What are the basic skills of erhu solo?

Erhu, as an expressive musical instrument, has a variety of playing forms, such as solo, ensemble and unison. There is not much difference in the main application methods of different forms of expression, but the saturation of personal emotions is different. Relatively speaking, erhu solo can better show one's playing style or skill. There are many techniques of erhu solo, including long bow, split bow, continuous bow, fast bow and so on, as well as sliding, decorative sound, vibrato, plucking strings and so on. Let's look at the technique of erhu solo. 1. Is erhu suitable for solo or ensemble?

Erhu, also known as Huqin, is a stringed instrument with national characteristics. It has a strong expressive force in natural timbre and playing skills. It has the reputation of "Oriental Violin", and its playing forms are diversified, including solo, ensemble, ensemble and so on. So is erhu suitable for solo?

There is not much difference between erhu ensemble and solo, but the saturation of personal feelings is different. However, in erhu ensemble and solo, there are some differences in the application of various skill forms. Players need to flexibly adjust their playing skills according to specific situations to enhance the overall deductive effect.

Both erhu solo and ensemble have many classic tracks. Relatively speaking, erhu solo can better show a person's playing style or skill.

2. What are the basic skills of erhu solo?

Erhu has a beautiful tone and can be played alone. But erhu solo needs the skill of the performer. There are many playing techniques of erhu, which can be roughly divided into left-handed techniques and right-handed techniques, namely fingering and bowing. The following are the techniques of erhu:

1, longbow

When pulling the bow, the right wrist should protrude slightly outward, showing an "extended state", and pull it to the right with the wrist as the starting point. When pulling the bow, the right arm should not move to the right and rear, so that the bow is pulled into an arc. When pushing the bow, take the recovery of the big arm as the starting point to drive the small arm to push to the left. At this time, the wrist should be in the "flexion state". When the big arm is finished, the small arm continues to push to the left; After the forearm is closed, the hand should push the bow a few centimeters, so that the wrist can be converted to the "intermediate state" again, so as to start the next bow pulling action.

2. Change the string

String changing is divided into slow (including medium speed) and fast string changing. When changing strings slowly, try to give priority to the movements of the middle finger and ring finger of the right hand, supplemented by the movements of the arms. In the process of changing strings, bow hair is usually required to "lean" on the strings instead of "bump" on them. In addition, attention should be paid to maintaining the balance of the running speed of the bow, and the bow speed should not be changed suddenly because of changing strings. When changing strings quickly, finger movements are driven by other parts of the right hand. Pulling the inner string first and then pushing the outer string is called forward string changing, and the finger movement is driven by the wrist. The fast string changing of pulling the outer string first and then pushing the inner string is called reverse string changing, and the bow changing action is driven by the arm.

Step 3 split the bow

Playing quarter notes or eighth notes in each bow at a medium speed, usually in the middle bow. The combination of sub-bows is ever-changing. The duration of pulling and pushing the bow is often different, and the length of lifting the bow is bound to be different, but the pronunciation is required to be consistent, which requires adjusting the "pressure ratio" of the bow and chord.

4, even the bow

The bow method of playing two or more notes with a bow is called Lian Gong, and the combination of Lian Gong is ever-changing, and the duration of each note in Lian Gong is often different, coupled with the change of strength, etc., which makes the performance of Lian Gong very complicated. The technique of connecting bows should pay attention to the reasonable distribution of bow segments, the transmission of bows should be soft and uniform, and the traces should be minimized when changing bows.

Step 5 bow quickly

When playing the fast bow, the hands and elbows should swing evenly in opposite directions at the same time. In practice, the wrist only plays the role of adjusting strength, so that the action of fast bow will not be stiff. Therefore, we should neither be nervous nor too relaxed. When changing the fast bow, the bow hair should also be close to the strings, and each bow should have a "honk" sound head, so that the fast bow can have particles.

6, quiver bow

Put the "axis" of the action in the middle of the forearm, so that the elbow and wrist become the two ends of balance; With the slight tension and trembling of the big arm, the elbow is shaken, and the wrist and fingers naturally drive the bow to move quickly left and right through the action of the "axis". It is very important to play the quiver bow well, that is, the arm should be slightly tense to support the forearm, and the parts below the forearm should be relatively relaxed, so as to tighten (referring to the arm) and relax (referring to the forearm, wrist and fingers).

7. Bow

When pulling the bow, the right hand turns slightly and agilely to the left (the direction of loosening the screw), so that the thumb will exert a force on the bow rod, and at the same time, the middle finger will push the bow rod outward, so that the bow hair will stick to the outer string and make a sound in coordination with the short pulling and short pushing of the bow; When making a sound, the bow should stop moving immediately, and the right hand should be relaxed, so that the bow hair floats on the string (does not leave the string), and the sound stops abruptly, completing a bow bending action of the outer string.

8. Throw a bow

Bow throwing generally consists of two parts in the style of play. Part of it is a short jump, which can be started by pulling or pushing the bow. After the sound is made, turn your arm to the right and lift your bow. The second part is that when the bow falls on the barrel, the thumb and forefinger of the right hand are slightly relaxed, and the middle finger and the ring finger press down on the bow hair to prevent the bow from jumping up, and at the same time, with the bow action opposite to some parts, the blocked bow can quickly jump out under the rebound of the chords of the barrel.

9.change the handle

The movement from one position to another is called changing the handle. When changing the handle from low position to high position, the arm should be the first moving point to move down. When changing the handle from the high handle position to the low handle position, the wrist should be the first moving point to move upward. When changing the handle at medium or slow speed, the arm or wrist should move first to ensure the consistency of changing the handle; When changing the handle quickly, the arms, wrists and hands should move as a whole, and the movements should be agile and decisive.

10, kneading strings

The method of generating sound waves by using the continuous change of chord length or tension is usually rolling. By swinging the palm up and down, the first joint of the finger is driven to flex and extend, so that the fingertip can roll evenly in phoneme, thus changing the chord length to generate sound waves.

1 1, slip

There are many kinds of gliding. The glide from the bass to the original sound is called the upper glide, and the glide from the treble to the original sound is called the glide. The sliding sound played by three-finger joint movement is called pad finger sliding sound, and the sliding sound from the original sound to the bass sound and back to the original sound is called back sliding sound. When playing, the left hand is responsible for the speed of sliding, and the right hand is responsible for the depth of sliding.

12, decorative sound

There are many kinds of decorative sounds, including all kinds of leaning and falling. Playing against the sound generally requires playing lightly and flexibly. In action, the fingers of the left hand should quickly lift their fingers and hit the strings under the movement of the metacarpophalangeal joints, and then bounce off quickly after touching the strings, so as to avoid the clumsiness of playing because of the excessive movement of the palm. Yi is also called monosyllabic, which is a kind of disyllabic, because it plays the upper sound of this sound to decorate the sound head.

13, Tik Tok

While playing the local sound, you can tap the second or third sound above the local sound continuously and quickly with your fingers to make a sound similar to a tattoo tongue. The actual effect is that the local sound and the upper sound of the thirty-two tones are repeated alternately. In terms of playing techniques, vibrato can be divided into two action processes: lifting the finger and striking the string by pressing the finger: the finger pressed locally should be kept on the string, and the vibrato finger naturally bends, so that the finger can be lifted by the movement of the metacarpophalangeal joint of the left hand, and then the string can be struck flexibly; Then, using the rebound force of the strings to the fingers, the fingers bounce off the strings and then hit the strings, so quickly reciprocating is the whole process of vibrato performance.

14, overtone

The overtones of erhu can be divided into natural overtones and artificial overtones. Natural overtone is the overtone played by taking the whole string length from 1000 pounds to the piano code and taking one of the scores; Artificial overtone refers to the overtone played by pressing a phoneme with one finger and then touching the overtone point with four fingers, that is, taking the phoneme pressed by one finger on the piano code as a complete chord length and taking a quarter or a third of its segment. When playing overtones, you should be accurate in pitch, loose in string and fast in bow speed.

15, pluck the strings.

The plucking methods of erhu are divided into left-handed plucking, right-handed plucking and right-handed plucking, and plucking with the finger surface of the left hand is called plucking. The left hand plucks the string outward with the nail, which is called playing the string; The right-hand plucking is usually plucking the inner string. The method is: the bow is separated from the hand, the bow rod is placed on the right leg, and the bow hair naturally leans on the outer string. At the position one-third below the weight of the piano, pluck the strings to the left with the finger surface of the index finger or middle finger of the right hand, and at the same time press the strings with the left hand to pluck out the tune.