What is the fingering of the left hand of the erhu and what is the fingering mantra of the erhu?

Erhu is divided into 15 strings, 63 strings, 52 strings, etc. According to the most common is 15 strings, the inner string empty string is the finger does not press the string, is 1, the index finger is 2, the middle finger is 3, the ring finger is 4, and the little finger is 5Outer chord empty chord 5, index finger 6, middle finger 7, ring finger 1, little finger 2,.

Both strings can be changed, that is, the left hand down. Different melodies don't have to be unique in fingering, some depend on how you handle them.

First of all, you can't hold the body with the tiger's mouth, the part under the thumb should be close to the body, the fingers should be as straight as possible, the middle finger and ring finger should be slightly closer, and the other thing is to relax, and you should feel the palm of my egg.

Well, that's pretty much it, that's what my teacher said.

The fingering of the left hand of the erhu is the method of strings and finger order, ....... However, it is not advisable to learn erhu by yourself.

For fingering, there will be a mark on the score, and the Chinese characters will be marked above the numeric notes of the score. For example, "one" is one finger, that is, the left index finger; "Two" is the second finger, that is, the middle finger; "Three" is three fingers, that is, the ring finger; "Four" is the four fingers, that is, the little finger. For details, you should buy a book and ask a teacher to study it.

duliangpan yes, who said you have to keep the fingers. Although sometimes the reserved finger can make the timbre full and solid, and the ring finger can compensate for the innate weakness of the little finger, many times it is not possible to use the reserved finger. Flexible Allegro retention fingers add a lot of trouble.

This one, there are 6 types of phonemes, each with different fingering, which one do you want?

For example, the correct fingering of the erhu is as follows: for example, if you press two fingers, one finger should also stay on the string, and you can hold down the note of one finger; If you press three fingers, one or two fingers should be pressed in the original position......And so on. Anyway, it must not be the sound of one finger and the rest of the fingers leave the string, which is not right.

Because this is not conducive to the stability of the tone, it can also be understood that the strength of the three or four fingers is relatively weak, so according to the correct fingering I said, the strength can be increased, so that the timbre is more full and rich. Moreover, the fingers can also be much more flexible, and it takes a long time for one finger to change the tone, and it will be very troublesome to pull the fast bow in the future.

You can buy Seinfeld's commentary disc (which I personally think is better) and see her left hand movements, which are quite standardized.

If there is anything you don't understand, please continue to ask me, and I will definitely try my best to answer!

1. Hold the piano formula: look ahead, sit up straight, land on the ground without two dates, and lay your legs flat. The barrel is leaning on the left abdomen, the stem is leaning forward, the left arm is relaxed.

2. Bow holding formula: pinch the bow shaft with the index finger and thumb of the right hand, middle finger and ring finger.

Put in the middle. Pull the middle finger of the outer string and point to the outer top, and the middle finger and ring finger of the larry string hook the bow hair.

3. Stool lead"Three steps.

Formula: Take the timpani in your hand, and the erhu strings all depend on it. The outer chord A and the inner chord D can only be pulled after the alignment. The fingers are played in tune, and everyone praises the music.

4. Bow movement formula: Keep in mind the four elements of bow movement, "stability, flatness, evenness, and straightness" are the most important, the big arm moves, the small arm follows, and the wrist is flexibly pulled and pushed.

5. Pitch formula: the position of the fingers can be seen accurately, the whole tone semitone should be distinguished, and the sound should be pulled out to listen to the ear, and the interval.

Practice the piano accurately.

6. Dynamics formula: empty strings.

Practice is very important, play the piano well without being impatient, coordinate the movements of the two hands, and standardize the movements and have strong endurance.

7. Rhythm formula: The rhythm of the notes should be played accurately, the length of the change must be clarified, and the sentence should be distinguished to speak in tone, and it is good to listen to it smoothly and vividly.

1. The barrel is mistakenly placed in the middle of the left leg, not on the position where the root of the left leg is close to the lower abdomen.

2. The stem is too oblique to the left or right; Leaning too forward or adducting.

3. The left hand is too far away from the jack in the first position.

4. The left arm lacks due support and is hung on the stem by clamping the tiger's mouth.

5. Bend your thumb down to hook the stem.

6. When holding the piano, the palm of the left hand is close to the stem, and the fingers "lie" and press the strings upside down.

7. The finger joints are bent excessively and touch the strings with the tips of the fingers (or even with fingernails).

8. Finger joints are bent backwards, especially the first joints of the middle finger, ring finger and little finger.

9. The fingers (especially the ring finger and little finger) press the strings not from the front of the strings (from the strings to the direction of the stirring stem), but from the outside of the strings (from the strings to the body), so that only the outer strings are pressed, but the inner strings are in a state of virtual pressing, and often wolf sounds appear because of this.

10. Always keep your fingers "hanging" on the phoneme when playing.

above, can not relax.

11. When one finger is pressed on the string, the finger below it curls in the palm of the hand.

12. When holding the piano, the big arm is excessively raised, so that the left arm is in a tense and unnatural state.

The correct posture for holding the piano in the left hand of the erhu is:

1. Place the barrel at the base of your thighs and place it along the zigzag that forms after sitting down.

2. The stem is two fists away from the eye. In this way, the stem and the human body have a scientific angle, that is, 45°.

3. The posture of the left hand: first find the first finger of the thumb and let it be placed on the protruding part of the stem, and then find the left side of the left palm, that is, the left palm gently placed on the stem, and then find the index finger, find the fingertip part of the index finger, and go down in a straight line with the thumb, be careful not to use the third joint of the index finger to clamp the piano, and the palm must be relaxed.

4.You can use the left position of the tiger's mouth to clamp the piano slightly (beginner) to assist in holding the piano. Then put the middle finger and ring finger.

and the little finger follows the index finger to place on the strings, and finally raises the upper arm so that the upper arm is at a 45° angle to the waist of the body. And the elbow has been let down, and the wrist is downward. Holding the piano in the entire left hand feels similar to holding a cup, and does not require force, especially in the palm.

Introduction to Erhu:

Erhu began in the Tang Dynasty and is called "Xiqin", which has a history of more than 1,000 years. It is a traditional Chinese stringed instrument.

Erhu, that is, the two-stringed huqin.

Also known as "Nanhu" and "Hum", Erhu is the Chinese nation.

One of the main bowed string instruments in the family of musical instruments.

Famous erhu songs include "Erquan Reflecting the Moon".

Good Night", "Listening to Song", "Horse Racing", "Grapes Are Ripe" and so on.

The fingering of the erhu is as follows:

Tools Ingredients: erhu, table.

1. First of all, we can turn the palm of the left hand upwards, and the index finger will bend one finger in order, and the other three fingers will remain straight when one finger is bent, and the ring finger and little finger will have linkage action at the beginning.

2. Then the left index finger, middle finger, little finger and thumb are tightly pinched together, then there will be a gap between the middle finger and the little finger, and after insisting on training for a period of time every day, the independent mobility of the ring finger will become more and more obvious.

3. Then our left hand is in a natural relaxed state, touch the palm root and thumb lightly on the tabletop, and the remaining four fingertips tap the desktop vertically, tapping one-two-three-four, four-three-two-one, and tapping one-three-two-four, four-two-three-one with the next finger.

4. Then there is a mixed order of percussion 1423, 2423, 3423, etc., each finger tip should be practiced, like a small hammer hitting the tabletop with the same strength, and then you can practice the hand shape.

5. The change of bow holding technique in the bow method, when playing the slow long bow, the bow holding position should be far back, and the bow holding is deeper, and the hand contact bow area is relatively large, which is conducive to improving the control of the bow and is also convenient for volume changes.

6. When we play the fast bow, we need to move the position of the bow to the fingertips, hold the bow shallowly, the fingertips are more flexible, and it will be more relaxed when playing the fast bow.

The techniques of the left hand when playing the erhu are as follows:

1. When the erhu is played, it is placed on the inner thigh, and the stem is slightly tilted outward. The left hand is relaxed, and the tiger's mouth is placed 2 cm downwards of the erhu jack.

2. The arm of the left hand should be kept at an angle of about 45 degrees to the erhu rod, and this angle should be maintained, and the palm of the left hand should be suspended downward.

3. When practicing the basic skills of the left hand of the erhu, it is best to practice in front of the mirror, so that Zaochang can correct Liang Yan in time when he finds mistakes.

4. The fingertips are below, and the joints are on the top, not in the same plane, otherwise the angle between the index finger and the string must be very large, and the string must be orthogonal to the tip of the index finger.

5. The first joint of the left finger should be bent and not flattened. But the little finger should be straightened and not bent.

1. Sitting. The height of the chair is based on the legs flat and the feet on the ground. When sitting on a chair, sit only two-thirds of the chair surface, and do not sit on the full surface of the chair or lean back on the back of the chair; Legs should be shoulder-width apart; The feet should be flat on the ground, and the left and right feet should be half a foot apart from each other, generally with the left foot in front and the right foot behind.

The body should be blind and simple, the upper body must be kept natural and straight, and the shoulders, elbows, hips, knees, ankles and other parts of the fiber should be natural and relaxed, and bad habits such as hunchback, oblique shoulders, crooked body, and bowing the head should not be developed.

2. Hold the bow. The right hand is relaxed and bent in a half-clenched fist shape, and the bow base is placed at the third joint of the index finger, and the index finger is naturally bent and gently supported on the bow shaft. Press the thumb with the surface of your finger on the top of the bow shaft near the third joint of your index finger slightly to the left.

The middle and ring fingers are inserted between the shaft and the bristles. When playing the outer string, the bow rod is controlled by the three force points of the third joint of the index finger upward, the thumb finger facing downward, and the first joint of the middle finger facing outward, so that the bow hairs are attached to the outer string and rub the sound. When playing the inner strings, the third joint of the index finger is upwards and the thumb fingers are facing down as the support point to control the bow shaft, and the fingers of the middle finger and ring finger are inward to hook the bow hairs as the force point, so that the bow hairs are against the inner strings to rub and make a sound.

3. Hold the piano and press the strings.

The barrel of the erhu should be placed on the left leg close to the lower abdomen, with the stem straight and slightly leaning forward; The left arm is naturally bent and the elbow is not excessively elevated; The wrist is slightly protruding, and the stem is placed in the tiger's mouth, and the fingers are naturally bent into a half-clenched fist, and the strings are touched at the intersection of the fingertips and the finger surfaces. When playing the upper position, the left hand should be placed close to the jack, and the base of the index finger should be in contact with the jack, which is very helpful for cultivating the concept of position. When the fingers press the strings, the joints should be naturally bent, and any finger joint is not allowed to bend backwards, but excessive bending is not scientific, and the bending of the fingers must be natural and relaxed.

The thumb should be relaxed, flat or slightly cocked during playing, and should not be bent downward to hook the stem. The movement of the fingers should be based on the movement of the metacarpophalangeal joints of the left hand, supplemented by the movement of the palm. In particular, the rapid finger pressing action needs to rely on the flexibility and agility of the metacarpophalangeal joint action.

The finger touch should be a bouncy "hit" string, not a stiff "press" string.

4. Longbow. When drawing the bow, the right wrist should protrude slightly outward in a "outstretched state", and the wrist should be pulled out to the right with the wrist as the first moving point. It is important not to stretch the upper arm outward too early, so that the elbow is raised too high, resulting in the undesirable tendency of "raising the big arm".

In addition, when drawing the bow, the right arm should not move to the right rear, so that the bow is drawn into an arc. When pushing the bow, take the big arm to ** as the first move point, and drive the small arm to the left. At this point, the wrist should be "flexed inward".

When the upper arm is closed, the lower arm continues to push to the left; After the forearm is closed, the hand also pushes the bow a few centimeters to make the wrist transition to an "intermediate state" again, so that the next bow pull can begin.

Erhu's better way to hold the bow: it is embodied in the five contacts of the right hand holding the bow (i.e., the basal joint contact of the index finger; finger contacts; middle finger contacts; ring finger contacts; thumb contacts).

The use of the right hand in erhu performance is very important, many erhu performers and educators in China have summed up different experiences, and formed their own different methods and some techniques in actual performance, I think the use of the right hand should start from holding the bow, holding the bow is divided into "flat finger style" and "overlapping finger style". The middle finger and ring finger are laid out side by side on the bristles of the bow, and the shaft rests naturally on the beveled edge of the barrel.

When playing the inner string, the middle finger and ring finger press against the bow hair at the same time, but to prevent the bow rod from slipping onto the top surface of the barrel, the big finger needs to press the bow rod with appropriate force, which is opposite to the force of the middle finger and ring finger against the bow hair. The middle finger is placed on the ring finger, and the two fingers are overlapped to fill the space between the bow shaft and the bow hair, and the bow shaft is naturally lifted away from the barrel and suspended in the air. When playing the inner strings, only the ring finger presses against the bow hair, but the middle finger also presses on the ring finger, and the big finger does not have to press the bow shaft.

Erhu Jane cracked and beaten

Erhu began in the Tang Dynasty and is called "Xiqin", which has a history of more than 1,000 years. It is a traditional Chinese stringed instrument. Erhu, also known as "Nanhu" and "Huzi", is one of the main bowed string instruments (rubbing string instruments) in the family of Chinese musical instruments.

The timbre of the erhu is almost the same as the human voice, with a sense of singing and telling. Famous erhu songs include "Erquan Reflecting the Moon", "Good Night", "Listening to Song", "Horse Racing", "Grapes Are Ripe" and so on.

Erhu began in the Tang Dynasty and has a history of more than 1,000 years. It originated from an ethnic minority in the ancient northern region of our country, and was originally called "Ji Qin" and "Xi Qin". The earliest text that records Ji Qin is the Tang Dynasty poet Meng Haoran's "Poems on the Banquet of Rong Shanren Chiting":

Bamboo leads the piano in, and the flower invites to carry wine", the Song Dynasty scholar Chen Yang recorded in the "Book of Music" that "Xi Qin Benhu Leye". The Tang Dynasty poet Cen Shen wrote: "The Chinese army returned to the guests with wine.