear.

It is important to note here that while using the vocal accompaniment, it is important to keep the mouth shape of the blowing mouth unchanged. In the past, many students often played the flute in the process of practicing, and it was difficult to sing out in the mouth, and the cheeks often had to tremble when they wanted to sing, and they could not control the change in the shape of the mouth, resulting in the flute not sounding, or the flute sound was not full and moist.

In order to solve this difficulty, the following methods can be used when learning and practicing:

1. The flute and accompaniment should be practiced with the same tone, the same degree, and the same rhythm.

2. Start with the D and E tune flutes (all pressed as bass 5), and start from the middle range (i.e., 1, 2, 3, 4, 5, etc.), and gradually expand to the bass and treble areas.

3. Start by blowing and singing long notes, gradually increase the speed and change the rhythm, and play the melody tone.

4. When practicing singing (when humming alone without playing the flute), you must also maintain the mouth shape when playing the flute, and the sound of "woo" shall prevail when pronouncing (singing), and you should not pronounce (sing) "ah", "yi", "hum" and other sounds.

5. Pay attention to smooth breathing, and use a combination of chest and abdomen breathing. Be sure to avoid tightening the larynx, neck, cheeks and lips to squeeze the articulation. Not only is this physically disadvantageous, but it is also difficult to practice this skill.

(6) The practice should be gradual, first long and then short, first slow and then fast, first midrange and then bass and then treble, and gradually proceed.

7. Do what you can, and practice again after you are tired and take a break. In practice, ponder more carefully, practice carefully and skillfully, and don't practice hard blowing. Practicing hard without emphasizing results and blowing hard without a clear goal will not yield the desired results.

The third stage is practical exercises. The so-called practical practice is to practice some examples that should be played frequently in practical application in the future. The scope is endless, and the content is very extensive. Practice generally starts with harmony, thirds, fourths, fifths, sixths, octaves, etc., until polyphony. This step is more difficult, and it is difficult to achieve your wish without some hard work.

Many students often have the following problems in this level practice:

1. The pronunciation (singing) is not accurate, and the same tone and degree are not a big problem, especially the harmony of various intervals, which is often not sung. It is not easy to distinguish between blowing and singing, and it is not sheltered and impure.

2. The concept and illusion of habit make it difficult to sing a note with a different rhythm from the flute while playing the flute. Or if you sing correctly and it is difficult to play accurately, different blows affect and pull each other, and cannot be carried out independently.

3. When playing a counterpoint melody, the most difficult thing is the independent progression of the respective voices. Secondly, due to the different pitches of the two voices, the breath and mouth strength required are different, so sometimes there will be a situation where you can sing out loud and not play the flute. In particular, when the flute is overblown, but the vocal singing flows in the low and middle ranges, which is most likely to produce a situation where the blowing does not sound.

4. In practice, sometimes the ups and downs of the high and low flow of the accompaniment melody are too large, resulting in changes in the mouth shape, so that the damper in the blowing state cannot be normal, which affects the smooth progress of the performance.

In many students, it is easier to learn when the flute is prolonged and the singing is flowing, but it is difficult to grasp it when the singing is prolonged and the flute is required to flow, and when the blowing and singing parts are reversed. The reason for this pattern lies in how to keep the breath sufficient and the mouth shape unchanged.

To overcome these difficulties encountered during the exercises, it is necessary to strive for the following:

1. Work hard to improve your musical literacy.

2. To learn the knowledge of sound and simple polyphony.

3. It is necessary to exercise one's ability to play and sing not only independently, but also independently.

4. Strengthen the practice of mouth strength and breath, and enhance your own qi volume and control ability of dantian and mouth strength.

5. Practice singing more, strive to sing accurately, sing well, and sing fluently and well.

6. Practice humming moreWhile prolonging, the melody of the flute is constantly changing.

Self-vocal backing vocals are explored and developed under the inspiration of "guttural voice", but the two are very different. Let's talk about this question:

Self-vocal backing vocals are developed under the inspiration of "guttural voice", but it is a completely different and completely new blowing technique from the guttural voice. Although the two are both oral techniques, their pronunciation, pronunciation position, pronunciation method, expressive ability, and auditory effect are completely different.

Self-vocal backing vocals are a newly created technique. It is also necessary to continuously explore and develop in practice and skillfully arrange and apply. Among the students taught, most of them can gradually master it through learning, but there are also a very small number of students who still do not learn well after a lot of effort, and it is difficult to meet the requirements of rhythm and pitch. The reason is that the player's ear and musical literacy are poor, so if you want to learn and master this skill well, you need to pay attention to your own ear training and the improvement of musical literacy while learning and practicing this skill.

When practicing vocal backing, you should always pay attention to the following points:

1. Each exercise can be divided into two steps at the beginning of practice, the first step is to practice the flute score separately, and then the second step is to blow and sing the synthesis exercise. The beginning of the practice should be slow, and it should be practiced bar by bar, and the blowing and singing should be matched correctly, and then practice one by one until the performance is emotional.

2. Generally speaking, it is necessary to use less spitting, and it should be soft when you want to use it, and it is best to use internal spitting. In this way, the sound can be mellow and soft. It is necessary to avoid tough capsules and calendars and chopping techniques.

3. The flute and the singing sound should rise and fall at the same time (except for special artistic treatment), and one cannot sound on the ground, and the other is broken, neither starting nor ending with a snake's tail.

4. Maintain the correct posture of holding the flute and the correct way of breathing luck. Generally, the most common mistake is to hold all the qi to the neck, making the neck bulge.

Flute method

1. Qigong practice

Objective: To solve the basic problems of breathing method, strength, timbre, breath, mouth strength, mouth position, etc.

Requirements: Train individually for at least a quarter of an hour a day.

1. Be smooth, strong, loud, and no sand sound.

2. Accurate pronunciation.

Second, finger elasticity training.

Objective: To train the flexibility of the fingers.

Requirements: Do 10 minutes of finger elasticity training every day.

Do: 1. Each finger can make an elastic beat.

2. Even and long-lasting, no muscle tension.

Third, tongue flexibility training

Objective: To train tongue movements for a quarter of an hour.

Do: single (wow) double (wow) three (wow) light (wow) flower (tongue) take turns training.

2. The pronunciation is firm and clear

3. Uniform and long-lasting, flexible