An explanatory article on the erhu, how to play the erhu

The erhu is a bowed string instrument, as the saying goes, "three-point fingering, seven-point bowing", which is enough to show the importance of erhu bowing. Bow movement is the basis of erhu pronunciation, which is related to the sound quality and timbre of erhu pronunciation, and the slow long bow is the basis of bow movement, which is something that erhu players, especially beginners, need to take seriously and practice carefully. The practice of the slow longbow, first of all, to master the correct way to hold the bow, the right hand should loosen the shoulders and hang the elbows, emphasize the coordinated movement of the big arm, the small arm and the wrist and the fingers, with the big arm to drive the small arm, the small arm to drive the wrist, after a long time you can swing freely (not only the hand or fingers move), so that it is flat, straight, rhyme, and stable.

The whole bow should be used with feet, from the tip of the bow to the heel end, and there is no waste at all.

It must be noted that the right half of the bow is easy to pull too hard and there is noise, and the left half of the bow is easy to not be strong enough and the volume is too small, try to control the strength of the right hand so that the volume and timbre of the left and right half bow are the same.

The performance method of erhu is as follows: 1. Sitting: sit upright, do not bend your waist, your shoulders are flat, and do not bow your head. 2. Hold the piano in your left hand:

1) Three 45 degrees: keep the lower arm and the stem, the upper arm and the side, and the body and the stem at 45 degrees.

2) Index finger: The first knuckle forms a 90-degree right angle to the second knuckle, and the index finger is raised to the right side near the string (referring to the side that touches the tiger's mouth).

3) The point of holding the piano in the tiger's mouth and touching the string point with the index finger form the same height (any position from the empty string note to the octave of the same string). After the da fixed pitch outer string 2, the tiger's mouth is on the top and the fingers are down.

3. Bow holding:

1) The first knuckle of the index finger is the fulcrum, and the big finger is the force point, and the two become the reaction of the force, so do not pinch the bow rod hard.

2) The big finger and index finger are lower than the wrist when pulling the outer string, the big finger and index finger are higher than the wrist when pulling the outer string, the bow stick is on the outside of the barrel when pulling the outer string, and the bow shaft is lifted away from the barrel when pulling the string.

3) When pulling the outer string, the third knuckle of the middle finger is facing outward against the bow shaft, and when pulling the string, the middle finger and ring finger are against the bow hair.

Fourth, the bow transport:

1) Slow Bow: 1When the bow is out, the elbow starts from the waist, and the elbow returns to the waist when the bow is entered.

2.The big arm goes first, the small arm follows, the palm of the hand gradually turns to the forward direction when the bow is out to the tip of the bow (I can see the palm of my hand when I look in the mirror), and the back gradually becomes the forward direction when I enter the bow to the bow root (I can see the back of the hand when I look in the mirror), the wrist should be relaxed, the bow shaft is parallel to the front of the body, and the bow hair is at a 90-degree right angle to the string.

2) Quick bow: Pay attention to the position of the bow segment is basically placed in the middle of the bow, the faster the speed, the smaller the movement with the bow width, the entry and exit of the bow should be flat, and do not go around in a circle.

3) The difference between strong and weak when carrying the bow: when strong, the palm of the hand is turned downward; When weak, turn your palms upwards. When it is strong, the amplitude and pressure of the bow are widened; When weak, reduce the amplitude and pressure of the bow movement. The use of the bow is emphasized.

5. Kneading the strings: the big arm and the small arm are stable, and the force that naturally supports the left arm is generated, and the whole palm is stirred up and down when kneading the strings, and the second knuckle of each finger is relaxed, and the fingers that are not pressed are also relaxed. The up-and-down flutter should form inertia, and the pressing force of each finger and the amplitude density of the up and down fluctuations should be unified.

Emphasize the coherent kneading of the strings, and press the fingers when the touch is imminent; If there is a special need, it is necessary to knead the string late.

6. Changing the handle: 1) The wrist goes first when changing the handle slowly; Straight up and straight down for quick grip changes. (2) Establish the concept of position, do not isolate the sound, when changing the position, there should be a cut position in the heart ("cut" refers to the position of the index finger), first change to the cut point (if it is not the same finger, the cut sound should be hidden without sound), and then according to the desired phoneme.

7. Pitch practice: (1) Cut the tone accurately. (2) Strictly distinguish between two degrees of size and three degrees of size.

3) The practice of the seven-tone scale and the pentatonic scale is equally important, and there are two minor thirds in the pentatonic scale -1) It is important to pay attention to.

4) Study the key of the piece and practice the scale of the piece before practicing.

The erhu is an instrument of expression in ancient times, but now many people think that the music played by the erhu has no emotion, so how can the song be played with emotion? The following is my compilation of erhu lyrical techniques, welcome to read and reference.

1. Proficient in string kneading and glissando skills

The joys, sorrows, and sorrows of the melody, as well as all kinds of complex emotions, are far from being able to be accurately expressed with good pitch and rhythm alone, and must be delicately expressed in combination with the rich kneading of the left hand. It's like a movie actor who only has a clear confession and no corresponding complex facial expressions, and it is difficult to infect the audience in the end. If the erhu is to depict a scene of grief, the left hand must use a large pressure on the phoneme, otherwise, I really don't know where the sorrow comes from.

In addition, portamento is not only the soul of the erhu, but also very helpful to the rendering of image and atmosphere. For example, the humorous scenes and details, without the three-point erhu glissando, okay?

2. Changeable bow method

Obviously, with the development and change of various emotions and different scenes, it is impossible to cope with and be competent in the general drawing and pushing of the bow, and there must be wonderful jumping bows, pause bows, and unique throwing bows. The emotional erhu bow method must be soft and strong, long or short, can be connected and divided, can be retracted and released, it is not only adjustable in ability, but also can be like a fish in water, vertical and horizontal. Only in this way can you jump when you are lively and brisk, and you can be smooth and unimpeded when you have a smooth journey.

3. Correct understanding and processing of music

In addition to the necessary lyrical skills and coordination of the left and right hands, accurately grasping the style and emotion of the music is also an important part of expressing the emotions of the erhu. For this reason, before playing a piece, it is necessary to concentrate on the theme of the piece, understand the structure of the piece, and compare the changes in mood and style of each section. On the one hand, the composer's music is correctly understood, and on the other hand, the potato noodles can also be integrated into their own mature things.

Only in this way, the music may be more distinctive and personal.

It is very important for erhu music to be beautiful, emotional, and lyrical, and it needs to rely on precise pronunciation, beat, and more importantly, on the unique basic skills of erhu with the left and right hands.