Beginner Erhu

Beginning Erhu

Beginning Erhu, Erhu is a traditional musical instrument, in our life in fact, many people have the idea of learning a musical instrument, for different kinds of musical instruments days to learn the method there is a big difference, the following to understand the Beginning Erhu beginner.

Beginning Erhu 1

The most important skill is to practice, Erhu is a stringed instrument, the sound of the hair is through the left hand by the strings, the right hand bow caused by the vibration of the piano skin occurs, and keyboard instruments, guitar, guzheng and other musical instruments are not the same, these instruments, each key or product corresponds to a standard sound, as long as the rhythm is well mastered, then play out the notes is right.

The erhu is not the same, there is no key or product, the correctness of the notes is completely related to the person who plays the instrument, first of all, you have to practice the ear sound, I generally recommend that friends who are learning the erhu, listen to the sound of the piano or the electronic piano, which is a very big benefit to the erhu learning!

Erhu learning is generally from the most basic knowledge of the spectrum to start, learning erhu knowledge of the spectrum is also very important, mainly simple knowledge of the spectrum, reading the spectrum, singing the spectrum, notation of the process, there is no particularly fast way, is to spend a lot of time to practice!

Secondly, after learning how to read music, we can start to learn the basics of the erhu, such as pushing the bow, pulling the bow and trembling the bow, and the bowing techniques, such as the upper glissando, the lower glissando, and the pad finger glissando, and other fingering techniques. At this time, you can't be in a hurry and learn to play a tune without practicing the professional practice pieces. This is not a good idea, you can't rush things, and it will be smoother if you build a good foundation!

The last thing you need to do is to learn how to play each piece, when to add ornamentation, when to use the beat, etc.

The first thing you need to do is to learn how to play each piece, when to add ornamentation.

The learning of erhu is a step-by-step process, and it's definitely not a good idea to rush through it, you must practice one step at a time, so that you can make progress.

Erhu Playing Introductory Skills

1, the center line of the body left oblique, so that the center of gravity fell to the left side of the body.

2. Sit with your back straight, one-third of the way up on the stool

Holding the bow (the wrong way to hold the bow)

1. Holding the bow too close to the head of the bow or too close to the center bow.

2. The bow is too deep into the bottom of the tiger's mouth, so that the bow is pinched in the tiger's mouth and cannot move flexibly.

3. When holding the bow, the fingers are too "drooping" downwards, so that the bow bar is tightly pressed against the barrel of the instrument, and the bow hairs are shifted upwards away from the barrel of the instrument.

4. When playing the outer strings, the middle finger and ring finger are taken out from between the shaft and the bow hair, and put back in when playing the inner strings.

5. Incorrect thumb position when holding the bow.

6. Holding the bow with the middle finger too far in between the shaft and the bow hair, making it hard to use both inside and outside.

7, holding the bow is too tight, resulting in the root of the index finger, the inner side of the first joint of the thumb, as well as the outer side of the first joint of the middle finger rubbed a thick callus, which some people mistakenly think that this is "kung fu", but in fact it is the wrong way to hold the bow.

8, pull the erhu, the bow can not be upward cocked, which will lead to bad tone.

1. The barrel of the instrument is wrongly placed in the middle of the left leg instead of at the root of the left leg against the belly.

2. The bar is too far to the left or right; too far forward or inward.

3, the first handle position when the left hand tiger's mouth is too far from the jack.

4. The left arm lacks proper support and hangs on the bar by the tiger's mouth.

5. The thumb bends down to hook the bar.

6. Holding the instrument with the palm of the left hand close to the bar, and fingers "lying" down on the strings.

7. Finger joints are overly bent, with the tips of the fingers (or even fingernails) touching the strings.

8. Finger joints are bent backwards, especially the first joints of the middle finger, ring finger, and little finger.

9. The fingers (especially the ring finger and little finger) press the strings not from the front side of the strings (from the strings toward the bar), but from the outside of the strings (from the strings toward the body), so that only the outer strings are pressed, while the inner strings are in the state of false pressing, which often results in a wolf sound.

10, always let the finger "hanging" in the upper part of the pitch, can not relax.

11, when a finger is pressed on the string, the finger below it is curled up in the palm.

12. Holding the instrument with the big arm too high, leaving the left arm in a tense and unnatural state.

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 then called "Xiqin". Song Dynasty scholar Chen Yang recorded in the Book of Music that "the Xiqin is also a hu music ......", and 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 begun to circulate in the Tang Dynasty, and it is a general term for both Western and Chinese stringed and plucked instruments.

By the Song Dynasty, the huqin was named "Jqin". Chen Yuanliang, a scholar at the end of the Song Dynasty, recorded in "Things Forest": JI Qin made by JI Kang, so the name "JI Qin".

Song dynasty scholar Shen Kuo in the "Supplementary talk - music law" recorded: "Xining, Palace Banquet, the workshop actor Xu Yan play JIqin, square into the wine and a string off, diffraction is not easy to the piano, only a string end of its song." That in the Northern Song Dynasty has a high level of performance.

Xu Yan for the emperor's ministers to play the "JI Qin", broken a string, and still use another string to play the song. There is no skillful technique can not be done. Later Shen Kuo in the "Dream Stream Brush Tales" 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." That in the Northern Song Dynasty there has been a horse-tailed huqin.

The Yuan Dynasty, "Yuan Shi - Rituals and Music Zhi" contained "Huqin system such as the fire does not think, rolled Gu dragon's head, the 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, and began to become the main instrument of folk opera accompaniment and instrumental ensemble.

In modern times, the huqin was renamed the erhu. For more than half a century, the level of erhu performance 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 the folk accompaniment as a unique solo instrument, and laid the foundation for the later entry into the elegant concert halls 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 Hua Yanjun, Liu Beimao, and other folk artists was compiled and recorded, so that the art of erhu playing developed rapidly as a result of the rain.

The 1950s and 1960s saw the emergence of a group of erhu educators and performers represented by Zhang Rui, Zhang Shao, and Wang B. Under their influence, new erhu performers such as Min Huifen and Wang Guotong were cultivated. Such as the erhu composer Liu Wenjin's "The Great Wall Random Song", etc. will be the performance of the erhu over the top, and deliberately innovative, so that the erhu new vitality and color.

Erhu Erhu's basic playing method is roughly divided into the left-hand technique and right-hand technique, which is often referred to as fingering technique and bowing technique. The correct way to play the erhu is usually in line with the following two principles, namely: maximize the laws of human physiology and maximize the conversion rate of energy (i.e., to play with the minimum energy consumption to produce the best results).

Now I will Erhu basic playing method briefly introduced as follows:

First, sitting posture: the height of the chair to two legs flat, two feet on the ground as the standard. When sitting on the chair, only two-thirds of the chair surface, and do not sit on the chair surface or back leaning on the back of the chair; legs should be shoulder-width; feet should be flat on the ground, left and right feet before and after the distance of half a foot, generally to the left foot in front of 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, holding 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 with the surface of the finger on the top of the bow shaft near the third joint of the index finger to the left of the position.

The middle finger and ring finger are inserted between the shaft and the bow hair. When playing the outer strings, the bow bar is controlled by three points of force: the third joint of the index finger upward, the thumb downward, and the first joint of the middle finger outward, so that the bow hair rubs 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 bar, 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 erhu barrel should be placed on the left leg against the position of the belly, the instrument is straight, slightly forward; the left arm is naturally bent, the elbow should not be too high; the wrist slightly protruding, the instrument will be placed in the tiger's mouth, the fingers naturally bent in the shape of a half-fist to the tip of the finger and the finger surface of the intersection of the strings. When playing the upper handle, the left hand tiger's mouth should be placed close to the position of the jack, the root of the index finger is best to 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 joints backbend is not allowed, but too much positive bending is not scientific, the 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 fingers should touch the strings with elasticity, not stiffness, and press the strings.

Fourth, the long bow: when drawing the bow, the right wrist should be slightly protruding outward in a "state of extension", with the wrist as the first point of action to the right. Be careful not to extend the arm outward too early, so that the elbow is too high, resulting in a bad tendency of "big arm up".

In addition, when drawing the bow, the right arm should not move to the right rear, so that the bow is drawn into 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 "inwardly flexed". When the big arm closed, the small arm continues to push to the left; small arm closed after the hand will also push the bow a few centimeters, so that the wrist again into the "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 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" against the string, rather than "bump" against it. In addition, it is important to keep the bow running at a balanced speed, and not to change the bow speed suddenly due to the string change.

Because of the fast speed of string changing, if you change the string with the active movement of the middle finger and ring finger, your fingers will be overburdened and will not last long, nor will they be even. Therefore, rapid string crossing is actually driven by the rest of the right hand.

Fast string crossing is divided into two kinds of forward and reverse, first pull the inner string, then push the outer string is called forward crossing. In the forward fast string crossing, the movement of the fingers is 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.

Sixth, split bow: Split bow: split bow usually refers to a bow in the medium speed each bow to play a quarter note or an eighth note of a kind of bowing, usually with the middle bow part to play. Because the playing of one note per bow brings frequent bow changes, the technique of bow changes plays an important role in the split bow. The combinations of the bows are very varied, and the timing of the bow pulls and pushes are often different, and the lengths of the bows are also different, but the articulation is consistent, which requires adjusting the "pressure-speed ratio" of the bow to the strings to achieve this.

Seventh, the bow: a bow to play two or more notes of the bow is called the bow, the bow of the combination of the bow is very varied, and the bow of each tone in the bow of the time value is often different, plus changes in the strength of the bow, etc., so that the bow of the bow has become very complex to play.

But there are a few principles that can help us to play well with a legato bow: 1, to reasonably distribute the bow section. 2, a bow with many notes, with a long legato bow in the bow on the same as the long bow, is also subject to the constraints of the bow leverage, and therefore in the performance of this kind of legato bow to take into account this factor, in order to get the balance of the sound quality. 3, bow to be soft, even, right hand movement should have a certain independence, not subject to the left hand finger movement, and not to the left hand finger movement. The bow should be soft, even, the right hand movement should have a certain degree of independence, can not be subject to 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 to each other at the same time in the opposite direction of the uniform swing, that is: draw the bow when the hand to the right, the elbow to the left movement; push the bow when the hand to the left, the elbow to the right movement, their movement "axis" is in the middle of the small arm. The movement of the arm is similar to the movement of "fanning the door of the stove". If we turn our right hand into the head of a fish, and the elbow into the tail, then it is appropriate to describe the fast bow movement as "waving the head and tail".

In the movement, the wrist only plays a role in regulating the force, so that the action of the fast bow is not stiff. Therefore, it should neither be tense nor too loose. The fast bow is much more stringed than the long bow and the split bow, and this stringedness needs to be maintained all the time, that is to say, when changing bows, the bow hairs should be close to the strings, and there should be a sound head of "ga" for each bow, so that the fast bow can have a granularity.

Nine, trembling bow: trembling bow in the method of playing and fast bow have essential similarities, it is also the action of the "axis" in the middle of the small arm, so that the elbow and wrist to become the balance of the two ends; to the arm slightly nervous tremor, driven by the elbow tremor, through the "axis" role, the wrist, the wrist, the wrist, the wrist, the wrist, the wrist, the wrist, the wrist, the wrist, the wrist, the wrist, the wrist. The role of the "axis", the wrist and fingers will naturally drive the bow fast left and right parallel movement.

Perform a good trembling bow is very important that the big arm should 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 stiff, and can not be sustained; too loose 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).

ten, bow: playing the outer string bow, the right hand as screwdriver action, slightly agile to the left (the direction of unscrewing the screws) turn a little, so that the thumb will be on the bow bar to exert a force, while the middle finger should also be outward to the top of the bow bar, so that the bow hairs attached to the outer string, with the bow of a short pull and push the movement to sound; when the sound is issued in an instant, the bow to immediately stop the movement of the right hand to recover! Relax, so that the bow hair floating on the string (not leave the string), the sound stops, thus completing a string of the bow action.

When playing the inner string staccato, the middle finger and ring finger of the right hand elastically "hook" the bow hair inward, so that it is attached to the inner string, and at the same time, with the short pull and push of the bow to produce sound; in the instant the sound is produced, the bow stops immediately, and the middle finger and ring finger are relaxed, so that the bow hair floats on the string, and the sound comes to an end, thus completing an inner string staccato. This completes the staccato motion of an internal string. During the string crossing, the bow should always run straight, relying solely on the agile movements of the fingers to change the direction of the bow hairs on the string, and should not be swayed back and forth, or up and down to point the bow head to help change the strings.

eleven, throw the bow: throw the bow in the method of playing is generally composed of two parts, the first part of it is a short jump to draw or push the bow to start can be, after the sound of the arm right rotation, the bow will be lifted up; the second part of the bow when the bow down to the barrel of the right hand thumb and forefinger slightly relaxed, the middle finger and ring finger to take advantage of the momentum to press down on the bow hairs in order to prevent the bow up to jump, and with the opposite of the first part of the bow, the bow will be lifted up to the barrel, the middle finger and ring finger to stop the bow. With the first part of the opposite bow to the movement, so that the blocked bow will be in the barrel of the piano and the rebound effect of the chord jumping rapidly out of the sound, issued by "get child ......"-like jumping sound.

twelve, change the handle: from a handle to another handle movement is called change the handle. Change the action from the low handle to the high handle when changing the handle, the arm should be the first point of downward movement; from the high handle to the low handle when changing the handle, the wrist should be the first point of upward movement, which is the same as the right hand of the bow principle. In the medium and slow speed change, the arm or wrist to have the first action to ensure the consistency of the change; in the fast change, arm, wrist, hand should be a whole movement, the action should be agile, decisive.

Thirteen, vibrato: vibrato many kinds of vibrato, where the use of string length or tension continues to change the method of generating sound waves can be called vibrato, which is the most basic vibrato vibrato technique, which is the palm of the hand up and down, driving the first joint of the fingers for the flexion and extension of the movement, so that the fingertips in the sound of the position of the rolling evenly to change the string length of the vibrato method to generate sound waves. Vibrato is composed of two action processes, the first process is:

Palm up, so that the first joint of the fingers straighten the finger surface touching the strings, at this time than the pitch baseline slightly lower than the sound; the second process is: palm down, so that the first joint of the fingers to bend the finger, the point of touching the strings rolled to the tip of the finger parts, at this time than the pitch baseline slightly higher than the sound. These two processes are repeated, the fingers are rolling evenly on the pitch, thus producing a vibrato that fluctuates up and down around the pitch baseline. When rolling the vibrato, the active point of the movement should be placed on the back of the hand, and the palm of the hand should only move up and down, not inside and out. The wrist is the "axis" of the movement, so the wrist must not be stiff.

Fourteen, glissando: commonly used glissando on the glissando, down the glissando, pad finger glissando and back to the glissando. Slide from the lower tone to the tone is called the upper slide, from the higher tone slide to the tone is called the lower slide, with three fingers joint movement of the slide is called the pad finger slide, slide from the beginning of the tone to the lower tone and then slide back to the tone of the slide is called back to the slide. The left hand is responsible for the speed of the glissando, the right hand is responsible for the intensity of the glissando, pay special attention to the articulation of mellow, appropriate proportion.

15, decorative notes: decorative notes of many kinds, commonly used in a variety of leaning tone and brio. Written in the upper left of the note is known as the former leaning tone, accounting for the value of the tone head; written in the upper right is known as the back leaning tone, accounting for the value of the tone tail. There are two small notes is called double leaning tone, there are three small notes is called three leaning tone, there are more than three small notes is called more leaning tone. Leaning notes are generally played lightly and elastically.

In the action, the fingers of the left hand in the movement of the metacarpophalangeal joints to lift the fingers, struck the string, touch the string quickly rebound away from the string, do not palm movement is too large to make the performance appear clumsy.

XVI, vibrato: vibrato is in the performance of the tone at the same time, with the finger continuously and quickly hit the tone above the second or third tone, in order to make a sound similar to the sound of playing the tongue, the actual effect of the thirty-two notes of the note and the tone above the alternating repetition.

Vibrato in the playing technique and press the same finger lifting and striking the string two action process: press the finger of the note retained on the string, vibrato finger should be naturally curved, by the left palm joint movement, so that the finger lifting, and then elasticity to strike the string; and then the use of the string on the finger rebound, so that the finger popped away from the string, and then once again struck the string, and so quickly back and forth, that is, vibrato play the whole process of This is the whole process of vibrato playing. When you play, you must take the movement of the left hand's metacarpophalangeal joints as the main focus, so that the fingers are under the control of the brain to consciously "hit" the strings, and not in a state of finger tension to lose control of the "shivering".

seventeen, overtones: erhu overtones are divided into natural overtones and artificial overtones. The natural overtones are the overtones that are played by taking a fraction of a section of the full string length from the jack to the gauge, symbolized by "○" and written above the notes. Artificial overtones are played by pressing a certain pitch with one finger and then touching the overtones with the fourth finger, i.e., by taking a quarter or a third of a section from the pitch pressed by the first finger to the full length of the string, and the symbol is "◇", which is also written on top of the notes.

When playing overtones, it is important to be accurate, loose, and fast, i.e., accurate in intonation, loose on the strings, and fast in bow speed. In addition, when playing the overtones in the higher positions, the right hand can lower the bow, so that the touch point of the bow hair is as close as possible to the gauge, which is also conducive to the articulation of the overtones.

18, pizzicato: the erhu pizzicato is divided into the left hand hook, strings and right hand pizzicato. The left hand to the finger surface part of the inward plucked string sound is called hook string; the left hand with the finger nail part of the outward plucked string is called strumming. The most commonly used is the right hand plucking, usually to pluck the inner strings mostly, the method is: bow from the hand, the bow on the right leg above the bow, and make the bow hair naturally against the outer strings, in the jack and the lower third of the piano code position, with the right hand index finger or middle finger finger finger parts to the left side of the strings, also with the left hand of the strings, in order to pluck out the tunes to.

The above briefly describes some of the basic playing methods of the erhu, with the rapid development of erhu skills, new techniques continue to emerge.

These are the eighteen basic techniques that every erhu learner must master. In addition, it is recommended to watch some of the erhu teaching videos on the Internet. The second is that it's not a good idea to use a simple score to learn erhu, but it's okay to use a five-line score.

You can find a teacher or look at introductory videos online. First understand the structure of the erhu, and then practice the requirements of the draw bow: flat, stable, straight, and then the basic scales... It's easy to say, but you have to be persistent! It doesn't matter when you start, just that you like it. At the beginning to practice more Oh ~ as for the choice of erhu, the novice erhu does not have too many requirements, the general on the line. When you reach a certain level and then change a good erhu it ~~

Come on oh ~ (*^__^*) note 34,71 is chromatic, finger similar, before playing a good 15 strings, the bow should be close to the barrel of the piano, if it is the key of the F should pay attention to the accuracy of the handle, if it is the key of the DG hand should be close to the tiger's mouth, try to open the bow, don't let the bow bar touch the outer strings, if there are still any details do not know please Private letter

Erhu Beginner's Knowledge

He is the only learning eh, the first floor since the utterance of the long bow. At least 3 level it,

At the beginning of the practice is the key of D, hand shape like take and, chopsticks, but the middle four fingers and three fingers together, the outside of the one called the outer string, is the sound of the phone hands-free keys, is 5, the inner string is 1, which is the empty string sound, index finger 2, middle finger 3, ring finger 4, pinky 5, the outer string, and the same analogy

The textbook has a and so on every day to practice the order of the long bow, the fast bow, and other The bowing style (which you can't play well), scales (pentatonic scales in each key), small synthesized exercises, and pieces assigned by the teacher.

Long bow and fast bow must be practiced every day, fast bow must be from slow to fast, the most important thing is that each tone should be clear! These two take about 15 minutes.

Scales should be practiced in every key, but it is important to make sure they are in tune, download some scale demonstrations and practice them in comparison, the time depends on the speed.

Comprehensive exercises are available for each level in the exam book, so choose according to your ability.

When practicing music, it's best to break it down into smaller pieces and work on a small section every day, not over and over again, and practice a little bit from slow to fast, especially fast bowing, and pay attention to intonation.

No matter how to practice, time is guaranteed, at least one hour a day, if you still feel that there is not enough time to practice the basic, it is very important to play the foundation, maybe you have the ability to pull down a big tune, but there is no good foundation, you will find that all of the tunes you pull are flawed, none of them are satisfactory.

All of the above is my personal experience, I hope you improve your skills, go for it! Hold down the string pull, the beginning will be more difficult to listen to, boring, but must listen to the accurate sound, the information can buy a basic introduction to the erhu book, the song is not necessarily a lot, but to teach more practice songs, do not be afraid to pull the practice songs, lay a good foundation is the key, of course, it is best to ask the teacher to teach. There are two inside and two outside of what do not need to en, directly with the bow pull the string to learn erhu with a simple score, will not be five-line score is okay.

You can find a teacher or watch a video on the Internet to get started. First understand the structure of the erhu, and then practice the requirements of the draw bow: flat, stable, straight, and then the basic scales ... It's easy to say, but you have to be persistent! It doesn't matter when you start, just that you like it. At the beginning to practice more Oh ~ as for the choice of erhu, the novice erhu does not have too many requirements, the general on the line. When you reach a certain level, then change a good erhu it ~ ~

Beginner erhu 3

Beginners how to choose the right erhu.

1, beginner erhu in general will choose the price of moderate, or choose some of the more popular type of erhu, erhu knowledge teacher suggested that beginner erhu in the purchase of erhu, in their ability to purchase the scope of the license to choose a relatively good some of the good erhu on the learning and playing is to have a role in guiding, although it is the beginner, to choose the quality of the good erhu! The first thing you need to do is to choose a good quality erhu, just like choosing a teacher who will guide you in your future studies.

A well-made erhu is better than an ordinary erhu in terms of feel and tone, and it can improve the erhu's ability to manipulate, utilize techniques, and identify tone, which can lead to an interest in learning the erhu. It takes time to get used to the instrument, from the manipulation, familiarity, and so on, is the basis of the playing technique, and can avoid the repetition of ineffective investment.

2, musical instruments are consumer goods, purchasing power is also very important, high grade erhu will naturally be better from the material, technology, sound quality, materials and technology is the inherent quality, with these two points will have a good sound quality, but also a kind of craftsmanship and spiritual investment. Musical instruments are still to be used by people, erhu use human factors, the level of performance is an important factor in determining the erhu sound good or bad, a good erhu more users can play the skills out, but not necessarily blindly to pursue a very high grade erhu.

The luthier, like the painter and calligrapher, is the embodiment of an individual's cultural thinking, but the painter and calligrapher is with ink and paper, the luthier is expressed in the erhu works, such as the piano, when choosing to the right luthier will have their own preferred erhu, the charm of the erhu in the production process, is the luthier to grasp the combination of the material and the production process is the quality of the erhu fundamental.