Erhu He Jiang Adagio Teaching

Adagio teaching of Erhu River can be studied in watermelon video.

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The origin of erhu

origin

Erhu began in the Tang Dynasty and has a history of 1000 years. It originated from a minority in northern China in ancient times and was originally called "Qin Qin" and "Xi Qin". The earliest written record is the poem "Yan Rong Ren Shan Chi Ting" written by Meng Haoran, a poet in the Tang Dynasty: "Bamboo brings Qin, flowers invite wine", and Chen Yun, a scholar in the Song Dynasty, recorded in Le Shu that "Xi Qin is also Le Hu ..."

Cen Can, a poet in the Tang Dynasty, wrote "But we drink to the guests who come back from the camp". The poem "Playing Other Manyi Qin, Guitar and Harp" shows that the Huqin has been spread since the Tang Dynasty, and it is the general name of Chinese and Western stringed instruments and plucked instruments.

develop

Chen, a scholar at the end of the Song Dynasty, recorded it in "The Tale of Stone Forest", which was written by Ji Kang, hence the name. Shen Kuo, a great scholar in the Song Dynasty, recorded in "Bubi Tan Yuelu": "At Xining Middle School, there was a palace banquet, and Yan Xu, an actor of Jiaofang, played Qin Qin and finished the song with only one string."

It shows that there was a high level of performance in the Northern Song Dynasty. When Yan Xu played Qin Qin for the emperor's ministers, he broke one string and still finished the music with another. It is impossible without skilled skills. Later, Shen Kuo recorded in "Meng Qian Bi Tan" that "ponytail huqin followed Han Dong, and he felt sorry for himself. Don't shoot the geese in the clouds with a bow, and the geese won't be sent now. " This shows that there was a ponytail huqin in the Northern Song Dynasty.

The principle of making the huqin is further elaborated in the History of Rites and Music in the Yuan Dynasty, saying that "the huqin system is like fire without thinking, rolling the faucet, pressing the second string with the bow, and tying the ponytail with the bow". By the Ming and Qing Dynasties, Huqin had spread all over the country and became the main instrument of folk opera accompaniment and instrumental ensemble.

During the Song, Yuan, Ming and Qing Dynasties, with the development of traditional Chinese opera and Quyi, folk musical instruments developed their own accompaniment instruments with the rise of Goulan and Washe. One of the most important musical instruments is Mawei Huqin, which originated in Mongolia and the Western Regions. After combining with Zheng, the novel Huqin came into being. This instrument fully marks the maturity of China's bowstring instrument.

Later, due to the need of local opera singing, the Huqin gradually divided, and banhu adapted to the needs of Shaanxi Opera and Henan Opera, Jinghu and Jinghu needed by Beijing Opera and Han Opera, tribal tiger needed by Henan pendant, Gao Hu needed by Guangdong Cantonese Opera, coconut needed by Chaozhou Opera, drum used by Hunan Flower Drum, Hu Si used by Mongolian rap and cover plate used by Sichuan Opera appeared.

The ukulele used in Henan, the pillow piano used in Putian Opera in Fujian, the calf piano used in Dong Opera, the horse bone piano used in Zhuang Opera, the two-stringed instrument used in Jin Opera and so on. In modern times, Huqin changed its name to Erhu. So Erhu is actually one of many bowstring instruments, and its name is much later than Huqin. Therefore, it is inaccurate to say that "Erhu" began in the Tang Dynasty, while "Huqin" began in the Tang Dynasty.

For more than half a century, the erhu performance level has entered a prosperous period. Mr Liu Tianhua is the originator of modernism. Drawing lessons from the playing techniques and techniques of western musical instruments, he boldly and scientifically positioned the erhu as five pieces and invented the erhu kneading strings, thus expanding the range of the erhu, enriching the expressive force and establishing new artistic connotations.

As a result, erhu stood out from folk accompaniment and became a unique solo instrument, which laid the foundation for entering concert halls and conservatories in the future.