1, cucurbit flute playing posture

It is very important to grasp the posture and hand shape of cucurbit silk, and master the correct method. First of all, hold your head high and breathe smoothly. Take the left hand as an example: the thumb of your left hand is placed at the back hole of the main pipe of cucurbit, and the index finger is placed at the first hole closest to the front of the main pipe of cucurbit, followed by the second hole of the middle finger and the third hole of the index finger.

The thumb of the right hand is naturally placed on the back of the supervisor, and the index finger, middle finger and ring finger are placed in the remaining three holes in turn. Don't use too much force to hold the gourd silk, just use a little force. Fingers and supervisors are basically at 90 degrees, palms should be empty and fingers should be relaxed as much as possible. After the two little fingers are relaxed, they naturally lean against the main pipe or the attached pipe and cannot be lifted too high. Some attachment sounds are set in the little finger position.

2. On-site finger practice

In the study of cucurbit silk, finger movement is also a course that must be practiced every day. The purpose is to make your fingers flexible and use them freely in music playing. The practice method is mainly based on the music scores in some finger exercises, and the etudes should be targeted and general to adapt to the performance of various rhythmic music.

3, a single vomiting

Single spitting is the key to playing cucurbit silk. The specific playing method is: the tip of the tongue emits a (beep) sound in an explosive state from top to bottom, and the whole tongue retreats slightly when pronouncing. Then, the tip of the tongue quickly returns to its original position, while stopping breathing and relaxing the mouth. At the same time, prepare for the next pronunciation, and then practice in cycles.

4, bass 3 and 4 tone exercises

These two sounds do not belong to the true sound of Hulusi, so we should pay special attention to the playing breath, and we must master the weight. The best strength is full pronunciation, because the change of breath is needed in the performance of the track.

Therefore, it is necessary to increase the special exercises of these two tones, and the conversion from each tone to bass 3 should be practiced one by one, so as to be practical. The fingering of the four tones is quite special, so we should find some special exercises specifically for the four tones to make the conversion from each tone to bass 3 smooth and comfortable.