Self-teaching erhu beginner fingering

Self-study erhu beginner fingering

Self-study erhu beginner fingering, now a lot of people will learn a musical instrument as a hobby, but some musical instruments want to get started is still very difficult because of the need for a certain skill, otherwise it is difficult to find the doorway, then the following is about self-study erhu beginner fingering.

Hand shape:

Learning erhu, the first emphasis is on hand shape. The left hand hand shape is the wrist and finger joints position when the finger presses the string, the hand shape is correct or not is the standard string action and finger movement changes in the premise. The general standard hand shape is:

1. When practicing, first of all, the tiger's mouth of the left hand is open, the thumb joint is naturally straight, the instrument pole is placed in the tiger's mouth, the fingers, wrist and knuckles of the strings are bulging in the shape of a half-clenched fist, and the tips of the fingers are arranged in the strings in order, and the point of the index finger pressing the tone is on the same level as the point of the tiger's mouth holding the instrument.

2. Generally, the fingers are arranged in order to adjust to the straight line up and down of the strings, and the maximum degree of bending of the index finger joint is set. In general, the flexion of the index finger joint is the largest, and the following fingers are the second largest. The main point of maintaining a correct hand shape is that the palm is hanging in the air, as if holding a ping-pong ball in the center of the palm.

3, the most common problem is the thumb joint tight, tiger's mouth tightly clamped to the bar, or palm joint collapse, finger tightly press the string, which affects the left hand play, so that the left hand is too tense, the finger movement lost flexibility.

4, the general hand type also varies from person to person, hand big or hand small people palm arch arc is not consistent, hand small people, tiger's mouth should be appropriate downward pressure, in order to open the distance between the fingers.

Pressing the strings:

Pressing the strings is the most critical of the Erhu finger movement. The method of pressing the strings is based on the root joints of the fingers, and the fingers do the lifting and falling of the strings, which is even and elastic. The specific methods are as follows:

1. First of all, the position of the fingers should be clear: the position of the left finger pressing the strings is generally in the muscle between the fingertip and the surface of the finger, so that the finger lifting and dropping the strings is flexible, and it is convenient for the finger end to slide and vibrate the strings, which is suitable for a variety of playing techniques.

2, pay attention to the string action, the string action is a combination of finger lift and fall. The wrong kind of strumming is generally understood to be a simple downward motion of the fingers, which can easily be interpreted as the fingers digging straight down into the strings, which tends to cause stiffness in the fingers, tension in the strings, and more difficulty in learning vibrato and shifting.

3, the actual correct string pressing is from the root joint to the finger end of the lift and fall of the inertia of the action, mastery of this inertia of the action, the fingers touch the string light and agile, flexible and flexible. That is why people call pressing the strings as touching the strings, touching the strings is a touch of hair, a touch of pine, which reflects the finger contact with the strings of a moment of elasticity concentration.

4, to make clear how the fingers are hard, the power of the fingers to press the strings is also known as the finger force, finger force is tightly integrated with the string action, the key to finger force in the tight and loose, that is, the fingers in the lifting and dropping of the strings in a tight and loose force, the force originates from the size of the arm, through the tiger's mouth of the holding point, palm joints, as well as the finger belly of the strings point of the support of the arm to the strings, the power of the conductor through the force of the strings. The force is transmitted to the strings. So it is not the localized movement of the fingers that exerts pressure on the strings.

Erhu Vibrato Technique

Vibrato refers to pressing one finger on the strings while carrying the bow, and then the neighboring fingers elastically move together and down on the strings, resulting in a special acoustic effect of continuous alternation.

If we press one finger on the string while carrying the bow, and the neighboring two fingers vibrate the string, but do not vibrate the string, but utilize the wrist joints to vibrate the string in a well-proportioned and elastic motion, resulting in a continuous and alternating special sound effect, the effect of vibrato is called "vibrato".

Vibrato has a long duration, and can express a sense of breadth and vastness. However, in the first practice of the frontal note, the two alternating tones are often played unevenly, and can not insist on playing the end of the play, which is mainly the finger's ability to move independently is not strong, so the training of vibrato skills is better to start with a shorter value of the vibrato notes.

Vibrato is as diverse as vibrato, with fast vibrato, slow vibrato, never vibrato to vibrato, slow vibrato to fast vibrato, vibrato while vibrato, vibrato while sliding, vibrato of two degrees, three degrees of vibrato, these vibrato can be expressed in different styles of music.

Erhu Other Techniques

Slide:

Slide is the articulation of the fingers on the strings by sliding them consciously. Different methods of sliding produce different glissando effects. In terms of the range of sliding, there is the shift slide and the original position slide. glissando. In terms of the general nature of the glissando, it can be divided into two categories: ornamental glissando and linking glissando.

① First glissando

The first glissando is the glissando that slides from the leaning note to the home note, which emphasizes the home note. The first glissando is divided into two kinds of glissandi.

② After the glissando

The glissando that comes after the home note is called a glissando. A glissando is a slide from the home note to the leaning note, and the whole slide process is the opposite of the first glissando. There is also an up and down glissando. They are usually represented by arrows.

③ Linking glissandos

Linking glissandos, also known as linking glissandos, it is a common glissando, the symbol is in the right end of the symbols of the continuous bow and then add an arrow. It is a common glissando with an arrow at the right end of the bowing symbol. It is played by a finger with a balanced effort to connect the notes in the line, which sounds tight and makes the piece have a strong infectious force. In fact, the "sliding finger shift", which is often used in shifting, is similar to the linking glissando, but not as strong as the linking glissando.

④Turning glissandos

Turning glissandos are decorative glissandos with a more prominent effect. It is symbolized by a "w" and is usually notated above the ' of the note.

A glissando is a turn in the second interval below the note, so some people refer to it specifically as a "downward glissando". There is also an "upward glissando", which is more common in Mongolian folk songs.

Its symbol is "￣", and it is played in the same way in terms of strength, range, and timing, except that it is played in the opposite direction to the downward glissando. It should be noted here that regardless of the direction of the "slalom", the "slalom" is identical in strength, range and timing. It should be pointed out here that regardless of the "upper rotary glissando" or "lower rotary glissando", their "rotary" intervals are relatively regular, generally speaking, the range of the rotary glissando's activities in the sound of the tone The range of the glissando is generally two degrees above and below the note, and rarely more than a minor third.

Using the glissando notes

In practice, the glissando is very varied, and is often used flexibly according to the emotional needs and stylistic characteristics of the piece. The use of glissandos can also reflect the musical characteristics of various places. For example, the glissando used in the music of Henan Luzi, Guangdong music, Yunnan lanterns, and Jiangnan silk and bamboo is one of the distinctive features of this music. Guizhou Miao folk songs and Hunan Miao folk songs glissando style is also very different.

The use of glissandi should pay attention to the following points:

1, first of all, to clarify the nature of the glissandi. If it is decorative, to master to the effect of a clear distinction between master and guest, transportation bow and finger should be decorative tone light, the original tone heavy. The transition between the decorative note and the original note should be natural; if it is a link, it should be integrated, seamless.

The fingers in slide playing move with the up and down motion of the wrist. If you simply move the finger up and down on the string, it is not agile, it is not easy to control the strength, and the effect of the glissando is hard.

2. Playing slide is generally not allowed to change the bow and strings.

3, playing the most important thing is that the slide must be used properly. If the style and emotional needs of the music, hard to plug in some unnecessary slides, it will make the whole tune become oily, distorting the content of the music, and destroying the style of the music features.

Erhu way of pressing the strings

1, the strength of the strings should be just right

Performing the fingers press the strings pressed too loosely will make the sound of the false and distorted, and gradually increase the finger pressing the strings of the power to a certain degree will get pure, If you continue to increase the power of the fingers to press the strings, it will make the fingers tense and make the quality of the sound of the erhu worse.

This not only affects the erhu's articulation, but also brings difficulties to the development of left-hand techniques, such as changing handles and vibrato. The player should try to press the strings with the minimum finger pressure that will give a pure, beautiful sound, and only then will the sound on the erhu be guaranteed to be good.

If the strings are pressed with excessive finger pressure, it is this pressure that causes the fingertips to exert a stiff pressure on the strings, which interferes with the strings' ability to vibrate fully and freely, and thus produces a poor quality sound on the erhu. The sound is woody, weak, diffuse and inelastic.

2, play the role of the root joints

So how can we make our fingertips in the touch of the strings both natural dexterity and elasticity? Of course, we can't rely on the finger itself to press the strings, because the tip of the finger is the weakest part of our body. The fingertips can't afford the task that has been imposed on them.

The root joints are responsible for this task. When we press the strings, the root joints lift the fingers, and then the root joints move the fingers down to the strings in a relaxed and natural way, so that the contact between the fingertips and the strings is easy, flexible and elastic. By pressing the strings in this way, we can easily obtain the sound produced by the full vibration of the strings when playing.

Here, the farther away from the fingertips the source of the force felt in the natural rise and fall of the fingers through the movements of the root joints, the easier it is to ensure good contact between the fingertips and the strings, and the easier it is to play with a pure, beautiful sound. Because we overcome the excessive forceful pressure of the fingers on the strings when we press them, we can produce a beautiful sound on the erhu in which the fundamental and its overtones vibrate freely and in a regular manner.

Many erhu players have developed calluses on their fingertips due to improper stringing, i.e., dead pressure on the strings with their fingertips. Using this kind of laborious string-pressing method will never produce a beautiful sound, and even if you have the best right-hand bowing technique, you will not be able to produce a beautiful sound.

A good erhu player is one who plays simply and effortlessly. In erhu playing, the movement of the left hand up and down along the instrument pole and the rise and fall of the left hand fingers on the strings must be very easy and free, and the hand and fingers must not exert any rigid pressure on the instrument pole and the strings. This is extremely important for the articulation of the erhu.

Pressing the strings with the root joints of the fingers works well with the index, middle, and ring fingers, but the problem is not so simple with the little finger. Since the little finger is weaker than the other fingers, it is easy to replace the action of the root joint with the tension of the little finger itself, which tends to make the little finger stiff, and the sound on the erhu is inevitably weak and inelastic.

In order to overcome this phenomenon, we must move the feeling of the force source of the natural fall of the little finger further away, to the wrist joint, and then apply the principle of lever balance to naturally drop the little finger onto the strings through the action of the wrist joint, so that the touch of the little finger becomes easy and natural and elastic. In this way, when we press the strings with the little finger, we can play a beautiful sound on the erhu like other fingers.

3. Finger tips and the inner and outer strings:

We talked about the need for finger tips to be relaxed, flexible and elastic, and the need for players to use the root joints of the fingers to make the strings rise and fall with ease when pressing the strings. I would like to discuss specifically the parts of the fingertips that touch the strings, as well as the requirements for the inner and outer strings.

In order for the fingertips to press the strings with great elasticity, the fingers should be pressed diagonally on the strings, with the fingertips touching the strings at the upper part of the fingertip belly. In this way, the finger bones are not directly aligned with the strings, which makes the fingertips touch the strings easily, flexibly and elastically, and is more conducive to making the strings vibrate freely in the performance. In order to keep the contact point between the fingertips and the inner and outer strings consistent, the posture of the fingers when pressing the inner and outer strings must be adjusted. When holding the instrument in the upper position on the inner strings, the bottom of the tiger's mouth of the left hand should be slightly in contact with the bar

The inside of the index finger's root joint is still gently leaning against the outside of the bar, and the inside of the first and second joints of the thumb are also gently leaning against the inside of the bar, so as to ensure that the upper part of the fingertips of the fingers pressing the strings are gently in contact with the inner strings.

In erhu playing, if the player can do the above requirements to press the strings, and keep the left arm, wrist, hand and finger relaxation, to keep the fingertips touching the strings correctly, sensitive and elastic, in the erhu to play a beautiful sound will not be very difficult.

4, natural relaxation how to emphasize is not too much

Hungarian female violin educator Kato Havas (Kato Havas) pointed out in the book "New Ways of Playing the Violin," "The facts have repeatedly proved to us that good sound is not related to the personality and talent, it is not years of hard practice. It is not the result of years of hard practice, but simply a matter of applying the right pressure in the right place at the necessary moment." So in order to play a beautiful sound on the erhu, there must be a correct way of carrying the bow and pressing the strings

Using the right pressure in the right place at the necessary moment, of course, this pressure should be a soft, elastic, living pressure; any stiff, inelastic, dead pressure will cause the strings to vibrate incorrectly and irregularly, and it is very difficult to produce a good sound. It is not only the use of incorrect pressure on the bow that destroys the articulation of the erhu, but also the left hand fingers when pressing the strings, where there is a problem of how to apply the correct pressure.

"The wrong bow stroke can destroy the best left-hand technique in the world," says Kato Havas in A New Way to Play the Violin. "It is at the point where the tips of our fingers make contact with the strings that life-and-death questions about sound quality arise."

From this we can see how the naturalness and relaxation of the left and right hands in erhu playing can never be overemphasized. The famous American violinist Erick Friedman (Erick Friedman) said about Jascha Heifetz (Jascha Heifetz) playing the violin, "His hands are so relaxed that they are like a ballerina flying in the air.

I always felt that if I stood too close to him and breathed too heavily, I could really blow his violin and bow out of his hands." You can see how relaxed you need to be when playing an instrument.

self-taught erhu beginner fingering 3

1, pay attention to the intonation. A common problem is to sacrifice intonation to meet speed. The correct approach is to put intonation first and speed second. Practice at a slower speed first, and gradually transition to normal speed.

2, pay attention to the finger order. We should practice strictly according to the fingerings on the exercises and music, and we should do some fingering exercises to have the correct fingering order. Once the wrong fingerings become a habit, it will be difficult to change.

3. Pay attention to the smoothness of the bow. Practice slow bow. A common problem is to appreciate the fast bow, come up to practice fast bow, the result is that the slow bow is weak, fast bow dragged. Slow bow is the foundation, pay attention to the wrist movement, the posture of the bow, the coordination between the wrist, the small arm and the shoulder, and the feeling of the bow. The slow bow is both basic and difficult. Don't blindly imitate the performers who are so graceful and free with their bow gestures when you are learning, you can only do it on the basis of a solid foundation of basic skills.

4. Practice fast bowing from slow to fast. Pay attention to the granularity, the tip should be clean and full. The common problem is to be fast, dragging and dragging, seeking quantity but not quality.

5, to pull more practice songs. The primary stage is to learn "skill", rather than learning "art". Pulling the practice piece on the "skill" of the progress of a greater role. A common problem is the loneliness, always want to pull some tunes for self-appreciation. When you are learning, you can play some simple melodies, simple fingerings and simple bowing techniques. At this stage, the development of musicality is mainly based on listening, listening to the performance of famous artists. The first thing you need to do is to listen to the music, not the music.

6, to be practiced, to break down the difficult points. For example, when practicing vibrato, don't mix it with changing handles. You have to practice one by one, and after each item is passed, you can practice comprehensively.