Erhu bow section use principle

I. Sitting posture

The height of the chair is standardized by placing the legs flat and the feet on the ground. When sitting in a 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 natural, loose, not to develop a hunchback, sloping shoulders, crooked body, head down and other bad habits.

Second, holding the bow

The right hand is relaxed, bent in a half fist, the root of the bow is placed at the third joint of the index finger, which is naturally curved and lightly supported by the bow shaft. The thumb is pressed with the surface of the finger on the top of the bow shaft, slightly to the left of the third joint of the index finger.

The middle finger and ring finger are inserted between the shaft and the bow hair. When playing the outer strings, 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.

Holding the instrument and pressing the strings

The barrel of the erhu should be placed on the position of the left leg against the belly, with the instrument pole straight and tilted slightly forward; the left arm naturally curved, the elbow should not be excessively elevated; the wrist slightly protrudes, placing the instrument pole in the mouth of the tiger, and the fingers naturally curved in the shape of a half-fist, touching the strings at the point where the tip of the finger meets the finger surface. Touch the strings at the intersection of the fingertips and the surface of the fingers. When playing the upper handle, the tiger's mouth of the left hand should be placed close to the position of the jack, and the root of the index finger should preferably be in contact with the jack, which is very beneficial to the development of the concept of handle.

Fingers in the string, the joints should be naturally curved, any one finger 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 with stiffness.

Four, long bow

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 big arm outward too early, so that the elbow is too high, resulting in the 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 is finished, the small arm continues to push to the left; after the small arm is finished, the hand has to push the bow a few centimeters, so that the wrist is again converted into a "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 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 also important to keep the bow running at a balanced speed, and not to change the bow speed suddenly because of the string change.

Because of the fast speed of string changing, if 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, the finger movements of fast string crossing are actually driven by other parts of the right hand. Rapid string crossing is divided into two kinds of forward and reverse, pulling the inner strings first and pushing the outer strings later is called forward string crossing. In forward string crossing, the finger movements are driven by the wrist. Therefore, the movement of the wrist should be relatively active and flexible. The fast string crossing in which the outer string is pulled first and the inner string is pushed later is called reverse crossing. In a reverse fast string crossing, the motion of the bow is driven by the arm.

Split bowing

Split bowing is usually a bowing technique that involves playing one quarter note or one eighth note per bow at a medium speed, and is usually played with the middle bow. Because playing one note per bow brings frequent bow changes, the technique of bow changes plays an important role in split bowing. The combinations of the bows are very varied, and the timing of the pulls and pushes are often different, and the lengths of the bows are necessarily different, but the articulation is consistent, which requires an adjustment of the "pressure-speed ratio" between the bow and the string to achieve this.

Seven, the bow

bow with a bow to play two or more notes of the bowing method is called the bow, the combination of the bow, and the bow in the bow of the time value of each note is often different, plus changes in the strength of the bow, etc., so the bow of the bow to play has become very complex.

Eight, fast bow

In playing fast bow, the hand and elbow at the same time to the other side of the opposite direction of the uniform swing, that is: draw the bow when the hand to the right, the elbow is to the left; push the bow when the hand to the left, the elbow is to the right, the movement of the axis of their movement is in the small arm, the elbow is to the right movement, and their movement of the "axis" is in the small arm of the bow. The "axis" of their movement is in the middle part of the small arm. The movement of the arm is similar to the movement of "fanning against the door of the stove". If we turn our right hand into the head of a fish, and our elbow into the tail of the fish, then the fast bow movement is aptly described as "waving the head and swinging the tail".

In the movement, the wrist is only a regulator of force, so that the fast bow movement 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 each bow should have a "ga" sound head, so that the fast bow can have a granularity.

9. Vibrato

Vibrato is essentially similar to fast bowing in the way it is played, it is also the "axis" of the action in the middle of the small arm, so that the elbow and the wrist become balanced at the two ends; a slight tension in the big arm trembles, driving the elbow to vibrate and tremble, and through the "axis" of the bow, it is possible to make the elbow vibrate and shake the elbow. The "axis". The role of 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 arm should be slightly tense to support the small arm; but must pay attention to control the appropriate degree of tension in the 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, tonal bow

play the outer string tonal bow, the right hand as screwdriver action, slightly agile to the left (the direction of the screws) turn a little, so that the thumb will be on the bow bar to exert a force, while the middle finger should be outward to the top of the bow bar, so that the bow hair to stick to the outer string, with the bow of a short pull push movement, in order to make a sound. When the sound of the moment, the bow should immediately stop the movement, the right hand recovery and relaxation, so that the bow hair floating on the string (do not leave the string), the sound stops, thus completing a string of the staccato 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 strings, and at the same time with the bow short pull and push movement, in order to send out sound; in the sound of the moment, the bow stopped immediately, the middle finger and ring finger relaxation, so that the bow hair floating in the strings, the sound stop, thus completing an inner string staccato movement, the sound of a staccato, the sound of a staccato. This completes the staccato motion of an internal string. During the staccato, the bow should always run straight, relying solely on the agility of the fingers to change the direction of the hairs on the string, rather than waving the bow back and forth, or pointing the bow head up and down to assist in the string change.

XI, bow throwing

Throwing the bow in the method of playing is generally composed of two parts, the first part is a short jump sound to pull the bow or push the bow to start can be, the sound of the arm after the right hand rotation, the bow will be lifted up; the second part of the bow when the bow down to the barrel of the piano, the right hand thumb and forefinger slightly relaxed, the middle finger and ring finger to take the momentum to press down the bow. The second part is when the bow falls to the barrel, the right thumb and index finger slightly relaxed, the middle finger and ring finger take the opportunity to press down on the bow hair, to prevent the bow on the jump, at the same time with the first part of the opposite of the bow to the movement, so that the hindered bow in the barrel of the chord under the rebound effect of the sound of the rapid jump, issued by the children of the ......" like jumping sound.

Twelve, change the handle

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

13, vibrato

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

Palm up, so that the first joint of the fingers straight, to 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, touch the string rolled to the tip of the finger parts, at this time than the pitch baseline slightly higher than the sound of the sound. These two processes are repeated in a cycle, the finger rolls 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.

XIV, glissando

Commonly used glissandos are the upper glissando, the lower glissando, the pad finger glissando and back glissando. From the lower tone slide 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, from the beginning of the tone slide 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.

XV, 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 called the front leaning tone, accounting for the value of the tone head; written in the upper right is called the back leaning tone, accounting for the value of the tone tail. There are two small notes called double leaning tone, there are three small notes called triple leaning tone, there are more than three small notes called more leaning tone.

Playing the leaning tone generally requires a light and flexible performance. In the action, the fingers of the left hand in the movement of the metacarpophalangeal joints to lift the fingers, struck the string, after touching the string quickly rebound from the string, do not make the performance look awkward because of the palm movement is too large. The tone is also known as a single hit, it is to hit the tone above the tone to decorate the head of the tone, so it is actually a double leaning tone.

Sixteen, vibrato

Vibrato is playing the note at the same time, with the finger continuously and quickly hit the note above the second or third tone, in order to make a sound similar to the sound of playing the flower tongue, the actual effect of thirty-two notes for the note and the note above the alternating repetition. 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 the state of the fingers tense and out of control "shivering".

17, overtones

The overtones of the erhu are divided into natural overtones and artificial overtones. The natural overtones are the overtones that are played as a fraction 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 overtones in high positions, the right hand can lower the bow so that the touch point of the bow hair is as close as possible to the saddle, which is also conducive to the articulation of overtones.

18, plucking

The plucking of the erhu is divided into the left hand hooking, strumming, and plucking of the right hand. The left hand to the finger surface part of the inward strumming sound is called hook string; the left hand with the finger nail part of the outward strumming is called strumming. The most commonly used is the right hand plucking, usually to pluck the inner strings mostly, the method is: bow off 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 position of the instrument code, with the right hand index or middle finger finger finger parts to the left side of the plucking strings, also with the left hand of the strings to pluck the tunes to.