Folk indefinite suona fingering, suona is one of the traditional Chinese musical instruments. Suona is the king of national wind music, which contains all the technical contents of wind music. There are many finger techniques for playing suona, and fingering and tuning vary from place to place. The following is the sharing of folk indefinite suona fingering.

Folk indefinite suona fingering 1 1, when breathing, all parts of the whole body that have nothing to do with breathing should be relaxed. Breathing should be controlled, and the volume should be used as needed. Generally speaking, inhale more and faster; Exhale less and slowly.

2. Keep the continuity of exhalation and inhalation. Don't wait until the first breath is completely exhaled before you start inhaling the second breath. Instead, you should start inhaling the second breath before the first breath is completely exhaled, so that it can continue.

3, the general situation is to inhale through the nose, only when grasping the air or inhaling through the nose is not enough, only inhale through the mouth and nose at the same time.

(1) Fingers don't move, and they are completely driven by forearm movements.

(2) Fingers should not lift the sound hole too high, as long as they are slightly away.

(3) Fingers, wrists and forearms should be kept in a straight line.

Generally, it is divided into up, down, up and down, right middle finger 1, drum sound 5, left thumb 5, second thumb 6, right little finger 6, ring finger 7, right second thumb 2, left ring finger 3, middle finger 4, and all holes of suona are pressed to 5. The pitch of this key is equivalent to the central "C" of the keyboard instrument, that is, "1". The scale is arranged as "1254567 12", and then the seven tones of this scale are named "CDEFGAB", so "1 = e, 1 = d, I = e,.

Folk old-fashioned suona fingering

Take the d key as an example:

The high-pitched suona in D is recorded according to the actual pitch with the high-pitched spectrum. Its total value domain is A (1)-B (3), and the common value domain in the band is A (1)-D (3).

Generally, it is divided into up, down, up and down, right middle finger 1, drum sound 5, left thumb 5, second thumb 6, right little finger 6, ring finger 7, right second thumb 2, left ring finger 3, middle finger 4, and all holes of suona are pressed to 5.

Its "pitch" pitch is equivalent to the central "C" of the keyboard instrument, that is, "1". Its scale is arranged as "1254567 12", and then, taking the seven sounds of this scale as the sound name of "CDEFGAB", we get "1 = e, 1 = d, I = e"

Playing posture

1. Beautiful music and beautiful playing posture not only give listeners the enjoyment of hearing, but also give them the enjoyment of senses. Most importantly, the correct playing posture is conducive to the full play of skills. Good playing posture is not only beautiful and generous, but also good for your health, so players should pay attention.

2. There are two playing postures of suona: sitting and standing. These two postures require the player to relax naturally, with his head straight, his eyes looking straight, standing naturally, his face relaxed, his hands raised to make the instrument form a 75-degree angle with his body, and his arms naturally set.

3. When sitting, your legs are differential, your feet are flat on the ground, and your waist is straight. Stand with your legs straight, with the distance between your feet about 25 cm, with your left foot in front and your right foot behind. In a word, both sitting and standing performances give people a comfortable and beautiful feeling.

Folk indefinite suona fingering 2 Introduction to suona teaching fingering

First of all, some people don't know enough about the importance of the correct mouth shape in suona performance, and they don't understand and master the correct mouth shape enough, so it is inevitable that such problems will occur during the performance.

Then suona plays the gas card, which is related to the performance of folk artists. In the past, suona artists (commonly known as trumpeters) traveled around the country for a long time to make a living, and their lives were uncertain. They either played flute for weddings and funerals, or caught up with fairs and temple fairs to celebrate festivals and contribute to busking. The sun is scorching in summer, the ice and snow are freezing in winter, the wind and rain are beating, and people are hungry and cold. They dare not miss any opportunity, but must play well so as not to lose their source of livelihood.

Then chin augmentation ventilation (here refers to fat augmentation) will inevitably lead to the relaxation of labial muscles and the reduction of mouth strength. At this time, the gas label can make up for the defects and reduce the fatigue of labial muscles. Folk artists have to blow while walking on many occasions, sometimes for miles or dozens of miles. When going uphill and downhill, you should look up, bend over and turn around. When there are many people crowded, there will be collisions. In this case, in order to maintain a stable blowing method, in addition to good blowing training, air cards play a very important role in makeup.

The use of gas cards in suona performance is formed by the specific environment and conditions of folk artists in past dynasties. Now, the social status and environmental conditions of folk artists have undergone fundamental changes, and the playing methods and skills of suona are also changing and improving.

By training students to play without air marks, they can quickly master the correct mouth shape, increase their mouth strength and quickly improve their playing skills.

Finally, when playing some specific music, or performing on the stage, or playing with a small drum and chin for a long time in special circumstances, you still need an air card. Therefore, students also need to master the gameplay of wearing gas cards.

Folk indefinite suona fingering method 3 suona holding musical instruments

Fingers are naturally separated, with the left hand on the upper handle and the right hand on the lower handle (this fingering is also applicable to suona performance). Finger pressing holes are as follows: the index finger of the left hand is placed in the eighth hole, the thumb is placed in the seventh hole, the middle finger is placed in the sixth hole, the ring finger is placed in the fifth hole, and the little finger is naturally relaxed and slightly separated next to the ring finger;

The thumb of the right hand is placed between the three holes and the four holes at the lower end of the suona pole (mainly to master the balance of the instrument), the index finger is placed in the fourth hole, the middle finger is placed in the third hole, the ring finger is placed in the second hole, and the little finger is placed in the first hole. At the beginning of practice, the hand is easy to lose control of the instrument, and the little finger of the left hand can be attached to the suona pole, but it can't form a habit, so as not to affect the normal movements of the fingers. The basic point pressing position of fingers is based on the point pressing position of the first finger of the little finger of the right hand, and other fingers naturally relax on the instrument.

Don't lift your fingers too much when you play. Finger pointing will affect the performance of happiness. Don't press the hole with your fingertips, which will make the hole loose and the pronunciation inaccurate. At the same time, don't stretch your fingers too straight when pressing the points. Too straight will make your fingers inflexible and unable to keep up with the speed of fast music. The correct way to move your fingers is to bend and relax a little when pressing the points, so that you can move your fingers flexibly.

How to measure that the basic skills of fingers have passed? Then, when you press the space-time sound hole (that is, when you don't play), you can hear Yun Zhi's voice by pressing the closed sound hole with your finger, even if you have passed the basic skills (Yun Zhi's voice is not a sound that intentionally hits the sound hole, but a natural sound).

In short, when holding a musical instrument, relax your arms and fingers as much as possible, otherwise you will feel tired after playing for a short time, which will affect the performance of the music.

Mouth-shaped course of playing suona

The mouth shape is an important part of suona performance. Mouth shape refers to the shape of lips and whistle-containing parts when playing suona, which is related to lip shape skills such as pitch, timbre, sound quality and strength in suona performance.

Generally, the mouth shape of suona blowing is: the whistle is located in the middle of the lips, the upper lip is close to the root of the whistle, and the lower lip contains about one-third or two-thirds of the whistle (more than two-thirds are weak). In the process of playing, the control of lip-synching will change with the change of blowing strength, volume, timbre and skill.

At the beginning of practice, the mouth and cheeks will feel sour and weak, and some pronunciation will be straight and noisy, which is normal. After a period of practice, these phenomena will disappear. Beginners are advised not to drum their cheeks when playing. The standard of passing oral skills is: under the condition of playing for a long time, control the whistle freely, and the lips feel neither sour nor tired, even if the basic skills pass.

The Application of Qi in Suona Course

There are three ways to breathe in Fengguanle: chest breathing, abdominal breathing and chest-abdominal breathing. Playing suona is a kind of chest-abdomen breathing method (commonly known as Dan Apocalypse), which is recognized as the most scientific method at present.

Let's introduce the chest-abdomen breathing method:

1, breathe in

When inhaling, the lower abdomen relaxes, and at the same time, the air is inhaled quickly through the nose and mouth, and the air reaches the abdomen as much as possible, that is, the lower abdomen. In this way, the abdomen and waist should have a sense of oppression filled with air (the folk call gas reaching the abdomen), and the chest and waist feel relaxed. In addition, there is another saying that the lower abdomen contracts when inhaling, which is wrong at this time. Because the gas consumption of suona blowing is very large, the contraction ability of the lower abdomen is very small, which can not meet the gas consumption of suona blowing, and the longer the blowing time, the greater the damage to the lungs, so this method is not desirable.

Step 2 diverge

When exhaling (playing), with the use of qi when playing the suona, the lower abdomen gradually contracts, and the exhalation of qi is moderate and even, so that the suona keeps accurate timbre and the timbre is round and beautiful.

So what about Qigong? When inhaling, qi can quickly reach the abdomen, but the lower abdomen is not deliberately raised, and qi can be used freely and long, even if qigong has passed.

The suona course is awesome.

When playing the octave high, it is required to combine the tongue, lips and qi, whistle gently with the tongue, relax the mouth slightly and add gas, so as to play the octave high. The high octave is kept stable by the pressure of the air, not the whistle, which will make the high note unstable, the timbre not full and easy to break.