Erhu playing method

What is the correct way to play the erhu, and what are the principles to which it usually conforms? Today, I bring you the erhu playing method.

Erhu playing techniques

First, sitting posture

The height of the chair is standardized with both legs flat and both feet on the ground. When you sit on the chair, you can only sit on two-thirds of the chair surface, and do not sit on the full chair surface or lean back on the back of the chair; your legs should be shoulder-width apart; your feet should be placed flat on the ground, with the left and right feet half a foot apart from each other before and after you, and generally with the left foot in the front, and the right foot in the back. The body should be straight, must make the upper body to maintain a natural, upright, shoulders, elbows, hips, knees, ankles and other parts of the body should be natural, loose, not to develop a hunchback, slanting shoulders, crooked body, head down and other bad habits.

Second, hold the bow

The right hand is relaxed, bent in the shape of a half-clenched fist, the root of the bow is placed in the third joint of the index finger, the index finger is naturally bent and lightly supported on top of the bow. The thumb is pressed on the top of the bow shaft with the surface of the finger to the left of the third joint of the index finger. The middle finger and ring finger are inserted between the shaft and the bow hair. When playing the outer strings, control the bow bar with the third joint of the index finger upward, the thumb downward, and the first joint of the middle finger outward, so that the bow hairs rub against the outer strings to produce sound. When playing the inner strings, the third joint of the index finger is upward, the thumb is downward as a support point to control the bow, and the middle finger and ring finger are inwardly hooked to the bow hair as a point of force, so that the bow hair rubs against the inner strings to make sound.

Third, holding the instrument and pressing the strings

The barrel of the erhu should be placed on the left leg against the belly, with the instrument's shaft straight and slightly tilted forward; the left arm is naturally curved, and the elbow should not be too high; the wrist is slightly raised, and the instrument's shaft is placed in the tiger's mouth, with the fingers naturally curved in the shape of a half-fist, and the strings are touched with the tips of the fingers at the point of contact with the finger surfaces. When playing the upper handle, the tiger's mouth of the left hand should be placed close to the jack, and the root of the index finger should preferably be in contact with the jack, which is very beneficial to the development of the concept of handle. Fingers in the string, the joints should be naturally curved, any one finger joint backbend is not allowed, but excessive positive bending is also unscientific, finger bending must be natural, loose as the principle. The thumb should be relaxed and held flat or slightly cocked in the performance, not bent downward to hook the instrument pole. 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 of the hand. Especially for fast finger presses, it is more important to rely on the flexibility and agility of the metacarpophalangeal joints. The touch of the fingers should be elastic? Strike? strings, not stiff strings. Pressing The string.

Fourth, long bow

When drawing the bow, the right wrist should be slightly protruding outward in a? The right wrist should be slightly protruding outward in an outstretched state. Be careful not to extend the big arm outward too early, so that the elbow is too high, resulting in the big arm being lifted up. Big arm up? The big arm is raised up, which is a bad tendency. In addition, when drawing the bow, the right arm should not move to the right rear so that the bow is drawn in a garden arc. When pushing the bow, the big arm should be recycled as the first moving point, driving the small arm to the left. At this time, the wrist should be in ? inward flexion state? When the big arm is finished, the small arm continues to push to the left; after the small arm is finished, the hand should also push the bow a few centimeters, so that the wrist is converted into an intermediate state again. Middle state? , in order to start the next bow drawing action.

V. String Changing

String changing is divided into slow (including medium-speed) string changing and fast string changing, and in the fast string changing is divided into forward string changing and reverse string changing, which are somewhat different in action. In slow string crossing, generally speaking, we should try to take the movement of the middle finger and ring finger of the right hand as the main action, and the movement of the arm as a supplement. During string crossing, the bow hairs are usually asked to lean toward the string. The bow hair is usually asked to lean toward the string during the string change. rather than against the string. not bumping against the string. In addition, care should be taken to keep the bow running at a balanced speed, and not to change the bow speed suddenly because of the string change. Because of the fast speed of string changing, if the middle finger and ring finger are used to change the strings, the fingers will be overburdened and will not be able to last long, nor will it be easy to be even. Therefore, the finger movements of rapid string crossing are actually driven by other parts of the right hand. Rapid string crossing is divided into two kinds of forward and reverse, pulling the inner strings first and pushing the outer strings later is called forward string crossing. In forward string crossing, the finger movements are driven by the wrist. Therefore, the movement of the wrist should be relatively active and flexible. The fast string crossing in which the outer string is pulled first and the inner string is pushed later is called reverse crossing. In the reverse fast string crossing, the action of the bow is driven by the arm.

Split bowing

Split bowing usually refers to a bowing method of playing one quarter note or one eighth note per bow at medium speed, and is usually played with the middle bow part. Since playing one note per bow brings frequent bow changes, the technique of bow changes plays an important role in split bowing. The combinations of bow-splitting are ever-changing. The timing of the bow pulls and pushes are often different, and the lengths of the bows are necessarily different, but the articulation is required to be consistent, which requires the adjustment of the bow-to-string ratio, the pressure-speed ratio, and the bow-to-string ratio. It is necessary to adjust the ratio of pressure and speed between bow and string. To do this.

Seventh, the bow

With a bow to play two or more notes of the bow method is called the bow, the bow of the combination of the bow of the ever-changing, and the bow of the bow of the time value of each note is often different, plus changes in the strength of the bow, etc., so that the bow of the bow of the performance has become very complex. However, there are a few principles that can help us to play a good legato bow: 1) Reasonable distribution of the bow segments. 2) A legato bow with many notes and a long bow is subject to the same constraints of bow leverage as a long bow, so we should take this factor into consideration when we play this kind of legato bow, in order to achieve a balanced sound. 3) The bow should be soft and even, and the movement of the right hand should have a certain degree of independence, and should not be subject to the constraints of finger-switching movements of the left hand. Finger movement, in particular, can not use the bow in the distribution of units on the beat. 4, in general, the continuous bow playing in the bow change, to minimize the trace.

Eight, fast bow

In playing fast bow, the hand and elbow should be at the same time to the other side of the opposite direction of the uniform swing, that is: draw the bow when the hand to the right, but the elbow to the left; push the bow when the hand to the left, but the elbow to the right, their movement of the ? The center of their movement is in the middle of the lower arm. is in the middle part of the small arm. The arm movement is the same as that of Fanning the door of the stove? s movement is similar to that of fanning the door of a stove. If our right hand were to be the head of a fish and the elbow the tail, then the fast bowing motion would be described as a? Wagging head and tail? would be an apt description. In the movement, the wrist only plays a role in regulating the power so that the fast bow movement will not be stiff. Therefore, it should neither be tense nor too loose. The fast bow has a much greater degree of sticking to the strings than the long bow and the split bow, and this degree of sticking needs to be maintained at all times, that is to say, when changing bows, the bow hairs should be close to the strings, and there should be a "ga" in each bow. The bow hairs should be close to the strings when changing bows, and each bow should have a "crunch". The first sound is the head of the bow, so that the fast bow can be granular.

IX. Vibrato

Vibrato is essentially similar to fast bowing in the way it is played, it is also a way to move the axis of the action. The axis of the motion is placed in the middle of the lower arm. placed in the middle of the small arm, so that the elbow and wrist become balanced at both ends; with a slight tension in the big arm trembling, driven by the elbow vibration, through the? The axis is placed in the middle of the small arm so that the elbow and wrist become the two ends of the balance. Through the role of the axis, the wrist and fingers will naturally drive the bow to move quickly left and right in parallel. Play a good trembling bow is very important, is the big arm to be slightly tense, to support the small arm; but must pay attention to control the appropriate degree of tension in the big arm, too tense will make the pronunciation of the stiff, and can not be sustained; too loose and will make the trembling bow is not easy to control, the pronunciation of the fuzzy. The following parts of the small arm should be relatively relaxed, so that the upper tight (refers to the big arm) under the loose (refers to the small arm, wrist and fingers).

Notes on Erhu

1. The erhu is a very important part of the Chinese music industry. The so-called? The so-called "heavy rubbing". Lightly press? The term "press" refers to the pressure exerted on the bow hair while holding the rosin, and "light press" means that the pressure exerted on the bow hair while rubbing the rosin should be appropriately lightened. This is the same as using an ink stone to grind ink. Heavy grinding and light pressure? The requirement of grinding ink has the same effect, grinding ink pay attention to? Heavy grinding and light pressure The ink grinding is about "heavy grinding and light pressure", and "heavy grinding and light pressure". Heavy grinding? It is not to grind with gravity, but to focus on the grinding, in fact, it is still a little lighter and even grinding. The pressure of "light pressure" means that the ink is pressed downward when grinding. The downward pressure exerted when grinding ink should be appropriately lightened. Heavy grinding, light pressure. The ink thus ground out is fine, and the ink used for calligraphy and painting is round and full, long-lasting and stable, with a good texture, and a good sense of penmanship. Use? Heavy rubbing and light pressing. This method of rubbing out the rosin fine, and the bow hair on the scales of the gap between the hanging incense effect, rosin end of good adhesion friction, friction, lasting, bow control feel good, and the appearance of a clean and sharp.

2. The first one is the "head to the edge". The so-called? The so-called "head to head", every time you rub rosin, you must do it. To the side? , rub rosin to rub the bow hair inside and outside (up and down), left and right, generally rub inside and outside (up and down) can be involved in the basic to reach the left and right, but slightly insufficient cases, should be around and then rub a little.

3. First rubbing. The first time you rub rosin on a new bow, make sure you rub it all at once. Because the first time on the rosin more laborious and time-consuming, it is common that some people will rosin with a tool grinding (or hammer) into powder, and then to the bow hair or sprinkle or wipe or companion, this method of rosin powder into the coarse and fine uneven, the bow hair is not easy to hang incense, but also dirty, which is very unscientific and very undesirable.

4. The rosin powder is not uniform, and it is dirty. The erhu bow rosin should be wiped diligently, generally pull 2-3 hours to wipe a time, or based on the bow hair friction becomes smaller need to wipe a time, each time to the head to the end to the side to wipe a few back and forth that is enough. Each time you rub the rosin, you must make the force even, hold the rosin arm to run easily and smoothly, and keep turning the rosin to make it rub the bow hair evenly, so that the surface of the rosin won't be rubbed into a gully, which is not only economical and beautiful, but also ensures that the end of the rosin will be fine and even. This can effectively ensure that the entire bow hair adsorption rosin powder uniform, uniform friction of the bow hair, in order to ensure that the entire bow in the entire process of playing the normal pronunciation, will not appear in the bow in the pronunciation of the phenomenon of uneven strength, to improve and ensure the stability of the bow feel and stability of the control force.

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