Excuse me, what kind of musical instrument is this?

Sounds like gourd silk. But loofah is a little sweeter.

Eight or five blows like a flute.

brief introduction

Bamboo Flute

Bawu, a bamboo tube copper spring instrument, has a tongue-shaped spring. Yi, Hani, Dai, Wa, Bulang and Miao nationalities play musical instruments. The local Yi language is called "Fei Li Mo" and hani language is called "Meiba". Bawu is a clarinet instrument popular among Yi, Miao and Hani nationalities in southwest China. The eighth five-year plan is made of a bamboo tube with eight finger holes (seven in the front and one in the back). There is a sharp tongue-shaped copper reed at the mouthpiece. When playing, the upper end blows horizontally and the reed vibrates and sounds. Pau's volume is not big, but his tone is soft. People in southwest China call it a talking instrument. Bawu is popular in Honghe, Wenshan, Simao, Xishuangbanna, Lincang, Dehong and Rongshui in Guangxi Zhuang Autonomous Region, and in southeastern Guizhou and southern Guizhou Province. In the folk, single tube is the main one, and there is also a combination of two tubes, which is called the eighth five-year plan of both eyes. The traditional way of playing is direct blowing. The commonly used range is no more than eight degrees. Bawu's timbre is very soft and sweet, much like a pair of lovers whispering, so every night, Yi, Hani and Miao youths often use it to express their feelings and convey their love. The traditional Bawu has a narrow range and low volume, but its timbre is elegant. In various ethnic groups, it is often used to accompany dance and rap, and also used for solo. Hani people carry them with them, and both old and young people like to play. Young people of Hani and Yi nationalities. Bama is often used to play love songs. In Yi people, people often graze sheep or play with Bawu at night. In recent decades, with the continuous reform of professional workers, the timbre of Bawu has remained unchanged, the range has been expanded, and the volume has increased, which is suitable for playing broad and lyrical tones. In ensemble, it can also serve as a bridge between high-pitched instruments and low-pitched instruments.

Edit this development process

Bamboo Flute

The traditional Bawu has a narrow range and low volume, but its timbre is elegant. In various ethnic groups, it is often used to accompany dance and rap, and also used for solo. Hani people carry them with them, and both old and young people like to play. Young people of Hani and Yi nationalities. Bama is often used to play love songs. In Yi people, people often graze sheep or play with Bawu at night. In the decades after liberation, Bawu's research and reform have been going on. On the premise of maintaining the rich and soft timbre of traditional Bawu, Bawu has expanded the range and volume, and can also be turned down with four keys, and can play various technical sounds such as sliding, beat, spitting, vibrato, flying fingers and fricative. Pau's plays are also more avant-garde. It can not only play traditional local styles, but also transplant foreign music, such as Spring in the North in Japan. In recent decades, with the continuous reform of professional workers, the timbre of Bawu has remained unchanged, the range has been expanded, and the volume has increased, which is suitable for playing broad and lyrical tones. In ensemble, it can also serve as a bridge between high-pitched instruments and low-pitched instruments.

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Bamboo Flute

Bawu looks like a flute, made of bamboo. On the pipe wall near the closed end, there is a rectangular nozzle, and there are eight holes in the pipe body, the first seven and the last one, which form a 45-degree angle with the nozzle. The upper end of the tube is equipped with a copper spring (in the first Eighth Five-Year Plan, the mouthpiece was all bamboo springs, and later it was changed to a copper spring, which was made of a thin copper sheet with a thickness of 0.2 ~ 0.25mm). The upper end is blown horizontally, and the vibrating spring sounds beautiful. The pipe body is made of fine bamboo and green bamboo, the lower end (or right end) is open, and the upper end (or left end) is closed with a bamboo joint or a cork. The wall of the upper pipe is provided with a rectangular blowhole, and beeswax is stuck on the rectangular bamboo or copper sheet. The reed tongue is triangular and has a finely woven movable spring sleeve. The tube body has eight holes (the first seven and the last one), which form a 45-degree angle with the mouthpiece. Some have two or four tail holes at the lower end. The production of Bawu is relatively simple. Take a bamboo tube about 26-28 cm long, embed a triangular copper spring on the side near the node at the upper end, and drill 8 sound holes on the bamboo tube, which can emit 6-9 sounds. In recent years, Yang Sheng, a producer of Yunnan ethnic musical instruments, has made a wooden wind instrument-Bawu, which is made of purple oil wood with a copper pipe socket. This instrument is very strange. Like a flute of the Han nationality, but it blows horizontally. It is said to be like a flute of the Han nationality, but it is not as crisp as a flute. This is mainly because it is equipped with two copper reeds at the top contact, instead of bamboo like a flute, so it is not big. The commonly used eighth five-year plan is 30-60 cm long. Range: high-pitched Bau F 1-G2, alto Bau B-C2, low-pitched Bau F-G 1.

Edit the playback mode of this paragraph.

Bamboo Flute

Bawu is a musical instrument full of ethnic colors, which is often used to play lyrical and broad tones, and can also play skillful cadenzas. In the ensemble, the timbre of Bawu can be easily blended with other musical instruments. The eighth five-year plan consists of a tube body and a reed. This pipe is made of bamboo. Most Hani people are made of bamboo. Because the local climate is mild and humid, it generally does not crack and deform. After drying slowly, the bamboo skin will turn white. The Eighth Five-Year Plan is made of bamboo tube, with eight pressing holes (the first seven and the last one), and a sharp tongue-shaped copper spring is installed at the mouthpiece. When playing, blow the upper end horizontally and vibrate the reed to pronounce. Bawu has a small volume and a narrow range, but its timbre is soft, which is often used for accompaniment and solo. When playing, the pipe is thick and long, and the pipe is short and short. The vertical blowhole contains a reed, and the horizontal blowhole puts the reed between the lips. The index finger, middle finger and ring finger of the right hand press the three holes on the two pipes horizontally, while the index finger, middle finger and ring finger of the left hand press the three holes on the two pipes horizontally. The blowing drum spring sounds according to the hole, and the air flow vibrates the reed, which excites the air column in the tube to sound. Play by voicing, including sliding, playing, vibrato, erasing, arpeggio, etc. Smooth the edges around the air holes and stick brass reeds with beeswax. The size of the air hole depends on the size of the spring frame, which should generally be slightly smaller than the spring frame. In order to protect the spring tongue, two thin bamboo sticks are often embedded on both sides of the spring frame, leaving only a gap as a blowing hole. Some also weave a movable ring cover with fine bamboo skin to protect the reed tongue and take it off when playing. There are eight (the first seven and the last one) circular sound holes on the pipe body. In Bawu, the sound hole and the blowing hole are not in a straight line, but at a 45-degree angle. There is still a tail hole at the end of the Eighth Five-Year Plan. Reed is an important part of Bawu. Bamboo flute was first used by the people, and later it was improved to be made of brass (62 or 68 musical instrument copper), and it can also be made of alloy copper, phosphor copper or shell copper. The thickness of the copper reed is particularly important, and cannot exceed 0.03 cm. If it is thick, it must be hammered thin. Cut the copper sheet into a rectangular blank with a length of 2.5 cm and a width of 0.8 cm, and then carve a sharp triangular tongue on it with a sharp knife. The size of the spring tongue depends on the height adjustment. Take F bond as an example, the tongue length is 1.7 cm, and the tongue base is 0.25 cm wide. After carving, flatten the spring tongue, polish the bottom with water sandpaper to remove burrs, and then lift the tip of the tongue to make it rise by about 0. 15 cm, so that the gap between the spring tongue and the yellow frame is small and the free vibration is smooth. The tuning of the reed is the most important. Reed tongue is thick at the root and thin at the middle and tip. You should put it on Bawu for audition while scraping, with high sensitivity, beautiful timbre and the best pronunciation coordination of each hole. The reed itself has a pitch, and the pitch of the reed used by Bawu at different heights is also different. Usually it should be a lower fifth tone with a higher pitch, such as the eighth five in F, and the reed should sound like a B-sharp. The inclination of the reed allows a swimming range of two degrees. If the reed sound is raised to a lower fourth degree, the sound hole must be misplaced or a nozzle is used to make the pronunciation sensitive and bright. Bawu and Sheng are both musical instruments made of reed pipes, but their reeds are different. Sheng is the sound made by the spring in each tube, and the tongue is rectangular; The eighth five-year plan is a tube with a spring, which makes nine kinds of sounds. The spring tongue is a pointed triangle with an inclined tip. Although everyone can vibrate freely, the timbre is fundamentally different. If Bawu is replaced by the reed above, it will not produce a tone that combines rigidity and softness.

Edit the characteristics of this instrument

Bamboo Flute

In the folk, Bawu is often used to accompany dances and narrative songs such as solo, ensemble or rap. Although Bawu has a narrow range and low volume, it has a unique national style and is full of national colors. When playing, such as resentment, curtain, weeping and complaining, the lingering sound is deeply loved by the Hani and Yi people. Everyone in the Hani nationality carries it with them, and people of all ages like to use Bawu to express their feelings or recall the past. Yi people like to play two pieces in the same tune or in groups of two. The Yi people who live on the south bank of the Red River often play with bamboo seedlings, straight and small sanxian, Qin Yue and konoha in collective song and dance activities, and accompany them with distinctive songs and dances. Especially for unmarried young men, Bawu is often used to play love songs, "talk" with girls and pour out their feelings. There is a Paw love song that sings like this: "Do you know when I play Paw? I tell you, walk lightly, even if you touch leaves, don't let them fall on the water, in order to keep a secret. If grandma disagrees in the future, it will be too late, too late, and our hearts have been closely linked with this eighth five-year plan. " In Yi people, people often graze sheep or play with Bawu at night. Music includes "playing music" and "inviting music".

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Bamboo Flute

There are many varieties of Bawu. There are single tube and double tube in Hani nationality. Due to the different lengths and thicknesses of bamboo pipes, there are also treble, alto and bass. Bawu of Yi people can be divided into vertical blowing and horizontal blowing, with thick pipes and horizontal blowing by elders; A thin, short vertical blow. Among the Tulao people (Yi branch) in Mengzi area, there is also a kind of double-tube bawu. Bawu, a Wa nationality, has a pipe length of about 25 cm and seven sound holes (plus 6 backs 1), and the pipes near the sound holes are all engraved with herringbone patterns. Bamboo tubes vary in length and thickness during the Eighth Five-Year Plan. Specifications are divided into treble, alto and bass. Alto and alto Bawu, the pipe length is 30 cm -50 cm, the inner diameter is 0.8 cm- 1.4 cm, the bass Bawu pipe length is 60 cm -80 cm, and the inner diameter is 1.6 cm -2 cm. On the wall of the tube which is away from the closed end 1.5cm-2cm, there is a rectangular air hole with a length of 2.4cm-3cm and a width of 0.7cm- 1cm. Double-tube 85, also known as double-eye 85. Yi people's single reed musical instrument. Popular in Honghe Hani and Yi Autonomous Prefecture, Gejiu, Mengzi, Jianshui and other places in Yunnan Province. The pipe body is made of bamboo, which is made of two direct-blown single pipes with the same pitch tied side by side. Most of the tubes are thin knotless bamboo tubes with a length of 20 cm and an inner diameter of 1 cm. Trim the pipe body into a square chopstick shape or flatten the adjacent pipe walls of two pipes. There are six pairs of circular pressure holes on the front, and the holes are equally spaced. Insert a bamboo tube into the upper nozzle as a spring tube. The length of the spring tube is 4cm and the outer diameter is 1cm. The upper part is provided with bamboo joints, and the lower opening is communicated with the pipe body. The bamboo skin on the front of the spring tube is flattened, and one is 3 meters long. 5cm, 0.3cm wide, carved under the joint, tongue up. Tie the upper, middle and lower parts of the two pipes firmly with thin iron wire. There are also eagle leg bones, goose leg bones or silver double pipes. Among them, the double-tube made of eagle leg bone is 85 cm long 17 cm, with six pairs of circular sound holes on it, and a 3.7 cm long bamboo spring tube is inserted into the upper mouth, on which the bamboo spring is engraved, with the spring tongue facing upwards. The double-tube clay pot made of bone or silver is a ritual vessel, which is treasured by museums or folk collectors. When playing, the tube body is vertical, and two spring tubes are put into the entrance. Press the index finger, middle finger and ring finger of the right hand horizontally through the three holes on the two tubes, and press the index finger, middle finger and ring finger of the left hand horizontally through the three holes on the two tubes, and the drum blowing spring sounds according to the holes, with a range of C 1-C2, an octave. You can't usually blow too much. The timbre of the double-tube Bawu is crisp and bright, and the volume is loud. Solo or accompaniment often used in folk songs and dances. Music includes "In the Street" and so on.

Edit the relevant legend in this paragraph.

Bamboo Flute

There is an old story about Bawu among the Hani people in Ailaoshan area on the south bank of the Red River: A long time ago, in Ailaoshan area on the south bank of the Red River, there was a pure, beautiful and kind Hani girl Mei Wu who fell in love with a handsome, brave and hardworking young man, Ba Chong. They vowed to be together forever like branches and green leaves, and everyone in the stockade was envious and jealous. This matter was known by the greedy ghost in the deep mountain. When people were singing and dancing, they drove the girl away with a gust of wind and forced her to marry him. The girl is indomitable and never says a word, regardless of the threat and inducement of the devil. So the devil became angry from embarrassment, cut off her tongue and threw her into the depths of the forest. The girl misses her lover, wandering in the mountains all day, suffering, and time goes by day. One day, the fairy bird in the forest brought the girl's tongue and a bamboo, asked the girl to put her tongue in a bamboo tube and told her that "bamboo will help you speak". So my mother blew bamboo and played beautiful music, expressing her thoughts for her lover and her accusation against the devil. When the music reached Ba Chong 'er, the young man went through difficulties and obstacles, rescued the girl, returned to his relatives and regained happiness. Later, people named this talking instrument the Eighth Five-Year Plan after its name. Since then, Bawu has been passed down from generation to generation in Hani Shanzhai. Among Niesu people, a branch of the Yi people in Gejiu, there is a legend that in ancient times, there was a deaf-mute who died at the hands of his mother. He is very sad, but he can't express his sadness in words. One day, he found a bamboo with bug eyes, put it in his mouth and blew it, making a deep and sad sound. He thought, bamboo tubes can make the sound of insect eyes. How many more holes to dig? So he used a sharp knife to dig several equidistant holes in the bamboo tube, and sure enough he made a cadence sound. He listened and blew, and finally blew out his feelings of missing his mother with a loud bamboo tube. Since then, this kind of sounding bamboo tube, which is called Feili musical instrument in Yi language, has been handed down. There are many legends and stories about the origin of Bawu, which show that Bawu was invented and created by intelligent people of all ethnic groups through labor.

Edit the introduction of this famous song.

Pawu's solo works include: Fishing Song, Spring in the Grassland, Happy Songs in the Border Village, Spring on the Lake, Busy Selection of Dai Girls, Beautiful Frontier, Red River Song and Dance, etc. The basic tone of "Fishing Song" created by Yan Tieming is taken from the folk music of Hani and Yi people in Honghe Prefecture, Yunnan Province. The tune is fresh and beautiful, expressing the praise of the border people for their new life. The famous traditional music includes Yue tune of Yi nationality, Chuantian night tone of Hani nationality, Mood and Dating of Miao nationality, Fierce Whistle tune of Dai nationality, Zanha tune and mangshi Bazi tune.

Edit the learning methods and questions in this paragraph.

Several basic training problems in the study of Bawu, a wind instrument with distinctive features among traditional Chinese musical instruments, is popular in Hani, Yi and Miao areas of Yunnan Province. It is a single-spring sounding instrument with transverse blowing, which is similar in shape to a bamboo flute, mostly made of bamboo and also made of wood. The traditional Bawu, which has seven finger holes and a sound hole, is widely popular. Small volume and narrow range, only one octave, more than one tone, have great limitations for music expression. But it is sweet and soft, with strong local characteristics and relatively easy to use, so people are still very familiar with it and love it. By adding keys, the improved Bawu has expanded the range to more than two octaves on the basis of maintaining the original timbre characteristics, and the volume and musical expression have improved a lot. However, due to the increasing difficulty in production and performance, it is not very popular and is mainly used by professional performers. Bawu's style of play is introduced in detail in many Bawu textbooks. I don't want to make a comprehensive introduction here. I just put forward some ideas based on my own experience in playing and teaching, mainly aiming at the common difficulties encountered by beginners in basic skills training, hoping to give some guidance to learners and have some reference when encountering similar problems. First, breathing All wind music performance first involves breathing. Wind music performance has always emphasized the four elements of "qi, lips, fingers and tongue", and "qi" is the first element of wind music performance. In fact, "Qi" is not only the most difficult thing for beginners, but also a matter of breathing. Because all the problems in the future are directly related to breathing. The mistake of breathing method is the most common problem. Some novices are lucky or can get through it smoothly, but there are always many people who encounter difficulties, which is enough to bother him for many years. Of course, proper guidance from teachers can help most learners avoid this kind of difficulty. The following questions are not only about Bawu's performance, but also applicable to all wind music performances. Here are some notes: 1. Beginners should not spend all their vital capacity on breathing during the first 1 month of study, which will easily cause unnecessary tension and mistakes. Beginners are advised to use only half of their vital capacity at first. In our daily activities, such as walking and talking, no one will notice breathing; This is because the minimum breathing requirements for maintaining our lives are not great, so this breathing method is natural. Of course, when you play, your breathing is different, your movements are much bigger, and you may use almost all your vital capacity in the end. Therefore, it is not appropriate to increase the vital capacity obviously at first. We should start with a little larger than the natural lung capacity and gradually increase the lung capacity under the correct premise. 2. Explaining the breathing process too much and too detailed can easily lead to nervousness and mistakes. In daily life, no one will walk with the same hands and feet, but it is often seen in military training. Generally, under the condition of high concentration, this kind of dyskinesia problem is easy to occur. Therefore, we should encourage natural ways as much as possible, and form correct breathing methods by imitating and imagining nature under the guidance of teachers. It is necessary to explain the principle of diaphragm movement scientifically, but it is best to talk about it after mastering the breathing method correctly, improving the control ability for further study and freely using breathing. Imagination can play unexpected roles. The difficulty of wind music breathing is that it is different from ordinary life breathing. The general breathing of life is chest breathing, while the breathing method of wind music is chest and abdomen breathing, which is difficult to understand. It is best to use imagination to naturally guide life to breathe the correct wind music breathing method. Imagination is also used by many teachers, but some people say that wind music inhalation is like "smelling flowers", which is not very accurate, because smelling flowers only means breathing through the nose, which is different from what we require: Secondly, letting beginners smell flowers is actually chest breathing, which will not become chest breathing. The metaphor of "strenuous exercise" is also not desirable, and the intensity of this breathing is desirable to some extent. However, instead of letting learners experience this unusual breathing state, it is better to let them naturally change the breathing state of life through imagination. First of all, let learners experience the "rowing" type of "reverse breathing". The specific method is that when inhaling, you feel the breath move backwards from the abdomen to the top of your head. When exhaling, the breath advances from the top of the head to the chest and falls back to the abdomen. The whole movement direction is like rowing. Push your hands forward to indicate exhalation, and pull back to indicate inhalation. This kind of imagination has two advantages. First, learners can start breathing correctly, and the movements are relatively large, which is conducive to the correct guidance of exhalation. Second, in the future, the body movements will be more natural and coordinated, and the typhoon will be better. There are many ways of metaphor, one loses its guiding function, and the other can be changed. For example, we can also compare breathing to swimming, exhale and push your hand outward, inhale as if sliding to both sides, and exhale as if pushing the window forward or sighing. These circular movements can be said to be the most correct primitive exhalation method, and its movement cycle is relatively short. Therefore, after the learner has mastered this basic method, it can be suggested that he interrupt this "moving in circles" after the expiration, and move left and right in the chest and abdomen respectively, so that a stable and long sound can be made. This long sound is very generous, natural and sweet. 4. Learn to exhale first, and then learn to inhale. Exhale is generally easier to master correctly than inhale. You must learn to exhale first, inhale less first, and master the exhalation method, and the inhalation method is not far away. 5. It is difficult to practice a stable long tone, so it is suggested to use the "four short and one long" long tone training method frequently. (For example, the spectrum example 1) Just started practicing, it is difficult for ordinary learners to pronounce directly and accurately for the first time. After repeatedly reminding him of the habit of learning to listen to his own voice, he will adjust himself to the best state. Second, lip training lip training mainly refers to lip force control training to improve pronunciation accuracy, which is the main method to solve the interval training of third and 118 degrees. Playing a long-span interval can feel the tightness of lips with different pitches, and can also train luck, the accuracy of breath direction change and so on. It is best to repeat the same interval many times in training, which can improve learners' practice attention. Spectrum example 2 training should be like entering a laboratory. If you don't have a training goal, you'd rather not blow, and concentrate on training to get twice the result with half the effort. The importance and fun of repeating the same action many times plays an extremely important role in various training contents. Third, finger training There are many requirements for finger training, but how to move fingers naturally and quickly is the focus of everyone's attention. 1. Finger speed can be solved by playing training based on long notes. What learners need to be reminded is that their attention can only be focused on the long sound and the supporting points of their hands (the supporting points are other fingers placed on Bawu except the fingers being played), and thinking less about the fingers being played is conducive to making them move freely and dexterously. It can be compared with hitting a nail with a hammer. Relaxing the wrist and fingers can make the whole movement coordinated and accurate. 2. Finger speed is not the most important issue for beginners. Generally, when beginners study, they should try to relax (relaxation itself is the theme of beginners). Don't reach the maximum speed, just reach 80% of the maximum speed, and fully relax your wrists and fingers. Only by mastering the movements of fingers completely and correctly can we speed up. When you accelerate, you need to increase the tension of your wrist and fingers appropriately to achieve the highest speed you can achieve. Iv. tongue training 1. Tongue training mainly focuses on single spitting and Shuang Tu skills. Three vomits are not widely used in Bawu's performance, and there are also speed problems when spitting, similar to the requirements of fingers. It should be noted that easy and slow training can make you correct, and moderate tension after being correct can make you really get up quickly. 2. The problem of clarity is the position of the tongue when the sound is played. You should exercise with the tip of your tongue as much as possible. The rest of the tongue should be relaxed and lie flat on the gums as much as possible, but it should be noted that the lips are a little nervous when playing the spit sound than when playing the same long sound. V. Some technical problems 1. Half-hole playing skill Half-hole is a relatively difficult skill, which can play some sounds that normal finger holes do not have; And if used well, intonation is more accurate than fingering; At the same time, the half hole is a prerequisite for the sliding technology. Generally speaking, fingerholes with soprano relationship should master this playing method. There are two specific ways to play: the first way is that our hands holding Bawu are generally round like holding an egg. When pressing the half hole, we can straighten the required fingers respectively, so as to naturally press the inner half hole of the finger hole and release the outer half hole, and adjust it by hearing according to the height of the finger hole. A high voice is low, and a low voice is high. This method is suitable for narrow finger hole distance. When it is difficult to move your finger left and right: The second method is to move your finger parallel to the treble direction and adjust the left and right sliding distance through hearing. You should move less when the voice is high, and move more when the voice is low. This technique is suitable for sliding when it is necessary to press half a hole. Both methods should be mastered and practiced separately. 2. Slippery is essential for the Eighth Five-Year Plan performance, and it is a very attractive performance skill. The action training of a single finger or a group of fingers (multiple fingers move at the same time) requires patient and careful training, and the action method is to move left and right alone or at the same time. The upper glide moves to the treble, the lower glide moves to the bass, the complex glide begins to move in the required direction, and then returns to the starting point. This sliding technique is a simple left-right movement for many people. In fact, precision training is not a parallel left-right movement, but a single finger or multiple fingers do circular motion at the same time. Slide up clockwise, slide down counterclockwise, and draw a small circle above the finger hole. It is particularly important to note that the sliding step is more difficult to master, and it needs more practice to be as natural and smooth as the upper sliding step. Sixth, the sense of music and rhythm Finally, when it comes to the sense of music, it is because many learners often ignore the problem of music in relatively boring basic training and lose this training goal that must be paid attention to at all times, which is very inappropriate. In the process of learning, don't forget the original purpose of our study from beginning to end, that is to play music with musical sense and charm and get joy. In fact, a simple long note can also play music with a sense of music and charm. We should form the good habit of playing a beautiful music at the beginning. Of course, in music performance, the sense of music and charm are more important. Many people don't know how to play music, and they don't know what to do to play music. They only know that playing music is blowing music. In fact, the sense of music and charm can also be explained more accurately. Music sense can basically be summarized as strength control and timbre control, mainly strength control. Strength is not something people are used to thinking about. In terms of bars, 2/4 beats means "strong, weak", 3/4 beats means "strong, weak, weak" and 4/4 beats means "strong, weak, sub-strong, weak". This is just the inherent concept of tempo. If someone really wants to deal with strength in this way, unless it is some simple nursery rhymes with a strong sense of rhythm, they will. The real strength control should be handled by phrases. In a word, if the notes develop to high notes, they should be strengthened, otherwise, they should be weakened. This is a basic principle. This basic principle, combined with the relationship between the strength and weakness of special rhythm patterns such as dot and syncopation, can be applied to most situations after flexible processing. Of course, this rule is not absolute, but the composer's intention is the most important, because the notes don't have to be stronger to flow to the high notes. Maybe the composer is here to weaken them, so all kinds of tips on the score are absolutely authoritative. Knowing this, learners can easily blow out pleasant music. To exert the charm of Bawu, we need to be familiar with the unique timbre, skills and playing methods of Bawu, and try to understand the music style of Bawu popular places. When you listen to the relevant audio materials, you can naturally appreciate the unique charm of Bawu.