The dizi's two schools and its playing techniques

South school trill-dou赠-hit, north school tong-slide-chuo-flower-fly — one flute, two wholly different voices

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Fourteen aerophones are done in this section. But for the dizi, saying "it has a reed membrane" is not enough —

it is really two instruments: one south of the Yangtze, one north of the wall.

「竹笛技巧按门派分为南派和北派，⭐ 南派讲究叠、打、震、颤，北派讲究吐、剁、滑、花。」

⭐⭐ The better-known pair of lists is: south 颤·叠·赠·打, north 吐·滑·垛·花·飞.

⭐⭐ The dividing line: the south has no detached notes at all, the north is nearly all detached

Put the two lists side by side and the key point surfaces:

⭐⭐ So the difference is not which notes exist but what the tongue does. The south barely moves the tongue and spends everything on breath and fingers; the north is the other way round — the tongue is the hardest-working part.

⭐⭐ The physical root: one tube's thickness

This is not a stylistic preference — the instrument decides it:

South · qudi — named for accompanying kunqu, and for being made in Suzhou, hence 「苏笛」. The body is thick and long: ⭐ the air fills a long tube, shaking the membrane into an airy, clear tone.

North · bandi — named for accompanying bangzi opera, nicknamed 「小笛子」. The body is short and thin: ⭐ because it suits a thin, translucent membrane, the vibration frequency rises and the tone becomes naturally bright and high.

⭐⭐ In one line: a thick tube → the air travels far → airy tone; a thin tube → more vibrations → bright tone. Which flute you pick is which school you have chosen.

⭐⭐ The south's four: none of them takes time

They share one property, and saying it first is clearer than explaining each:

⭐⭐ 「叠音、打音、赠音三者共同具有不占时值、附属性的特点」 — they are little tails hung off the main note, not notes in themselves.

颤音 — in the southern repertoire it is 「more free of rhythm and pitch than anywhere else」, used for free introductions and codas（⭐ i.e. the first breath and the last breath）. Besides the finger trill there are two more: 虚指颤音（⭐ the finger shakes without fully covering the hole, i.e. half-holing）and arm trill.

叠音 — 「layering the main note, the lowest finger lifts up toward the note above」; that is a second. ⭐ But by circumstance it may be a third or a fourth. ⭐ Its use is very specific: when two or more identical notes occur, the dou fills the gap.

打音 — 「strike downward quickly and lift, a downward interval of a second」.

赠音 — 「an extremely short, extremely fast, almost-not-there small tail note after a long note or the end of a phrase」.

⭐⭐ dou, da and zeng all take no time — which is exactly why the south sounds like one line: the notes are the skeleton, and these three are only decoration, and decoration costs no time.

And in《鹧鸪飞》Zhao Songting takes it to its limit: ⭐⭐ the decorative notes「替代了传统吐音系统，弱化音头」, in line with the southern principle of playing without the tongue; ⭐⭐ and within any single bar the decorative techniques stay within three, so the melody keeps the foreground（⭐ that discipline is real craftsmanship — however much decoration, the tune must stay the tune）.

⭐⭐ The north's five: each one imitates a sound from daily life

These five characters are ⭐⭐ not abstractions — each stands for something you can hear:

吐 (single, double and triple) 「through breath and tongue together, the tip taps forward, making a *tu* between teeth and lips, so the tone has grain and force」 ⭐ double tonguing = 「the first sounds *tu*, the second *ku* — together they make『突库』」, and it appears in long runs of sixteenth notes, colouring the atmosphere in a fast, cheerful movement ⭐⭐ triple tonguing = 「often 前八后十六 as『突突库』or 前十六后八 as『突库突』, used to depict soldiers advancing and horses galloping」 → ⭐⭐ a rhythm pattern is a picture: a galloping horse is triple tonguing

垛音 「built from a grace note into the main note, demanding a high explosive force — the tongue squeezes the air fast while the fingers press, producing a loud, penetrating sound」

滑音 ⭐⭐ paired against chuo, this is the most telling comparison on the page:

「垛音由装饰音和主干音构成…需要强爆发力」vs「滑音虽同样从装饰音过渡至主干音，但无需强爆发力，手指通过揉动实现几度音程的平滑过渡，音色圆润无痕，呈现出诙谐风趣的艺术效果」

⭐⭐ The same move — grace note into main note — is done by burst or by揉动: one is a shout, the other is a joke.

花舌 — 「the tongue vibrates of its own accord, giving the note a dense grain」

飞指 — 「using the arm to drive it, one finger or several (up to three) sweeps rapidly to and fro across one or more holes」, ⭐ producing a strong broken-sound effect, usually against a long note with changing dynamics, ⭐ or imitating a bird in flight

And what do the five do together? Feng Zicun 「运用『吐·滑·垛·花·飞』模仿人们聊天与欢笑， as far as possible 贴近北方人们奔放热闹的生活场景，注入真情实感」.

⭐⭐ His technique earned the nickname「吹破天」. But these five are not for blowing anything apart — ⭐⭐ they correspond to: conversation (double tonguing's *tu-ku*), laughter (flower tongue), a galloping horse (triple tonguing's rhythm), a bird in flight (flying fingers). ⭐⭐ Moving the sounds of daily life onto a flute — that is the northern school.

⭐⭐ An overlooked practical line: register decides how you breathe

It applies to both schools and is extremely useful:

⭐⭐ 「第三孔中音（同音作 5 的中音 1）以下的音区，以胸式呼吸为主, with the proportion rising

toward 100% as the note descends; 第三孔中音往上开始以腹式呼吸为主, rising from 50% to 100% by the top note.」

⭐⭐ Why? ⭐ 「若不采用（混合呼吸），则吹到第三孔中音时发音吃力、音色浑浊，往上则会吹不响或杂音过多；如果整个曲子采用腹式呼吸，则声音听起来生硬单调、共鸣感不强，且容易疲劳」

⭐⭐ So: the low register runs on chest (lots of air, steady), the high register on belly (fine, even). That is not a stylistic rule but a physical one — low notes want air, high notes want evenness.

⭐⭐ And one tip that saves breath: 「风门恰当地收缩，可以节省吹奏气息，这是熟练运用循环换气技巧的方法之一」 — ⭐⭐ for circular breathing the key is not the lungs but whether the wind-gate can narrow.

⭐⭐ Twenty lines of mnemonics (Zhao Songting,《笛艺春秋》)

The most directly usable passage on this page, because every line names a checkable action:

「风门正，笛身平，头要直，胸要挺。拇指小指相扶持，莫使笛子柳摇金。 虎口之间可容蛋，关节舒畅手才灵。六指按孔要严密，指指放松成弧形。 高低起落有规格，多余动作丢干净。口劲松紧随我意，口风粗细由我心。 双臂张开四十五，青龙白虎全都行。演奏姿态忌做作，严肃认真见真情。」

⭐⭐ Three of the most concrete: · 「虎口之间可容蛋」— ⭐ if an egg fits in the hand loop, the hand is relaxed（grip it tight and the fingers die） · 「高低起落有规格」— ⭐ fingers lift 1.5–2 cm: too high slows you down, too low drops the pitch · 「多余动作丢干净」— ⭐ in a large piece the technique count is high, and extra motion steals attention

⭐⭐ And one line that ties pitch to the mouth: 「一般情况是下嘴唇压笛子吹孔 1/4 位置」，⭐⭐ 「嘴唇和吹孔成九十度直角；角度小于九十度音准偏低，稍大于九十度音准偏高」 — ⭐⭐ one of the few places on this site that attributes a sharp note directly to the angle of the lips.

竹笛属气鸣乐器（边棱音驱动，开管，竹制）。音域约两个半八度；此处以常见曲笛为例取 C4–A6 示意。南北派共用同一套记谱：低音区靠开闭按音孔得到，高音区主要靠超吹。吹奏口形与音准直接相关——一般下嘴唇压吹孔 1/4 位置，嘴唇与吹孔成九十度直角；角度小于九十度音准偏低，稍大于九十度偏高。呼吸方式分区：第三孔中音以下以胸式为主，以上以腹式为主。记谱即实音。

Recap: three sentences on dizi technique

「吹破天」is Feng Zicun's nickname. But the northern five are not for blowing anything apart —

⭐⭐ they stand for: conversation (double tonguing's *tu-ku*), laughter (flower tongue), a galloping horse (triple tonguing's rhythm), a bird in flight (flying fingers).

⭐⭐ Moving the sounds of daily life onto a flute — that is the northern school.

Sources

• ⭐⭐ 本页是笛子的技法与流派专题，不引入新乐器，只把散在该条里的技术线索收拢成两派对照 + 技法表；⭐⭐ 并排之后才看得出这一族的核心差别不在"能吹什么音"，而在"用舌头做什么"
• ⭐⭐ 南北之分的第一句话（本批最该记住的一条） —— 「目前竹笛技巧按门派分为南派和北派，⭐ 南派讲究叠、打、震、颤，北派讲究吐、剁、滑、花」；⭐⭐ 而更常见的一组表述是 ⭐ 南派「颤 · 叠 · 赠 · 打」、北派「吐 · 滑 · 垛 · 花 · 飞」 —— ⭐⭐ 两组字各有一个共同点：南派四个字里没有一个是"断奏"，北派五个字里只有一个（滑）不是断奏 → ⭐⭐ 这就是两派的本质差别：南派弱化音头、连成一气；北派强调颗粒与爆发
• ⭐⭐ 两派各自的乐器与音色（差别有物理根源）：南派·曲笛「因为昆曲伴奏而得名，也因盛产于苏州，而被称作苏笛」，管身粗长（含大 G 调 · 大降B调 · C 调曲笛），⭐ 气流充斥在粗长的管内，震动笛膜发出空灵清澈的音色；北派·梆笛「为梆子戏伴奏而得名，俗称小笛子」，管身短细（含 F 调 · G 调 · A 调），⭐ 由于适宜薄透笛膜，使得震频增多，音色自然高亢明亮许多依专题类资料
• ⭐⭐ 南北派各自融了什么进去：南派「成长于宋代的南戏，昆曲一经诞生就有着曲笛作为伴奏跟随，长达 600 余年」→ 「融入了昆曲、江南丝竹等曲调特点」，⭐ 传统的南曲使用无舌吹奏，一气呵成；北派「融合了信天游、花儿与劳动号子等民风特点」依专题类资料
• ⭐⭐ 南派四技逐个解释（本页最实用的一段）：颤音 ——「在南曲中更加不受节奏、音高的限制」，常用于散板引入、尾声延展；除指颤音外还有虚指颤音（手指颤动时并未完全盖住音孔，即按半孔）与臂颤音两种形式。叠音 ——「顾名思义层叠主音，最下端的手指向上方音抬一下做出层叠的效果，这是二度效果的叠音，有时按情景需要还会出现三度四度的叠音」，两个或更多相同的音出现时，叠音可以很好地起到间隔的作用。打音 ——「需要演奏者快速向下打再抬起，做一个向下的二度进行」。赠音 ——「通常在长音或乐句后极短极快地、似有若无地出现的一个小尾音」。⭐⭐ 叠音、打音、赠音三者共同特点：不占时值、附属性依专题类资料
• ⭐⭐ 北派五技逐个解释（与南派一一对照）：吐 —— 分单吐 · 双吐 · 三吐，「通过气息与舌头互相配合，舌尖向前轻点，在牙齿和嘴唇中间发出『突』的音，使音色具有颗粒感、力量感」；⭐ 双吐「由两个紧促的音共同组成，第一个音发『突』，第二个音发『库』，合起来就是『突库』的音效」，常以大篇幅的十六分音符出现，在情绪欢快的快板当中渲染气氛；⭐ 三吐「经常以前八后十六的『突突库』和前十六后八的『突库突』等形式出现，用来描绘士兵上前线、马儿奔跑等场景」。垛音 ——「由装饰音和主干音构成，要求气息具备高强的爆发力，通过舌尖快速挤压气流并配合手指瞬时按压，形成洪亮且穿透性强的音响效果」。⭐⭐ 垛音与滑音的对比最见功力：「垛音由装饰音和主干音构成…需要强爆发力」vs「滑音虽同样从装饰音过渡至主干音，但无需强爆发力，手指通过揉动实现几度音程的平滑过渡，音色圆润无痕，呈现出诙谐风趣的艺术效果」。花舌 —— 「利用舌头自然不断的震动，造成音符的绵密颗粒感」。飞指 —— 「利用臂力的带动作用，使一只手的一指或数指（最多三指）在一个或几个音孔上迅速地左右抹动」，⭐ 可产生强烈的碎音效果，通常伴随有强弱变化的长音出现，亦或用来模仿鸟儿飞翔的声音依专题类资料
• ⭐⭐ 其余技法（两派共用，按部位分）：用指 ——「颤音 · 打音 · 波音 · 叠音 · 滑音 · 剁音 · 历音 · 飞指」，其中「颤音作为手指基本技巧，处于比较重要的地位，颤音练习好了，稍加变通，打音、波音、叠音基本也容易掌握了」；⭐ 历音分上历音（极快的音阶上行）与下历音（极快下行），「要求吹奏中手指起落肯定、果断，使经历的每个音都十分清楚、流畅，好象快速上下楼梯那样一级一级地出现」。用舌 —— 「主要包括吐音以及花舌，吐音最为重要，是竹笛演奏基本功之一」。吹奏口形 —— 「一般情况是下嘴唇压笛子吹孔 1/4 位置」，⭐ 「嘴唇和吹孔成九十度直角；角度小于九十度音准偏低，稍大于九十度音准偏高」（这是全站少见的把音准归到嘴的角度上的说明）。呼吸 —— ⭐⭐「第三孔中音（同音作5的中音1）以下的音区，以胸式呼吸为主，随着音的下行，胸式呼吸的占比从50%往上直到100%；第三孔中音往上开始以腹式呼吸为主」→ ⭐⭐ 音区决定呼吸方式，这是本页最实用的一条
• ⭐⭐ 南北派各自的作品与"独奏转型"的时间点：⭐⭐ 1953 年「全国音乐舞蹈汇演中，冯子存先生以《喜相逢》开创了竹笛独奏的新形式，标志着竹笛艺术从伴奏乐器向独奏乐器的转型」→ ⭐ 北派代表作《喜相逢》（1953）；南派代表 ⭐ 赵松庭《鹧鸪飞》（降E 大调，二段体：引子 + 慢板 + 快板 + 尾声）。北曲另有《五梆子》《枣园春色》，南曲另有《姑苏行》《小放牛》。⭐⭐ 70 年代后「曲祥、俞逊发等演奏家推动南北技法融合，催生《早晨》《深秋叙》等跨域风格作品」
• ⭐⭐ 《鹧鸪飞》的一处技术纪律（很见匠心）：赵松庭「构建了一套创新的装饰音系统…该体系整合了『颤 · 叠 · 赠 · 打』等装饰性技法，并引入罕见的飞指技法」；⭐⭐ 从音乐形态上看，装饰音群「替代了传统吐音系统，弱化音头」，与南派『无舌吹奏』的美学原则契合；⭐⭐ 同时单小节内装饰技法规律性地不超过三种，确保旋律的主体地位依专题类资料
• ⭐⭐ "吹破天"与它模仿的对象：⭐ 「著名演奏家冯子存先生，其演奏技艺有着『吹破天』的美誉」，⭐ 「冯子存先生运用『吐 · 滑 · 垛 · 花 · 飞』模仿人们聊天与欢笑，尽可能地贴近北方人们奔放热闹的生活场景，注入真情实感」 → ⭐⭐ 北派五技不是抽象术语，每一个都对应一种生活里的声音（聊天 → 双吐的「突库」；欢笑 → 花舌的颗粒；马儿奔跑 → 三吐的节奏）
• ⭐ 气息与口腔（两派共用的一条总纲）：⭐⭐「吹奏笛子时候的呼吸方法…要讲究科学自然，符合生理规律，其次讲求均匀、持久和稳定有张力」；⭐ 「口腔宜打开，采用唱美声时候的口腔状态，可以保证足够气流和气速」；⭐⭐ 「风门恰当地收缩，可以节省吹奏气息，这是熟练运用循环换气技巧的方法之一」；⭐ 气震音「即气流均匀波动，形成声音高低起伏的艺术效果，可以是先平后震，或先震后平」
• ⭐ 一口诀（赵松庭《笛艺春秋》）：⭐⭐ 「风门正，笛身平，头要直，胸要挺。拇指小指相扶持，莫使笛子柳摇金。虎口之间可容蛋，关节舒畅手才灵。六指按孔要严密，指指放松成弧形。高低起落有规格，多余动作丢干净。口劲松紧随我意，口风粗细由我心。双臂张开四十五，青龙白虎全都行。演奏姿态忌做作，严肃认真见真情」—— ⭐⭐ 二十句里每一句都对应一个可检查的动作，这是本页最可直接照做的一段依专题类资料
• ⭐ 笛子本身的两个小知识（与技法直接相关）：⭐ 笛膜「一般是用芦苇膜做成的，经揉纹后取一小方块使用」，作用是「经过气流振动笛膜，便能发出清脆、明亮的声音」；⭐ 缠丝「使用丝弦，缠于笛身外面，共有21 道至 24 道，起保护笛身以免炸裂的作用」；⭐ 海底（笛脑）「由笛塞内沿至吹孔中心的一段笛身内膛，它阻止气流向上，使口风向下流动，集中发音」依专题与百科类资料
• 「竹笛属八音中的竹」依通行资料

Used for fact-checking only; all prose is original.