How to find the position of the overtones in the erhu

The position of the natural overtones on the strings is "halved" from the saddle to the vibration surface of the whole string.

One, thirds.

One, quarter.

One, fifth.

One, sixth.

1. Seventh.

1. At one-eighth of the time, the position of the left finger should be accurate, the fingertips should touch the strings, and the right hand should control the bow hair to rub the strings, so that the strings can fully vibrate.

If the left finger presses the strings too much and the bow hairs rub the strings too little, it will seriously affect the effect of overtones, and sometimes even a dull solid sound will appear, which will not achieve the expected playing effect. Objectively speaking, the larger the vibration surface of the string, the more fully vibrating, and the easier it is to play the natural overtones.

Artificial overtones are played by the index finger and little finger by changing the vibrating surface of the string. When playing, the index finger should be pressed on the strings heavily, the little finger should be pressed lightly, and the relationship between the two fingers should be strictly maintained between pure fourths or pure fifths, so that the effect of overtones will be ideal. In the actual performance, the index finger is equivalent to a temporary movement of the jack, and the little finger is used to control the position of the overtones.

Since the erhu does not have a fretboard, the artificial overtones should be played in the upper and middle positions (the vibration surface of the strings is larger), while the artificial overtones in the high positions are less effective and should not be used more.

The point of the natural overtone is at the effective chord length of 1 2 1 3 1 4 1 5....of these points.

Artificial overtones are the 1 2 1 3 1 4 of the string after the finger changes the effective chord lengthon the point.

This one above is correct. Generally at 1 2 listen to the pitch, the outside string sound and the finger pressed sound should be the same, so that the erhu tone is accurate.

The overtones in the erhu are divided into two types: "artificial overtones" and "natural overtones".

1. The natural overtones must be sounded by the vibration of the whole string, and when playing, the force of pressing the strings with the left hand should be very light, while the power of the right hand to carry the bow should be relatively heavy.

2. The artificial overtone vibrates with the string length of the finger sound. It is obtained by pressing the index finger and little finger of the left hand together. Press your index finger on a phoneme while your little finger floats above it on a pure fourth.

For example, if you press on the 1-5 string 2 tones and press the little finger float on the 5 tones, you will get a high treble 2 two octaves higher than the 2 tones.

Listen for yourself. Why don't you buy a score with guidance?

I have one on the score that teaches you to play overtones.

It is relatively simple and commonly used, when playing, tap with your finger (do not press the string) at the midpoint (one-half) between the jack and the piano horse, and the sound produced is empty (like a whistle), an octave higher than the empty string, which is the overtone.

Bass strings have lower open strings than tuners, and the tuning uses overtones. The erhu empty strings are equal to the D and A of the tuner, and the tuning does not need to use overtones.

In this column, let's use the perspective of physics to understand the origin of this beautiful overtone Harmonics, known as harmonics in English, are the most commonly used artificial overtones in string playing techniques as touch fourth. One leap of two octaves, the sound is as crisp as a flute, so delicate that people have an unstable sense of balance? That's right, that's harmonics for harmonics.

In the previous column, I believe you have some basic understanding of the production of sound and musical sounds, in this column, let's use the perspective of physics to understand the origin of this beautiful overtone.

Since overtones are a technique that is more commonly used in strings, the frequency of the string wave or the frequency of the vibration of the air molecules mentioned in the previous column happens to be inversely proportional to this wavelength, that is, the shorter the wavelength of the string wave, the higher the frequency of the air molecules, and the higher the sound they make.

Hello dear, the pitch of the erhu is determined by the vibration frequency of the strings, and the vibration frequency of the strings depends on the string length, material, tension and other factors. Therefore, even if the string is pressed in the same position, the different pitches may be caused by several factors:1

Fingering: Different fingering produces different pitches. Erhu players can produce different pitches by controlling the pressure of their fingers, muscle tension, and fingertip position.

2.Strings: Different strings produce different pitches when they vibrate.

There are a variety of strings commonly used in erhu, including raw silk and synthetic silk, and these strings have different vibration frequencies and timbres. Group base 3Chord Tune:

Different string tones produce different pitches. The strings commonly used by Ertangerine Hu are A, G, D, etc., and the pitch corresponding to different strings is also different. 4.

Body resonance: The body of the erhu is a resonance box, and when the strings vibrate, the body also resonates, which also has an impact on the pitch. Different body resonances produce different pitches and timbres.

Therefore, even when the strings are pressed in the same position, different players, different frets, different string tones, and different body resonances may produce different pitches.

Hello dear! The pitch of the erhu is determined by the length of the strings and the strength of the strings. Pulling the string in the same position, different pitches can be attributed to different string lengths.

The strings on the erhu are divided into different positions, each representing a different pitch. When the player holds down a certain position of the string with the mid-state finger, the effective length of the string changes, resulting in a different pitch. So, kissing the same position will produce different pitches in different string positions.

In addition to the string length, the string pulling force also affects the pitch. Pulling the strings taut makes the strings taut, while loose strings create bass. As a result, the player needs to take different pulling forces to create different pitches as needed.

In addition, there are some other factors that also affect the pitch of the erhu, such as the material of the strings, the thickness of the strings, the friction between the strings and the bow, and so on. Differences in these factors can also lead to differences in pitch in the same position. In short, the different pitches produced by the same position on the erhu are produced by a combination of factors such as string length and string pulling.

I hope this can solve your doubts. The above is mine, I hope it will help you, I wish you a happy life and a happy day

Natural overtones are sounds that can be produced by pressing a string with one finger, while artificial overtones are sounds that can only be produced when two fingers touch a string at the same time.

Natural overtones generally have a 1 on the inner line and a 5 on the outside line. The pitch of these two overtones can also be used to determine whether the inner and outer chords are accurately tuned.

There are detailed annotations on the first etude of the tenth grade above the third book of the national examination.

In the future, if you don't understand anything about erhu, you can ask me

Hanyun erhu teacher talks about overtones.

Natural or artificial overtones, you ask? If it is a natural overtone, you only need to find the right note, press the strings with your fingers, and move the bow with your right hand. If you can't find the overtone position, you can't pronounce it, the strength of the left hand pressing the strings is great, even if it is a little bit, you may not be able to pronounce the overtones, if the right hand is not full enough, the overtones may not be easy to hear and not clear, and the artificial overtones are more difficult, so it is best to find a teacher to teach it by hand.

Hope it helps.

When the finger is pressed on the string (only touching the string without force), the vibration of the string will be limited, and only the vibration of this contact will be retained. The effect of the overtones is like the dew on the leaves of a tree in the morning, clear and transparent.

Fingers are about the thickness of a piece of paper at the point where the overtones need to be spoken, and the bow is pulled out slowly and gently. If mastered well, the sound is continuous.

The fingers float lightly on the strings, not forcefully, that is to say, not pressed, but the bow is played with normal strength, it sounds good, it is a relatively clear feeling, and the natural overtones are in the 1 2 places where the piano saddle is still a thousand pounds (our teacher teaches it this way), you can try.