Jiang Fengzhi is China's famous what performer its representative works for the Han Palace Autumn Moon

Jiang Fengzhi is a famous erhu player in China, whose representative work is Autumn Moon in the Han Palace.

Jiang Fengzhi's playing style is elegant, profound, delicate and full of variations, and his erhu compositions can make people feel the harmony of sound and rhythm, and the expression of the real and the imaginary, which is emphasized in the creation of Chinese music art.

Jiang Fengzhi's Life: Jiang Fengzhi (April 27, 1908-January 26, 1986), born in Yixing, Jiangsu Province, was a Chinese erhu player and the former vice president of the China Conservatory of Music.

Between 1915 and 1923, he learned to play the bamboo flute and erhu from village helpers while studying in his hometown.

In September 1923, he was admitted to the Suzhou Agricultural School, where he participated in the student-organized "Tonglehui", playing Jiangnan silk and bamboo flutes and folk tunes.

In 1924, he became acquainted with Chu Shizhu, a student of Liu Tianhua, and was given the sheet music for the two pieces "Chanting in Sickness" and "Moonlit Night".

In August 1927, he was admitted to the Music Department of the Shanghai University of Fine Arts; in November, he was admitted to the National Conservatory of Music, where he became the first student, majoring in pipa, studying under the pipa player Zhu Nyi Nyi of the Pinghu School, with a minor in piano, and also studying erhu from Liu Tianhua's pupil Wu Bochao.

In September 1929, he was admitted to the Department of Music of the Peking Academy of Fine Arts, where he majored in violin, with an additional major in erhu, under Liu Tianhua. Pipa and Piano In April 1930, at the fourth recital held at the College of Fine Arts of the National University of Beiping, four programs were performed, one for piano, one for violin and one for erhu.

In 1931, upon Liu Tianhua's recommendation, she taught erhu as a tutor of national music at the Women's College of Arts and Sciences of Beiping University; in the same year, she participated in the fund-raising concert for the September 18th Incident.

July 1933, graduated from the Department of Music, College of Fine Arts, Beiping University; in the same year, cooperated with Ding Dang to hold a concert in Japan to introduce the art of erhu; in August, cooperated with Zhou Shaomei to hold a concert of guoqi music; in September, formally went to teach at the Women's College of Arts and Sciences in Beijing; in November, recorded "Autumn Moon of the Han Palace" at the Baidai Records Company.

In March 1934, she gave a solo Chinese music concert in Qingdao; in September, she gave solo concerts at Tsinghua University and Nankai University.

In May 1935, he performed in Liu Tianhua's posthumous recital; in June, he gave a solo recital in Beijing; in August, he was appointed as an associate professor at the Jinghua Academy of Fine Arts.

In January 1936, he composed the erhu solo piece "Long Night".

In August 1937, she was appointed professor at the Beijing Women's College of Arts and Sciences and the Jinghua Academy of Fine Arts; in the same year, she opened erhu classes at Yanjing University and Tsinghua University.

In April 1938, she was appointed professor at the Beijing Women's Higher Normal School.

In 1945, she organized a folk music workshop with Guan Pinghu and Wang Junjin at the National Palace of Justice; in the same year, she performed in a concert celebrating the victory over the Japanese invasion of China at the Yas Auditorium in Beijing.

In April 1946, he taught at the music department of the United University of China in Zhangjiakou, a liberated area; in the same year, he organized a concert with Guan Pinghu, a guqin player, and Zhou Xiwen, a guzheng player, at the Youth Auditorium in Beijing; in September, he taught at the National College of Fine Arts in Beiping.

In 1948, he taught at the Hebei Normal College in Tianjin.

In 1949, he was invited by Zhou Enlai to gather with celebrities from all walks of life at the Beijing Hotel; in the same year, he participated in the First Congress of Literature and Art? .

1950, taught at the Central Conservatory of Music, while teaching at the Music Department of the Beijing Art Teacher Training College; in the same year, recorded "Han Palace Autumn Moon" and "Good Night", which was the first erhu record published after the founding of the country .

In September 1953, she performed at the Second National Congress of Literary and Art Circles.

In June 1954, the Chinese Musicians Association held a solo concert of Jiang Fengzhi, Zhou Guangren, Zhang Quan, and Lou Qiangui. In the same year, he participated in a tour of Chinese folk and classical music organized by the Ministry of Culture, which toured Shanghai, Nanjing, Guangzhou, Wuhan, Xi'an, Shenyang, Beijing, and other places.

In 1955, he wrote "Diffuse Erhu" for a special program on folk music organized by the Central People's Broadcasting Station, which was later edited into a book. During the recording period of the program, the radio station recorded "Chanting in the Sickness", "Chanting in a Leisurely Place", "Bird's Voice on the Empty Mountain", "Four Harmonies of Ruyi", "High Mountains and Flowing Water", "Plum Blossoms", etc., which was published by China Record Society and released on the record "Empty Mountain". In the same year, he took part in a national folk music tour and his performance of "Autumn Moon in the Han Palace" was well received.

1956, participated in the first national music week performance; the same year, the Central People's Broadcasting Station recorded "Moonlit Night", "Three Treasure Buddhas", "Smoke Wind Song"; the same year, was named second-class professor of higher education.

In 1957, he was transferred to teach in the Music Department of Beijing Art Teachers College; in the same year, he participated in the performance commemorating the 25th anniversary of Liu Tianhua's death; in the same year, he took part in the preparation and publication of Lectures on Ethnic Instrumental Music.

In 1958, he published Eight Songs of Jiang Fengzhi's Erhu.

In 1959, he recorded "Autumn Moon in the Han Palace", "Jade Hairpin Flower" and "Smokey Wind Song" in the Central People's Broadcasting Station.

In 1960, she attended the performance of entertaining the Queen of Belgium; in the same year, she recorded "Lamentation", "Gulls and Herons Forgetting Their Planes" and "Joy in Bitterness" at the Central People's Radio Station.

In 1962, she took part in a performance organized by the Chinese People's Political Consultative Conference (CPPCC) in Taiwan; in the same year, she was invited to perform in Huairen Hall in Zhongnanhai.

In May 1963, she was a member of the jury of the Fourth Shanghai Spring Erhu Competition.

In September 1964, the China Conservatory of Music was founded, and Jiang Fengzhi became the head of the instrumental music department.

In May 1977, he participated in the Concert for the 35th Anniversary of Chairman Mao's Speech at the Yan'an Literary and Artistic Symposium, playing "The Moon Reflecting in the Two Springs".

In October 1978, he went to Shenyang to give lectures and performances; in November, he went to Xi'an to give lectures and performances; in the same year, he recorded "Flowing Waves" on the Central People's Broadcasting Station.

In August 1979, he went to Xining to give lectures and performances, and recorded in Xining People's Broadcasting Station "Good Night", "Music of Two Springs", "Smoky Wind", "Autumn Moon in the Han Palace", "Joy of Flower", "Flowing Waves"; in the same year, he exchanged performances with the visiting American violinist Yehudi Menuhin.

In 1980, he went to Wuhan to give lectures and performances.

In 1981, he was appointed vice president of the China Conservatory of Music.

In June 1982, he was appointed as the consultant of Beijing Erhu Research Association; in October, the Central People's Broadcasting Station broadcasted the radio concert of Jiang Fengzhi's teachers and students .

In March 1984, he went to Jiangxi to give lectures and make radio recordings.

November 1985, attended the opening ceremony of Beijing Erhu Invitational Competition.

January 26, 1986, died of illness at the age of seventy-eight.

Introduction of "Autumn Moon in the Han Palace": "Autumn Moon in the Han Palace" is one of the famous ten ancient compositions, but the history of the music is not long. Originally a pipa piece of the Chongming School, the theme of the piece to be expressed is not very specific. Many articles on this piece have vaguely stated that the piece aims to evoke sympathy for the plight of oppressed courtesans, and that it has a deep artistic impact. According to some articles, the song meticulously portrays the palace maiden facing the bright moon on an autumn night, with infinite inner melancholy, revealing a strong desire for love.

The Han Palace Autumn Moon is likely to have a certain relationship with the Han Palace Autumn. And "Han Palace Autumn" is a Yuan dynasty end of the miscellaneous plays, the author is Ma Zhiyuan. It tells the story of Wang Zhaojun, who went out of the city to make peace with her parents. At the beginning of the Han Dynasty, most of the founding fathers were of humble origins, and most of the concubines and court ladies were also of humble origins. Based on this tradition, there was no insurmountable gap between courtesans and concubines in the Han Dynasty. As a result, every courtesan dreamed of being favored by the emperor one day. However, Wang Zhaojun lived in the palace for several years, but she never even saw the emperor's shadow. Ge Hong's Miscellaneous Records of the Western Capital tells a story that has been widely circulated in later times. Mao Yanshou, a court painter, failed to ask Wang Zhaojun for a bribe, so he dotted a mole on Wang Zhaojun's portrait, making her look rather ordinary. Since there were too many courtesans, Emperor Yuan of Han Dynasty only chose the courtesans by the portraits presented by the painters. As a result, Wang Zhaojun, who originally possessed amazing beauty, was drowned in a large number of courtesans. This is a wild history, not trustworthy. According to the Book of the Later Han Dynasty - South Xiongnu Biography: "Zhaojun's word is female court lady, a native of Nanxian County. At the beginning, when Emperor Yuan was in power, she was chosen to be a courtesan. At that time, Hohanxie came to the court, and the emperor gave five court ladies to her. Zhaojun had been in the palace for several years, but she was not allowed to see the emperor, so she accumulated grief and resentment, and asked the emperor to ask the court for permission to visit her. Hohan Xie pro resignation conference, the emperor called five women to show, Zhaojun beautiful decoration, bright Han Palace, Gu Jing Fei back, horrified move around. The emperor saw great surprise, intended to stay, but difficult to lose faith, so with the Xiong Nu." From the above text can be seen, the reason why Wang Zhaojun voluntarily married Xiong Nu, is due to "Zhaojun into the palace for several years, not to see the emperor, accumulation of sadness and resentment". Instead of living a cold and lonely life in the palace and letting her youthful years grow old year after year, she would rather go to a foreign land. Therefore, when she heard that Hohanxie Monarch of the South Huns, a vassal of the Han Dynasty, had come to Chang'an for an audience with the Emperor and asked to be his son-in-law, Wang Zhaojun decisively put herself forward for the job. However, while life in the palace was lonely and peaceful, the Xiongnu lived in the steppe and desert, and no one knew what the future would bring. Li Bai has a poem: "The moon in the Qin land of the Han family, streaming shadows illuminate the princess; once on the Jade Pass Road, the end of the world to go without returning." Du Fu obviously sympathized with Wang Zhaojun, and he wrote the poem "A thousand years of pipa as the language of Hu, clear resentment in the song." He wrote a poem about Wang Zhaojun. As a politician, Wang Anshi looked at this issue from another angle, he thought that Zhaojun out of the plug is not a bad thing, wrote a poem, "Han's grace from shallow Hu from deep, life is happy in the heart of the acquaintance". Whether or not Wang Zhaojun was filled with sadness and resentment when she left the blockade is unknown to posterity. In any case, it was not an easy choice for her. Although it was a political marriage, Wang Zhaojun's thoughts may not have been complicated, and she did not intend to "unite the Han and Xiong ethnic groups in friendship for generations to come". This is clearly an ideological interpretation of history. Later, Zhaojun gave birth to two sons in Xiong Nu. After the death of Hohanxie Monarch, his son succeeded to the throne and wanted to marry Zhaojun. It was a Hu custom that a son could marry his stepmother after the death of his father, and a brother could marry his sister-in-law after the death of his brother, which was a natural thing to do in Xiongnu. However, Zhaojun found it difficult to accept, so she wrote to Emperor Cheng of Han to ask for her return, and Emperor Cheng ordered her not to respect Han customs from Hu customs, and Zhaojun had to obey later. Tang dynasty Wu Jing in the "music of the ancient title to explain", but said, Zhaojun vowed not to marry to the son of the Hohanxie monarch, so, "Zhaojun is swallowed medicine and died. Is it possible that the historical "Zhaojun's grudge" originated from this kind of rumor? The complaint of courtesans is a traditional topic. There are a lot of themes about the complaints of courtesans in Han music, such as "Jade Steps Complaints", "Zhaojun's Complaints", "Zhaojun's Sorrows", etc. Later on, there were even special songs about the harem. Later on, there was even a special poem about the harem, called Gongyi (宫词). In the Tang Dynasty, Zhang Hu wrote a five-character stanza called "Palace Lyrics", which reads: "The old country is three thousand miles away, and the deep palace has been inhabited for twenty years. A voice of He Manzi, two tears fall in front of the king." It is a masterpiece that describes the palace maid, writing out her deep resentment that is hard to get rid of. Tang Dynasty poet Wang Jian, the Five Dynasties, Mrs. Hua Rui of the later Shu have done "Palace Lyrics" hundred. The courtesans lived in the palace and were not allowed to be free, so they naturally felt resentment over a long period of time. On the other hand, Zou Yang, a Western Han Dynasty rhetorician, lamented in his "Book of the King of Liang in Prison" that "there is no beauty or evil in a woman, and she is jealous of the palace." Three thousand concubines and courtesans, all day long to think of things is to the emperor to compete for favor, how can not be jealous. However, the "Han Palace Autumn Moon" in the grudges is not a small family style, weak girl's grudges. Han Dynasty palace e fit, can accompany the emperor horseback riding, hunting, palace activities are also less restricted than the later generations of the imperial palace. Thus, they are complaining about it, itself is not boring and weak. Han Dynasty courtesans also have no complaints. There is an interesting folklore, about the Han dynasty, there is a courtesan named yuan yao, do a good handful of dumplings. She missed her parents and sisters at home every day. Her sincerity moved the emperor, and every year on the 15th day of the first month, Emperor Wu of the Han Dynasty authorized every household to make soup dumplings and light lanterns, and allowed the maiden to go out of the palace to have fun with the people. On that day, Yuanxiao wrote the word "Yuanxiao" on her own lantern, and took the dumplings she made out of the palace to reunite with her family. Putting aside the ghosts of distant times, listening to the "Autumn Moon in the Han Palace" and savoring the fifteenth Lantern Festival, would it not be a pleasure?

Erhu's introduction: Erhu (Pinyin: Erhu) Beginning in the Tang Dynasty, it was called "Xi Qin" and has a history of more than a thousand years. It is a traditional Chinese stringed instrument. Erhu, or two-stringed huqin, also known as "Nanhu" and "Buzz", Erhu is one of the main bowed instruments (stringed instruments) in the family of Chinese musical instruments. Famous Erhu songs include "Two Fountains Reflecting the Moon", "Good Night", "Listening to the Pines", and "Racing Horses".

Erhu's origin and development:

1. Origin.

The erhu began in the Tang Dynasty and has a history of more than a thousand years. It first originated from a minority group in the northern region of China in ancient times, and was called "Xiqin" at that time. Song Dynasty scholar Chen Yang recorded in the Book of Music that "the Xiqin is a hu music also ......", and the Tang Dynasty poet Cen Sen wrote that "the Chinese army set up wine to drink for the returning guests. The poem "Huqin, Pipa and Qiang flute" shows that the huqin had already started to circulate in the Tang Dynasty, and it is a general term for both Western and Chinese stringed and plucked instruments.

To the Song Dynasty, and the huqin named "jiqin". The end of the Song dynasty scholars Chen Yuanliang in the "matter Lin Guangji" in this way: JI Qin this Jikang system, so the name "JI Qin". Song dynasty scholar Shen Kuo in the "complementary talk - music law" recorded: "xining in the palace banquet, the workshop actor Xu Yan play JIqin, square into the wine and a string off, diffraction is not easy piano, only a string end of its song." That in the Northern Song Dynasty has a very high level of performance. Xu Yan for the emperor's ministers to play "jiqin", broke a string, still use another string to play the song. No skillful technique is not done. Later Shen Kuo in the "Dream Streams" and recorded "Horsetail Huqin with the Han East, the sound of the song is still complaining about Shan Yu. Bow do not shoot to go in the geese, the return of geese now do not send out." It shows that in the Northern Song Dynasty, there was already a horse-tailed huqin.

The Yuan Dynasty "Yuan Shi - Rituals and Music Zhi" contained "Huqin system such as the fire does not think, roll Gu dragon head, two strings with a bow twisted, the bow of the strings to the horse's tail," further elaborated on the principle of the production of the huqin. By the Ming and Qing Dynasties, the huqin had spread to the north and south of the Yangtze River, becoming the main instrument for folk opera accompaniment and instrumental ensembles.

In modern times, the huqin was renamed the erhu. For more than half a century, the level of erhu playing has entered a period of prosperity. Mr. Liu Tianhua, the originator of the modern school, drew on the techniques and skills of Western instruments, boldly and scientifically positioned the erhu in five positions, and invented the erhu vibrato, thus expanding the erhu's range, enriching its expressive power, and establishing a new artistic connotation. As a result, the erhu emerged from folk accompaniment to become a unique solo instrument, and laid the foundation for later entering the grand hall of music and music colleges.

After the founding of New China, the development of national and folk music was rapid, and in order to vigorously explore the artistic treasures of folk artists, the erhu music of Huayanjun, Liu Beimao, and other folk artists was compiled and turned into recordings, so that the art of erhu playing developed rapidly as a result of the rain. In the 1950s and 1960s, a group of erhu educators and performers such as Zhang Rui, Zhang Shao and Wang B emerged, and under their influence, new erhu performers such as Min Huifen and Wang Guotong were trained. Such as erhu composer Liu Wenjin's "The Great Wall Random Song" and other erhu performance over the top, and deliberately innovative, so that the erhu new vitality and color.

2. Development.

According to the information provided by the Three Hundred Questions on Chinese Cultural History, the Song Dynasty was the second stage of the development of the fusion of foreign musical instruments with the culture of the Central Plains. Song, Yuan, Ming and Qing dynasties, with the development of opera, opera, folk musical instruments with the "Hook Lan" "Tile House" and the rise of the development of their own musical instruments. One of the most important instruments is the origin of Mongolia, the western region of the horse tail huqin (also known as the two-stringed zither), left behind by the previous dynasty with the jiqin, rolling zheng fusion, the creation of a novel huqin. This instrument fully marks the maturity of Chinese bowed string instruments. Later, due to the needs of local opera singing styles, the huqin gradually differentiated, appearing with the Qinqiang, Yu opera needs of the Banhu, Peking Opera, Han Opera needs of the Peking Hu, Peking Erhu, Henan Luzhi needs of the Panghu, Guangdong Cantonese Opera needs of the Gaohu, Teochew Opera needs of the Coconut Hu, Hunan Flower Drums with the Daqi, Mongolia Rap with the Sihu, Sichuan Opera with the Gai Panzi, Henan Yue with the Sihu, Fujian Putian Opera with the pillow qin, Dong Opera with the ox-legged qin, Zhuang Opera with the ox-legged qin, and the Sheng Opera with the ox-legged qin. The erhu is a bowed string instrument used in Mongolian rap, Sihu for Sichuan opera, Gepan for Henan Yuezhong, Pillow piano for Fujian Putian opera, Niuzhu for Dong opera, Horse bone piano for Zhuang opera, Erhu for Jin opera, etc. Therefore, the erhu is actually one of these many bowed string instruments, and its name is much later than that of the huqin. Therefore, it is inaccurate to say that the erhu began in the Tang Dynasty, and it should be said that the huqin began in the Tang Dynasty.

Erhu structure:

1, the barrel. The barrel is an important part of the erhu, which through the bow of the push and pull movement, rubbing the strings after vibration of the skin pronunciation of the **** sound body. The texture and shape of the barrel has a direct impact on the volume and sound quality. Generally made of rosewood or mahogany. Shape has hexagonal, octagonal, round, front octagonal after round, etc., commonly used is hexagonal. Behind the barrel is inlaid with a sound window (generally carved wood flower window), which not only plays a decorative role for the barrel, but also has certain benefits for pronunciation, sound transmission and sound filtering. The barrel is the erhu *** sounding tube, generally made of ebony, mahogany (rosewood is rare), there are also made of rosewood or bamboo, the seventies and began to use low-foam (ABS) material molding. Its shape is mainly hexagonal, 13 centimeters long, the diameter of the front mouth (to the side) 8.8 centimeters. In some areas, they are round or octagonal. Cylinder waist is slightly thin, the back of the cylinder open mouth or device open with a variety of styles of holes in the sound window. The barrel plays a role in expanding and rendering the vibration of the strings.

2, the skin. The barrel of the front mouth python skin, called the skin, also known as the membrane, it is an important device for the sound of the erhu. Generally python skin, snake skin is the lowest level of erhu skin. Snake skin scale pattern is fine, grain arrangement rules, and rich toughness, but the texture is thin. The sound quality is easily affected by climate, room temperature and other factors. Python skin scale pattern thick and flat, color contrast coordination, thickness and elasticity, not easy to be moth-eaten, pronunciation **** sound better. Python skin and the anal area of the most ideal place, this place of python skin adaptability, pronunciation of thick round, and stable performance. Newly purchased erhu whether snake skin or python skin, pronunciation is often empty and sand, and hold the upper and lower ends of the volume disparity is large. This is the reason that the vibration of the skin is not coordinated enough, and after a period of playing, the vibration of the skin may gradually become normal. It is an important articulating body of the erhu, and also the key to the vibration source, which has a direct impact on the sound quality and volume. The larger the scales of the python skin, the better the tone.

3. Stem. The pole is the pillar of the erhu, and also the trunk. It not only plays a supporting role for the upper and lower joints, but also has a certain influence on the overall vibration and pronunciation. Some of the materials used in the production of the instrument pole are sandalwood (fewer in number), ebony or mahogany. Ebony is generally used more. Ebony is inexpensive and has a certain degree of tensile strength. It is an important pillar to support the strings for stringing operation. The total length is 81 centimeters, and the diameter is about 0.55 inches (1.83 centimeters). The top is the headstock, the upper part is equipped with two string shafts, and the lower end is inserted into the barrel. The headstock is in the shape of a curved neck, and is also carved into a dragon's head or other shapes. Measuring the purity of an erhu's pronunciation has a lot to do with the choice of material for the instrument's shaft, which is usually regarded as mahogany, ebony is also good, and other woods are inferior. In addition to carefully identifying the material used to make the instrument pole, you should also take into account the compact texture, fine and uniform wood rays, no knots, no scars, no obvious cracks, and a certain degree of brightness.

4, the shaft. The piano shaft **** there are two up and down (also known as the piano square), the role of adjusting the pitch, the upper axis binding strings, the lower axis binding strings. There are two types of shafts: wooden shafts and mechanical shafts, each with its own advantages and disadvantages. The wooden shaft is stable after tuning and not easy to run the strings out of tune, but it is difficult to tune the strings because it is sometimes tight and sometimes loose. Mechanical shaft tuning fast and free, pitch is also good, if the production quality is not completely over the top, from time to time there will be loose, sliding and other phenomena, which can easily lead to run the string out of tune.

5, strings. Strings are one of the articulating bodies of the instrument, and also one of the sound sources of the erhu. The quality of the strings has a direct impact on the articulation effect. There are two kinds of strings: one is metal strings, with good tension, good sound quality, good pitch and high sensitivity, and aluminum strings and silver strings, silver strings are the best; the other is silk strings, which emit a softer and more delicate sound than metal strings, but with poor bit force, poor pitch and easy to break the strings, and prone to change the tone. Mostly metal strings are used.

6, bow. Bow (commonly known as the bow) by the bow and bow hair composition, a good bow first of all to long and straight; Secondly, the bow hair to white horsetail hair for the best, and bow hair to more and Qi, and the fish tail connection binding to be firm; Finally, pay attention to the bow rod of the section should be less and small, moderate thickness. Total length 76~85 centimeters, the bow rod is the support of the bow hair bracket, the length of 2.4 feet (80 centimeters), made of river reed bamboo (also known as young bamboo), the ends baked out of the curve, tied on the ponytail, the thick end of the bamboo in the end of the bow, ponytail clamped between the two strings, used to friction strings to pronounce the sound. The hair of the bow is mostly made of horsetail, but it is also imitated with nylon wire. Some simple erhu uses nylon thread instead of bow hair, which has poor acoustic effect. To measure the durability of the bow hairs, it is important to see whether the hairs are neatly arranged, uniform in length, and even in thickness. Good bow hair requires no broken head, no fiber, no fluffy tangled.

7, jack. The jack is also known as a thousand gold, the erhu strings play a fixed and cut string role. It also has a certain effect on the pitch. It is made of cotton thread, silk thread, plexiglass, plastic and other materials. Its form is varied, there are fixed jacks, wire winding jacks, metal jacks and so on. The more commonly used is the wire-wound jack.

8, the code. The code is the vibration between the strings and the skin of the medium body, has an important role in pronunciation. It uses materials such as wood, bamboo, metal and paper, etc. The commonly used ones are wood pine code and maple code. Wooden pine code is soft, pronounced round, simple and thick, maple code soft and hard moderate, pronounced soft, less noise. Although the code is small, it is the pivot that connects the strings to the piano skin. Its role is to conduct the vibration of the strings to the python skin. Therefore, the choice of material, shape and placement on the skin greatly affects the sound quality of the erhu. In order to seek to improve the sound of the erhu, the pronunciation of hoarse erhu using paper code (i.e., with kraft paper or other hard paper rolled into a strict Jane), the sound should appear soft some: dull pronunciation of the erhu to use bamboo code, can make the sound become louder, suitable for playing lively and brisk tunes, pronunciation of monotonous erhu metal spring code, can make the pronunciation of the pronunciation of a more **** Ming.

9, the piano bracket. The butt of the piano is the bottom of the body, plays a decorative, stabilizing role of the body. Some Erhu also has an adjustable bottom bracket, adjusted with a nylon buckle, more convenient to play.

10, the sound pad. The most widely used is sponge and tweed, the best effect is the natural suede, can not underestimate it, it has the ability to quickly change the tone: it is close to the code, the tone is very wet, at the same time, to lose some of the volume; away from the code, the tone will become the account of the bright, to be adjusted according to the needs of the tune.