The essence of the ``total'' dizi style involves discarding the traditional Northern China and Southern China divide and to unify their techniques to be used on any dizi. Technically, this means that everything from the litany of ornamentation can be and is used on whatever dizi is being played on, be it a bangdi, a qudi, or a dadi.
The first piece of music that epitomised this style is 《早晨》 (zao chen or ``in the morning'') by 赵松庭 (Zhao Songting). It was a piece that was played using a qudi, but featured techniques that were more closely associated with bangdi techniques such as duoyin or crushing acciaccatura, huayin or glissandi, and all kinds of tongue articulations that were largely non-existent in qudi playing style.
The end result was a masterpiece that awed the dizi player world. It was the first step towards truly unifying the bangdi and qudi into a single instrument family of the dizi.
In many ways, the ``total'' dizi concept was ground-breaking in that it allowed the traditionally separated players to look for new sounds from the breaking of the initial taboo of using techniques that were unorthodox within their old practices. It also opened up the heavier use of adapted Western music pieces within the dizi repertoire as a means of challenging the status quo.
Stylistically, the ``total'' dizi concept was used to train a new set of dizi masters who were more technically proficient than before with an access to a much larger palette of sounds which sealed the fate of the dizi as a premier expressive melody instrument.