長笛是現代管弦樂和室內樂中主要的高音旋律樂器，外型是一根開有數個音孔的圓柱型長管。早期的長笛是烏木或椰木製，現代多使用金屬的材質，比如普通的鎳銀合金到專業型的銀合金，9K和14K金以及鉑等，也有表演者使用特殊的玻璃長笛。傳統木質長笛的音色特點是圓潤、溫暖、細膩，而金屬長笛的音色就比較明亮寬廣。不同材料的長笛完全根據演奏者的愛好選擇。但是在樂隊中應該統一使用一種長笛，以得到最和諧和飽滿的音響效果。
長笛是一種歷史悠久的吹管樂器，最早是用植物的莖做成。 於數千年來，長笛經過很多變化及改進，並於十九世紀時向前跨進一大步。當時的一位德國人貝恩 (Theobald Böhm 1794-1881)，是一位長笛演奏家、長笛音樂作曲家和卓越的樂器製造家，他改進了長笛的機械裝置，並發明了用金屬做的長笛。長笛低音域的音色富麗甘美，高音域則光輝而艷麗。 |
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| 從最高音域到最低音域： |
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短笛 C或降D大調 |
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高音長笛 G大調 |
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高音長笛 降E大調 |
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長笛 C大調 |
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次中音長笛 降B或A大調 |
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中音長笛 G大調 |
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低音長笛 C大調 |
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倍中音長笛 G大調 |
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倍低音長笛 C大調 |
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倍低音長笛 G大調 |
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雙倍低音長笛 C大調 |
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超倍低音長笛 C大調 |
長笛的按鍵形式，大致可分為四類：
閉孔：按鍵皆為完整的氣密圓蓋，演奏時手指只要接觸蓋緣就能輕鬆按音。
開孔：按鍵為圓環狀蓋，手指必須準確完整按住圓孔。聲音較閉孔響亮，但演奏難度較高。
直列：所有按鍵成一直線排列，結構較少，保養較簡單。
曲列：左手無名指的按鍵較其他按鍵突出1/3，比較符合人體工學，適合初學者，但增加結構複雜度和保養手續。 |
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| 一般的長笛演奏要求音域在中央C至第三個高音C，三個八度。但是目前所知的指法可以到更上方的F音，因此總計三個八度半。實際應用上，在俄國作曲家普羅高菲夫的D大調長笛奏鳴曲中有使用到長笛的第四個八度的D音。 |
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| 初學者可以選擇 Yamaha YFL 221 長笛，這是初級笛中較理想的型號，也是很多學校、老師建議學生選用的 Student Model，質素穩定，也很易吹，大約三千元。如多付幾百元，Yamaha 另有一枝 YFL 211 可供選擇，比 YFL 221 多了分裂式高音 E 鍵 (High E Split Key)，吹高音 E 會較輕鬆，也是初中級笛的上佳之選。 |
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一.關於笛頭*
在面對上第一堂課的學生時，我會反復強調練習笛頭的重要性。因為有太多學生認為吹笛頭是一件很枯燥的事情，總是迫不及待地在沒有完全掌握笛頭吹奏的時候就練習整個長笛。我經常打比方，就像去學習駕駛機動車，第一節課老師首先教你熟悉方向盤及剎車油門。他們會告訴你其實握方向盤的姿勢和轉方向盤的速度是非常重要的。當然，如果老師不這麼告訴你，我想他一定算不上是個稱職的老師。那麼，熟悉笛頭也是同樣的道理。為什麼呢？大家都知道，長笛這樣樂器，在演奏的時候，和其它樂器不同的是，演奏者無法看到自己的嘴唇和手指。這樣的話，演奏者在進行手指訓練之前，應該完全掌握嘴唇放在笛頭上的位置、形狀，否則演奏的質量和學習的進度會大打折扣。我的建議：初學者應當在每天保證一定時間的笛頭練習，並且一定要對著鏡子規範自己的嘴型與位置。一直到不用鏡子，嘴唇都能非常準確地找到位置，並且很通暢地發出聲音，再接上笛身。而且對於初學者來說，笛頭練習也是氣息入門的好渠道。正確的笛頭練習，能夠幫助初學者由淺入深地領會氣息的要點。
二.練習時間*
很多人，尤其是孩子的家長認為，練習時間越長越好。其實，我覺得任何一樣樂器入門，都應該給身體和精神一個適應的過程。對於初學的人來說，練習過長，反而會造成太快的疲勞感，從而失去效率，而且頭腦在這種狀態下，對於正確音色及方法的判斷會變得模糊。特別是在學習某個新方法或者技術的時候，應當在時間長度上採取循序漸進的過程。需要補充的是，學習樂器貴在“堅持”。我從來不硬性規定學生每日的練習時間，那是因為現在孩子的功課都很多，倘若練習負擔過重，會造成他們心理和身體上的反感。但是我總是反復強調“堅持”的重要性，也就是說，無論多忙，學樂器的人每天還是應該堅持練習基本功。另外，有些人練琴全憑“心血來潮”，有時候幾天碰都不碰樂器，偶爾練又練到腰酸背疼手抽筋，這樣的練習也是沒有任何益處的。
三.嘴型*
時常有學生問我，吹長笛的嘴型是不是要一直保持“微笑”。我的回答是：吹長笛的嘴型的確類似“微笑”，卻不能就此生搬硬套地以“微笑”作為嘴唇固定的吹奏姿勢。甚至有學生曾經問我，嘴角應該上翹到什麼位置比較合適。我只想說，每個人的身體狀況和條件都是不一樣的，有的人嘴唇厚一些，有的薄一些，有的人牙齒外凸一些，有的向裡凹一些，這些種種的不同，要求我們應該仔細體會試吹和練習時，嘴型的細微變化對聲音造成的影響。沒有什麼固定嘴型的模式。唯一的要領，剛才前面講過，就是初學者一定要對著鏡子練習，多感受，並記住好聲音所使用的嘴型。關於嘴型的入門，我通常只會講幾點：1，蓋住笛嘴三分之一。 2，朝吹嘴裡面的前壁呼氣。但是頭不要低下來，平視前方。 3，呼氣發“ü（籲）——”這個音，氣速不要過快，但是出氣要有一定力量。 （實際上，在發這個音的時候，已經接近“微笑”的表情了）
四.長音練習*
無數次向所有的初學者，還有學了很多年的長笛愛好者提到長音練習的重要性。很多學生練曲子的時候特別來勁，可是對於練長音很提不起精神。實際上，長音練習是最簡單也最有效的基礎練習。眾所周知，管樂是靠氣息來發音的，所以氣息的重要性應該是在其它技術練習的前面。比如說，手指訓練即使方法不完全正確，也是可以通過時間積累的，而氣息練習不從開始就從嚴要求，並且用正確的方法進行練習的話，將來在演奏的道路上，會成為一個巨大的絆腳石。這就是為什麼很多學生雖然手指能夠跑得很快，但是上氣不接下氣，脖子和肩膀很僵硬，乃至背部酸痛，這都是因為氣息的方法沒掌握好，身體沒有在放鬆的狀態下進行演奏。以上是我長笛演奏及教學以來，積累的一些經驗，希望給長笛愛好者，特別是初學者帶來幫助。 |
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一般新買的長笛都會附送一枝通條棒、一塊通條布和清理外觀的擦絨布。清理長笛其實很容易和簡單。每次吹完長笛，只需把笛拆開成笛頭、笛身和笛尾三部分，然後把通條布 (俗稱口水布) 套入通條棒上，逐一鑽到長笛裡面，抹乾內裡的水氣即可。然後，可以用那附送的擦絨布在笛身上輕輕擦拭，抹去笛身上的水漬或灰塵。
由於長笛是一種很易氧化的樂器，日子久了，笛身很容易會變暗變黑。如想你的長笛長久都保持閃閃生輝，那便要用上抹銀布。使用抹銀布的方法與普通的擦絨布相若，只需輕輕在笛身上拭抹即可。不過，要注要抹銀布本身有消毒和化學作用，對笛其實有一定損耗，故不能常用。而且，最好到大琴行，如通利，購買專用的長笛抹銀布，價錢可能貴一點，但損耗程度會較輕，適合一般清理長笛之用。 |
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| 體格 |
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牙齒必須能夠平穩咬合 |
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長笛演奏時靠雙手握在右邊予以支撐，對慣用左手的人來說是一種很難的樂器 |
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演奏時看不到自己的手指，學員必須有較佳的手眼協調能力 |
| 智力 |
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適合於不同智力程度的孩子演奏 |
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長笛的樂譜較容易識讀，因此長笛演奏者不需要具備特別好的記憶力
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| 個性 |
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個性上較為文靜 |
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An ancient Chinese flute, the "tsche," played in about 2637 BC, is believed to be the earliest transverse flute (an instrument held horizontally). Made of bamboo, both sides were closed, with a mouth-hole in the middle. Flutes have been made of glass, wood, ceramic, brass, and even human and animal bones. Gradually, improvements over the crude designs were made, keys were added, and attempts were made to improve the pitch and sound of the instrument. It is to the genius of Theobald Boehm of Munich (1794-1881), a flutist, composer, and inventor, that we owe credit for the modern flute used today.
The flute as we now know it was conceived in 1846. After many experiments with the tube itself, and the size and position of the toneholes in relation to it, Boehm produced the modern flute. It had a parabolic, or tapered headjoint, a cylindrical body, and large toneholes covered by keys. He experimented with almost every material available. In 1847, he introduced his first flutes made of silver and German silver (a white alloy of copper, zinc, and nickel.)
At this time, the wooden flute was still preferred by players over metal instruments, and remained so until the early 20th century. It is interesting to note that, although the flute is thousands of years old, the instrument we know today was developed within a period of approximately 50 years, and was chiefly the work of one person, Theobald Boehm. |
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Most anyone, with practice, can learn to play the flute: the instrument described as being most closely related to the human voice. It is important to learn proper breathing techniques and breath support at the onset of playing so that a proper embouchure (lip formation) can be developed. Most teachers suggest that only the flute headjoint be used at first when attempting to make initial sounds.
The headjoint must vibrate in order for the sound to be produced; if a student is unable to make a sound with the headjoint, putting the instrument together will not help.
Some dizziness is common during the early stages of playing: this happens because beginner players have to learn the proper combination of embouchure [mouth] opening and air stream. This will go away as breath control is learned and is nothing to worry about. Keeping a chair handy and reminding the student to place his head between his knees until the feeling goes away is all that is necessary.
Since the flute is held across the body and not in front, it is difficult to see where the fingers are to be placed. It is recommended that one hold the flute in front so the new player can see correct finger placement without having to blow at the same time. Practicing finger combinations without worrying about sound production can help a student to develop the proper "feel" for the keys. |
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| Assembly |
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Always consult your teacher if you are not sure how to put together your instrument. |
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NEVER force the parts of your instrument together. |
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When assembling the flute only hold the non-keyed parts (the barrel and the bottom of the foot). |
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NEVER use lubrication of any kind. |
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Wipe off your fingerprints after every use. A clean, non-treated cotton cloth will work the best. If you do choose to use a treated polishing cloth be sure that it is for a SILVER finished instrument. Using the wrong cloth could cause scratches. |
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Clean out the moisture from your instrument with an absorbent cloth or swab after every use. Clean the inside of all 3 sections of the flute. Removing the moisture from your flute before putting it away each time will prolong the life of the pads. |
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Always store your instrument in its case with the lid closed when not in use. This will prevent any excess tarnishing and lower the risk of damage. |
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Do not put anything (including sheet music) inside the case with your instrument that does not belong. Closing the case with extra contents can cause damage to the delicate keys. Also, make sure that all the latches are securely closed before transporting your instrument. |
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Throughout my years as a private flute teacher, I have addressed a wide variety of technical problems among my students. Unfortunately, many of their issues are very common: poorly maintained instruments, improper hand position, and incorrect fingerings. Through experience, I have learned that the best remedy for many of these bad habits is to correct them as early as possible since they often become so ingrained after a period of a couple of years that they are nearly impossible to correct. It is my hope that I can help prevent the frustration of the flute student and their music instructors by providing some hints for teaching the beginner.
Flute Repair & Maintenance
Beginner flutists often have new or used flutes, which are in desperate need of repairs. They can be quickly discouraged when unable to produce a sound on such instruments. In a section full of other young flute players, it is hard for a director to distinguish a student who is simply having embouchure difficulty from one who may have a flute with leaking pads or keys. I urge band directors to take time at the beginning of the school year to “test play” their students’ flutes to find any obvious problems. Be sure to try the lowest notes of the instrument, which lie just below the staff, since these will be most susceptible to leaks. Many newer flutes have plastic or rubber “corks” which have trouble adhering to metal flutes. Keep some epoxy-type glue handy for re-attaching these to flutes.
Band directors can show students how to check the position of the large corks inside the headjoint using the cleaning rod. Students may need help moving the cork, if necessary. If the cork is too small to fit securely in the correct spot, it should be replaced. An improper fit of the cork can cause the tone to sound fuzzy.
Many students unknowingly cause damage to their flutes during assembly, so it can be helpful to teach students the proper way to put their instruments together. The most important point for students to remember is to avoid twisting the mechanism. When joining the headjoint to the body of the flute, hold both parts of the instrument above or below the keys and lip plate. Beginner flutes are often difficult to assemble because the joints do not fit properly. Be sure that students keep the tenons clean and free of tarnish if the fit is too tight. Any residue on the tenons can usually be easily removed using a cloth and rubbing alcohol. Applying oil or petroleum jelly is not recommended since these can leave a residue on the tenons or the pads.
During flute assembly, it is also important that students align their headjoint and footjoint properly. It is a common mistake of beginner flutists to push the headjoint all the way into the body. Flutes are designed so that the headjoint should be slightly pulled out in order to play in tune; ? inch is a good estimate for a beginner. The center of the tone hole of the headjoint should generally be aligned with the centers of the keys on the body. The primary rod of the footjoint should be aligned with the centers of the body’s keys. This alignment of the footjoint will be helpful to most young flutists who have small hands and may otherwise have trouble reaching all of the footjoint keys. |
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