Despite being a Western and Asian flute mainly shinobue player, I had a tough time absorbing some of the ideas put forth in this small book. I had been exposed to the notation system jianpu but it took several readings to understand the solfeggi regarding the different keys shinobue notation is similar but relates to open finger holes and also neatly coincides with standard solfege. This book is about the only title on the dizi in English that I am aware of but I haven't been able to locate book 2, as book 1 this title is a very recent work and may not yet exist.
I appreciate that the author wrote something on this instrument in English and that the book is pretty comprehensive in scope selecting a dizi, its care, notation, fingering charts, sample jianpu scores, and the like. The photos are better than expected and the binding should hold up well over time. Recommended for someone searching for info.
Definitely very helpful, and something I refer to repeatedly. Actually, my wife 'loves it'. It is an excellent little book with a lot of needed basic information about playing and caring for a Dizi. What she loves best about this book is that the music examples are in a Chinese notation system, which she can 'read' from playing a Guzheng, and not in Western notation. There is actually a lot of good information in this book. However it is also a lot shorter than I expected.
Now that I have it time will tell if the price is worth it. And since someone has asked, the book seems to be written for the key of D as that is specifically what the fingering chart says in the middle. This book gave great insight into the history of the dizi and tips on how to play, but it was hard to understand exactly HOW to play.
The fingering and note charts were hard to understand, especially for a novice like me. I have played several different instruments over the years, but strictly for my own enjoyment and not to perform for others. The hardest thing is to find decent introductory material about the instrument. This book is very informative, and it's just what i was looking for to learn about the dizi.
If you have ever played a stringed instrument using tablature notation, you should be able to follow the instruction in this book pretty easily. It doesn't include many songs,but has a lot of useful information about the instrument. Can't beat the price. Think of the first or lowest note on your flute as a C or a do as in do, re, mi.
These 7 notes move in succession and form the diatonic scale, or a major scale. We can call each note a number, such as 1, 2, 3, 4, 5, 6, and 7. One would be the lowest note of the flute. If your flute is in the key of C, then it will be a C. If your flute is in the key of G, then it will be a G. It may be easier to think of the notes as do, re, mi, where the lowest note will be a do. It should be lower flatter than what you want for your final tuning. Now you will cut off small sections of the tube until the note is just a bit flat of what you want.
Check the octave tuning. Final adjustment can be done by sanding. Tuning The Fingerholes - Large fingerholes give better volume, tone, range, and octave tuning.
You may want to offset them to make fingering easier. On longer flutes, you could place the bottom hole under your little finger, instead of your ring finger, for better positioning and an easier reach.. Tuning The notes of the flute are determined chiefly by the size and placement of the fingerholes.
The pictures below gives a rough guide to where to put the holes for some tuning possibilitites. The chart measurements are shown as percentages of distance from the mouthhole or soundhole from center of the hole for sideblown flutes, the lower edge of the hole for fipple or notch flutes. So carefully measure this distance on your tube and look up the measurement on the charts of hole placement.
All measurements are to finger hole centers, not edges. The charts provides a starting point only. Western major scale tuning with the Key starting on the lowest or Root Tone of the tube. This will give the standard do re mi tuning whole step, whole step, half step, whole, whole, whole, then half step from the top hole back to all holes covered and the second octave overblow Measure: - Use the precalculated measurement charts and mark your flute tube carefully.
For flutes above G, I burn the hole centered on the line. The higher the key or root note, the less room there is for error. Burning: - Do the bottom 3 holes first and when they are close but still slightly flat, do the top three. I use the burner to increase the size and a knife to clean up the burned part. You can move the center of the hole up or down as needed as you increase the size.
The percentages of the acoustic length are set to be a bit flat to start out. If you go too quickly and make the note sharp, it is very hard to lower the note. Here are the two most important rules for tuning: - A hole will give a higher note if it is placed closer to the mouthhole. It will give a lower note if placed farther away. It will give a lower note if smaller. It also means you can change the hole size and its placement without changing the note.
A larger hole could be placed farther from the mouthhole, or a smaller hole placed closer to the mouthhole. The deeper the hole, the lower the note. The more and larger these fingerholes, the higher the note. The larger the mouth-hole, the higher the note. The deeper the mouthhole, the lower the note. The closer to the mouthhole, the higher the note.
A wider tube produces a lower note. How you play the flute will also affect the tuning. When checking the tuning of a note, play at a medium loudness, with your fingers at a medium height over the fingerholes, and without bending over the mouthhole.
The tuning of these two higher notes is affected by both the flute length and the size of the vent hole. Enlarging the vent hole or placing it closer to the mouthhole will sharpen the first note of the second octave.
It will flatten the first note of the third octave.
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