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Chinese transverse flutes are called Dizi (笛⼦子).

Download the tuning charts of all available dizi of
Sound of Dragon Ensemble, arranged according to
the fingerings below. Dizi music is generally notated
one octave lower than actual sound in treble clef.
They are made of different types of bamboo tubes
and available in various sizes and keys. “The tube is
closed at the blowing end with a cork, open at the
bottom. Distributed along the upper surface are a
blow-hole, membrane hole and six finger-holes,
with two end-holes on the underside which define
the length of the vibrating air column and may be
used to attach a string or decorative tassel” (Yueqi,
Thrasher & Wong 2011).
Traditionally, a dizi is made of one piece of bamboo
tube. Today, many dizi are made of two pieces of
bamboo tubes. Adjusting the tightness of how the
two pieces connect together allows the player to
fine tune the instrument. The membrane hole is
covered by a fine piece of bamboo skin from the
inner surface of the tube, which produces the
unique buzzing tone.

There are generally two types of dizi: the longer version is qudi (曲笛) from southern China, with darker tone
and more graceful repertoire; the shorter version is bangdi (梆笛) from northern China, with brighter tone and
passionate repertoire. Dizi are usually named by the pitch it produces with three upper holes (#4-6,
next to the membrane hole) closed. Commonly qudi is tuned to C, D, or E; while the higher pitch bangdi
may be in F, G, or A. The dizi longer and lower than qudi are called dadi (big dizi) and the one smaller
and higher than bangdi are called xiaodi (small dizi).

The earlier versions of flutes in China had no membrane. “The presence of a membrane was first
mentioned in the early 12th century treatise Yueshu”(Yueqi, Thrasher & Wong 2011). By the Ming Dynasty
(1368-1644), the bangdi and qudi have become the lead instruments in regional operas and instrumental
ensembles.

In theory, all semitones are playable on a dizi. Semitones or microtones can be played by adjusting how much
a finger hole is covered. Covering half of the hole should produce a semitone. The more a hole is covered, the
lower is the pitch. “But whenever we use half holes, the timbre is affected because the vibration of the
membrane is muted. It’d be challenging to play half holes in a fast temple. Some semitones have alternative
fingerings, instead of half holes. Their intonation is not as accurate, but they can be used in fast passages”
(Charlie Lui). Another way to change the pitch is by adjusting the angle between the mouth and the blow hole.
This technique is commonly used to fine tune the pitches.

The playable range of each dizi is about 16th (from the base note with all holes covered as “sol” to “la” in 2
octaves higher). Depending on the quality of the dizi and the ability of the player, one or two tones higher
than “la” are also possible.

Dizi Techniques

“Articulation, for the most part, is accomplished by special finger

movements. Otherwise, a smooth legato style without tonguing is
idiomatic for most traditional music. Tonguing is reserved for special
effects only. Vibrato is commonly employed on notes of longer
duration – that is, a slow, pulsing diaphragm vibrato rather than the
continuous fast style usually heard in western flute performance.
These elements of performance are standard and rarely notated”
(Yueqi, Thrasher & Wong 2011).

Although the following techniques are introduced individually, in

practice various techniques may be combined to produce a single
note/phrase.

Southern Style techniques (south of Yangzi River):

Dieyin 疊⾳音 (‘layering note’)– traditionally indicated as “⼜又“, now simply
shown as an upper grace note, a grace note from one tone higher than
the principal note. This technique employs only the finger movement
without tonguing.

Dayin 打⾳音 (‘marking note’)– traditionally marked as “丁“, a grace note

from one tone lower than the principal note. This technique employs
only the finger movement without tonguing. Both Dieyin and Dayin are
often used to articulate a single note when it is repeated.

Lianyin 漣⾳音 (‘ripple note’) – marked as “w“ as a short trill, starting with
the principal note, than quickly play one tone higher or lower for 1, 2 or
3 times.

Chanyin 顫⾳音 (‘trembling note’) – marked “tr“ as a long trill, starting

with the principal note, than quickly play one tone higher or lower for
more than 3 times. 3rd or 4th or wider intervals are also sometimes
trilled.

Zengyin 贈⾳音 (‘gift note’) – marked with a curved line from lower left to
higher right, followed by “( )“. This techniques is used in the end of a
phrase/long tone by releasing the finger(s) immediately and stopping
blowing at the same time. Zengyin refers to the soft short percussive
sound produced by the air left in the bamboo tube.

Yiyin 倚⾳音 (‘lining note’) – Fast grace note(s) leading to the principal
note. The first note is lightly emphasized with the tongue to aid the
articulation. When the notes are ascending line, it is called Shangyiyin,
anddescending is Xiayiyin. When this technique is played in northern
style repertoire, it is blown harder.
a) danyiyin 單倚⾳音 (single) – play one grace note before the principal
note, from a either higher or lower pitch.
b) shuangyiyin 雙倚⾳音 (double) – play two grace notes before the
principal note, from a either higher or lower pitch.
c) fuyiyin 複倚⾳音 (multiple) – play 3 or more grace notes before the
principal note, from a either higher or lower pitch.

Northern Style Techniques (north of Yangzi River):

Tuyin 吐⾳音 (‘tongued note’) – marked as “T” for single tongue, or “TK”
for double tongue. Employed in the performance of staccato passages
or for emphasis, using the tip of the tongue to articulate each
successive note.
a) dantu 單吐 (‘single tongue’) – when playing, form the mouth as if to
say “tu”, without speaking out. It is used to play long tones, such
as quarter or eighth notes; also for 16th notes in a tempo of quarter
note = 130 or slower.
b) shuangtu 雙吐 (‘double tongue’) – alternate “T” and “K” positions of
the tongue for staccato performance of faster notes ( TK TK ). When
playing, form the mouth as if to say “tu”, without speaking out, followed
by “ku”. It is best for 16th notes in the tempo between quarter note =
128-158. All the notes should be played evenly with one breathe.
c) santun 三吐 (‘triple tongue’) – the combination of dantu & shuantun
in extremely fast passages: T TK or Tk T. This is usually used in lively
music, with a galloping feel.

Huashe 花⾆舌 (‘flower tongue’) – marked “ * “, or improvised. A flutter

tongue (like a rolled “R”), either short or long, essentially creating a
tremolo. For pitches in the high range primarily.

Huayin 滑⾳音 (‘sliding note’) –usually marked with an arrow up for

ascending, or an arrow down for descending, but basically any arrow
before or over the note. This portamento technique is effected by
sliding one or two fingers upward or downward, gradually opening or
closing holes adjacent to the principal melodic pitch.

Duoyin 剁⾳音 (‘chopped note’) – A sudden drop to the melodic note

from a higher pitch, which is usually played uncovering all finger holes.
This higher note is played slightly before the principal note. The larger
the interval, the more difficult it is to play. To reach the principal note,
all the fingers should be closed at the same time, showing no grace
notes in between. The leading high note should be played with a strong
accent at the high note.

Liyin 瀝⾳音 (‘scattering note’) – a series of grace notes in the sequence of

the scale (not missing any note) played very fast in exciting passages.
Start slightly slower and run the notes faster and faster to the end.

Fei ⾶飛指 (‘flying fingers’) – notated as “⻜飞”. Pull from the arm to move
the fingers left and right rapidly just slightly above the fingering
holes. This may be done with either hand. The fingers should be kept
together with no space in between.

Circular Breathing 循環換氣 – Circular Breathing allows the player to

perform long passages without any break to catch the breathe. The
player breathes in from the nose and blows out with the mouth
simultaneously. There are two methods to do circular breathing, during
the long tones and during shuangtu (‘double tongue’).

Zhenyin 震⾳音 (‘shaking note’) – slight regular variation of the pitch

creates waves in the tone, similar to vibrato on bowed instruments.
This can be achievement by changing the amount of air blown out or
with small movements of the fingerings. The vibrato may be played
from slow to fast or from fast to slow, from gentle to wide or from wide
to gentle.
a) fuzhenyin 腹震⾳音 – regulating how hard to blow with the control of
the diaphragm. It is used in slow, sad and narrative songs.
b) qizhenyin ⽓气震⾳音 – used in more gentle slow music
c) qichongyin ⽓气沖⾳音 – this intensive fast vibrato is often used in
passionate and exciting music
d) zhizhenyin 指震⾳音– created with minor movement of the fingers, it is
used in softer music
e) yarouzhenyin 壓揉震⾳音 – fast angular movements, the combination
of both the finger and arm, to produce more dramatic tone.
f) huarouzhenyin 滑揉震⾳音 – dramatic sound, imitating the vocals in
Chinese regional opera.
g) rouzhenyin 揉震⾳音

Harmonics 泛⾳音 – Notated as “。”. Harmonics are produced by

adjusting the amount of air blown out, keeping it between the air
needed for the higher and the medium registers. The harmonics are a
12th above the note of the regular fingering. The volume is softer.

Houyin 喉⾳音 – making a “hou” sound in the throat while blowing.

Similar sound to Huashe, but the part vibrating is in the throat, not the
tongue.

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