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设计套管笛的出发点是保持原有竹笛的六个孔,通过内外套管的配合改变管长,达到转调的目的。这类试验较多,一九五四年有陈克一同志设计的外套管为四排孔的套管笛;一九五六年有胡兴邦同志设计的内外套管转G、A、B、D四个调的套管笛。除此,还有方至等同志设计的套管笛。套管笛的设计思想是积极的,意图解决笛子的转调问題;但是,高调的笛要求管径细一些,低调的笛要求管径粗一些,实践证明,这与音质有很大的关系;套管笛不论调子的高低,只是改变管长,而管径是固定的,这就使得某些调合适,某些调不合适。套管笛虽有其不足之处,但我们考虑到一件事情的成功,总是由低级到高级,由不全面到全面,由不成熟到成熟。为此,我们仍是热情地将谢瑞云同志的设计向大家介绍。
Design Casing flute starting point is to maintain the original six holes of the bamboo flute, through the inner and outer tube with the tube length change, to transfer purposes. There were more such tests. In 1954, there was a tube flute with four rows of holes in the outer sleeve designed by Comrade Chen Ke-yi. In 1956, there were the inner and outer sleeve tubes designed by Comrade Hu Xingbang. G, A, B, D Four tune the pipe flute. In addition, there is a square flute designed by other comrades. Cigar flute design philosophy is positive, intended to solve the problem of flute transfer; However, the high-profile flute requires a smaller tube diameter, low-profile flute requires a larger diameter, practice has proved that this has a great relationship with the sound quality; Regardless of the tone of the tube flute, just change the tube length, and the diameter is fixed, which makes some adjustments suitable, some inappropriate. Despite its inadequacies, we consider the success of one thing, from low to high, from incomplete to comprehensive, from immature to mature. For this reason, we are still passionately introducing Comrade Xie Ruiyun’s design to everyone.