The performance art of bamboo flute has a history of more than 2000 years, which is mainly based on linear thinking and pursues change in a monophonic world. As a basic element, timbre has become an extremely important means of expression in bamboo flute playing. However, it is not enough to have a good timbre. Players should also have good comprehensive quality and rich inner feelings. How to produce good timbre depends subjectively on the correct playing methods and inner feelings of the players in different music performances. As the saying goes? Sound and emotion? We should attach importance to the dialectical unity of interdependence and mutual restriction between timbre and emotion, so that timbre and emotion can be perfectly combined.
First, the mastery of timbre in bamboo flute performance.
Xu Shangying's Qin Shan Qin Pu in Ming Dynasty put forward the timbre standard of piano performance: Run? Like water? Round? Such as beads, Jay? As jade, Strong? Powerful,? Light? And it's not empty. Heavy? Not impatience. The basic timbre of flute playing is to produce a pure, bright, mellow, sweet, plump and penetrating sound that conforms to the basic norms of bel canto and the basic acoustic characteristics of bamboo flute by using a playing method that conforms to the pronunciation principle of bamboo flute and the laws of human physiological movement. Good timbre, after long-term practice, can reach a certain proficiency or even conscious conditioned reflex. For example, the control of mouth shape, the use of breath, and the cooperation of fingers in playing are all mutually restricted and interrelated. Only through hard practice can we meet the needs of fully expressing various timbres and emotions when playing music.
First of all, we must master the correct mouth shape and breathing style. The control of mouth shape mainly depends on the elasticity of lip muscles and facial muscles. The facial muscles should be relaxed, the mouth looks like an implicit smile, and the mouth should be relaxed naturally. Combined with it, the chest and abdomen mixed breathing method is adopted, that is, the chest and abdomen expand at the same time, and the maximum inhalation volume is carried out, and the gas returns to the abdomen, and then the airflow is blown out at an appropriate diameter, width, speed and angle. Proper use of mouth shape and breathing can make the pronunciation of different sound areas stable, firm, loud and clear.
Secondly, the use of tongue is also one of the key points of bamboo flute playing. The position of the tongue in the mouth is directly related to pronunciation. Suitable for playing bass in the back and treble in the front.
Thirdly, when qi, lips, fingers and tongue can be mastered skillfully, the balance and unity of coordination is the pursuit of higher-level playing techniques. If the airflow blows out and exerts force on the flute, the human body and the flute body are also a vertical center of gravity axis, which should be balanced from front to back and left to right. The use of each link is connected, and all parts of the body are integrated with the flute tube, so that the fulcrum is relaxed, the force point is concentrated, the vertical and horizontal symmetry is achieved, and the gas is connected. In this way, the timbre can be controlled freely, and the standard of roundness, brightness and thickness can be achieved.
Second, the emotional expression in the performance of bamboo flute
? People with a common voice, people with a heart, are also emotional, so they are shaped by sound; It's written in voice. Where's its voice? (1) Emotion refers to all kinds of inner experiences produced by people's different attitudes towards objective reality and phenomena in the process of understanding and transforming the world. And these experiences are based on the reflection of human senses on the individual attributes of things, that is, feelings. People often call music the art of emotion. Under the influence of the player's inner feelings, the sound flow can stimulate the listener's emotional activities and produce * * * sounds. Although music is not emotion, it is the best carrier of emotion. In music, emotion is directly simulated, and the source of this emotion comes from the player's inner feelings and imagination.
According to the needs of different emotional expressions, different colors of music can be played through certain playing techniques, which can not only show emotional tension and relaxation, excitement and calm, but also show positive, positive and negative emotional changes, thus being full of different emotional factors.
For example, what should be adopted when the first sentence of the introduction of the music "Qinchuan Express Your Feelings" (composed by Madi) shows the strong, heroic, resolute and stubborn personality characteristics of the northwest people? Gangs? The timbre and tone head are a little clear, maintaining strong strength, penetrating and shocking. Technically, it is required that the abdomen bulge is large enough, the center of gravity is in front, the force is direct, the breathing speed is accelerated, the airflow is increased, and the fingers are overlapped with bullets. On the contrary, when playing the first adagio of yearning (Quxiang composition), you should use? Soft? The timbre of the song expresses euphemistic and delicate feelings. The sound head is soft and moist, and the general intensity is moderately weak or moderately strong, with fluidity and lyricism. Technically, the center of gravity is relatively backward, the power transmission is slow, the breathing speed is gentle and the airflow is slow. Soft timbre is more suitable for expressing longing thoughts.
When the music is full of emotion and sincere image, the timbre should be strong, full, full of * * *, strong three-dimensional sense, full of tension and dynamic. Technically, it is required to make the airflow bundle and fill the flute, so that the flute can fully vibrate. The fulcrum is located at the back, and the gravity is relatively large. Sometimes air vibrato is used to strengthen the sense of persistence and increase the sense of radian. This timbre should be used in the introduction performance of the music 357 (arranged by Zhao Songting).
When expressing the emotion and quiet mood of memories, thin and light timbre is more suitable, which is characterized by narrow frequency response range, no need for fullness and too much three-dimensional sense, and more emphasis on lightness and tranquility. Technically, it is required that the force position is in the front, the gravity is relatively reduced, the breeze is smaller, the airflow is slower, the direction is slightly forward, and the fingers should not be decorated too much.
In addition, some phrases and passages need to express empty and illusory artistic conception, so it is necessary to use something other than the standard timbre? Virtual? The timbre or overtone is used for playing, and the airflow requires small and shallow, slow and light, the exhalation direction is forward and upward, the tone head is not very clear, and the abdominal vibration is insufficient, giving people a feeling of being absent from the scene and illusory.
? The piano player is a device and the sound is endless? The change of timbre is endless, and emotional expression should be used as the method and emotional timbre should be used in performance. The change of timbre is the basis of emotional expression. No matter what happens to timbre, we should take the needs of artistic expression and emotional needs as the axis, so that the art of bamboo flute performance can change and develop in the form of horizontal lines.
Precautions:
Central Conservatory of Music China Conservatory of Music. Selected Works of China Ancient Music Theory [m]. Beijing: China Conservatory of Music, Central Conservatory of Music, 1962: 7 1.
② Zhao Xiaosheng. The Way of Piano Playing (Revised Edition) [m]. Beijing: World Book Publishing Company, 2000: 394.