The strength of the bow, for the audience, refers to the change in the intensity of the music, which is an inner feeling. For the performer, it refers to the change in the degree of exertion during the erhu performance. Simply put, it is "the amount of exertion", which is the application of performance skills in practice. Under normal circumstances, the strength of the erhu in the process of playing is determined by the way and method of bowing with the right hand, which is expressed by the friction between the bow hair and the strings and the speed of the bow.

1. The relationship between the strength of the bow and the music

Strength is an important skill in musical performance and a kind of musical "language". It is an important element to express the rich emotions of music and to cause the contrast and development of music. The sound produced by the change of strength can express the majestic, tragic, galloping and unrestrained strong emotions, as well as the subtle inner feelings such as whispering, comforting and caressing, as well as the natural beauty of mountains, flowing water and babbling streams.

The strength of bowing changes with the ups and downs of the musical mood in the piece. Generally speaking, the stronger the intensity, the more intense and majestic the music. The weaker the intensity, the more moderate and euphemistic the music. The strength of the strength, the style in different music is different. For example: in "The Galloping Horses", the tense fighting scenes of the galloping horses and the charging of soldiers are shown. It is the performance of "strong". In "Spring in the South of the Yangtze River", it is a vivid scene of beautiful songs, birds and flowers. It is the performance of "weak" strength. In the same piece of music, the mood is different. For example: in the introduction to "Capriccio on the Theme of Qin Opera", the bow is carried with a sonorous force, expressing a passionate and enthusiastic emotion, and it has a sense of catching the eye. It contrasts with the first paragraph that is soothing, euphemistic, and somewhat sad and pathetic. Between the two, the former vividly expresses the industrious, simple and forthright character of the people in the northwest, while the latter describes the heart, the music is somewhat desolate and sad, like weeping and complaining.

In erhu performance, the problem of dynamic performance is very subtle and complex, so the various methods of use are also varied. It's hard to imagine the acoustic effects of playing a piece of music with unchanged dynamics. It is also difficult to imagine the acoustic effects of playing all the different styles of works with the same intensity. It can be said that the dynamics is an indispensable skill element in the careful "secondary creation" of the performer.

2. The performance of the strength of the bow in music

How to express the connotation of music well, the strength of the bow is the key. Usually, listeners only pay attention to the melody and mood of the music. Where the music is emotionally high and prominent, it is most likely to resonate with people's psychology and be valued. How to convey the emotions in the music to the audience depends on how the performer grasps the strength of the bow.

For example, "Horse Racing" resonates with people's psychology through emotional and warm scenes. The whole song takes a "sai" as the theme image. From the beginning to the end, we have maintained a spirit of forging ahead and striving for progress. There is almost no speed change in the middle, and it is smooth and clean. It begins with a powerful bowing method, which makes the music progress in a tight and powerful melody. Let the audience imagine the momentum of Gunma's sudden slaughter. Immediately, the emotions were brought to a climax, and the warm and spectacular scenes of the horse races held on the grasslands of Inner Mongolia were displayed. It makes people feel that they are not listening to music, but watching a "horse race". In this piece of music, the strength of the bow movement makes the audience always feel the musical image of the jump. It is easy to imagine the scene of the rider shaking the whip and urging the horse, scrambling for each other, and you chasing after me.

In the introduction part of "Sanmenxia Imagination", it uses the characteristics of strong and weak fluctuations to express the majestic and majestic Yangtze River and the turbulent artistic conception of the gorge. In the process of slow rise, the intensity is soothing, continuous, even and steady. The expression of the breeze blowing on the face, the soothing and delicate texture and the scene from far to near make people full of rich imagination about the Yangtze River. In the process of getting faster, use the increase or decrease of the friction between the bow hair and the strings to show the surging water. In contrast to the previous one, the atmosphere of the music is lively and witty. To play out the vivid scene of "water waves rolling in from a distance, slapping on the cliff, stirring up thousands of waves".

In "Spring in the South of the Yangtze River", it seems that there is no such obvious sense of strength. In this piece of music, the quiet and beautiful land of fish and rice is the theme of this piece. In the beautiful melody, the intensity is always continuous, soothing, and full of distinctive Jiangnan charm. Erhu imitated the tones of flute and Xiao from the very beginning, gradually increasing from slow to fast, showing a picture of the dawn of the south of the Yangtze River in front of people. Especially the natural overtones in the introduction part can be said to be the author's magic touch. It is all played in the middle position except for the last note. In terms of speed, it is also dealt with in the form of slow beginning and end, and fast in the middle, which makes people full of imagination: "there are smokes curling in the distance, and birds in the flowers, etc.", which is very poetic. The music enters the first paragraph, and the soft melody is like a stream flowing out. Let people indulge in the melody like water plants, like a dream.

Of course, depending on the style and content of the work, there are many other manifestations of strength. Such as the grief in "Jianghe Shui", the resentment and strength in "Erquan Reflecting the Moon" and so on.

3. The application of bow strength in music

The rich musical color is the expression of strength. In practical application, it must be carefully designed from the requirements of the content and style of the musical work, in order to properly reflect the style and appearance of the musical work. Starting from the style and content requirements of specific works, the corresponding technical means are used to obtain multi-level changes in strength, so that the strength of the bow can serve the content, so as to better express the connotation of the musical works. For example, when playing a "pp-very weak" force, the right hand should move the bow smoothly, and the bow sticks gently against the piano barrel; and when playing "ff-very strong" force, the right fingers should support the bow and bow hairs. The force must be increased, resulting in a great frictional force, resulting in a strong sound. However, how to master the use of strength in the performance, let's take "Blue Flower Ballade" as an example: this piece of music describes the simple and kind rural girl Lan Huahua's misfortune in love, and her struggle against feudal forces strong character. In this piece, the music fluctuates and the dynamics are varied.

At the beginning of the music, it is a feeling from the appreciator's point of view when listening to the melodious folk songs in the distance. Then it turned to the love and affection of the villagers for the protagonist, and then to create a beautiful and kind image of Lan Huahua, and the feeling of music was "upward". Therefore, when playing, the strength of the bow should be continuous and soothing, and the strength of the strength should not be too obvious, so that the melody has a singing quality. The mood of the music here is cheerful and happy, so try to reduce the traces of changing bows and handles, increase the naturalness and fluency of the melody, make the tune more coherent and beautiful, and play a vibrant sound effect.

The subsequent Huacai section expresses a feeling of grief and anger. During the performance, attention should be paid to expanding the friction surface between the bow hair and the strings and the strength of the bow movement, so as to obtain a solid and dignified sound effect. Begin the first "la" note with two bows, and use the arms and wrists for a powerful attack. Then it gets weaker and then gets stronger. At the beginning of Huacai, the three sounds "mi, so, la" are all drawn with bows. In order to express a kind of sadness and anger, the first three with decorative sounds must have "sound heads" to highlight the strength of bowing. Can produce a sudden strong explosive force. There must be a feeling of venting out the grievances and grievances that have been accumulated for a long time. The subsequent sound in the bow movement should master the speed, make it full and firm, from strong to weak and then strong. keep rising. Play a solemn and clear melody, so that it has a powerful sound effect.

In the passage of "Carrying into the Zhou Family", the emphasis is on the musical image of quiet contemplation and miserable indifference. Therefore, during the performance, attention should be paid to controlling the subtle changes in the force when the bow is drawn and closed, so that the contrast between the "sound head" and "sound tail" is formed. When it is time to change the bow, the wrist is gently "washed" to express the inner feeling of the protagonist's inner pain. It is necessary to arrange the coordination of bow speed and strength very carefully. In the process of pushing and pulling, the strength should be lighter and more euphemistic, and there should be no "sound head". moving scene.

Then, in the "Fleeing" section, there are scenes when the slaves are chasing and the villagers are calling. The powerful and fast bowing can create a violent and turbulent sound effect at this time, creating a tense background atmosphere, and the trend of melody dominated by movement is unstoppable. In the performance, the two tones of "la and si" should be strong and short, bursting out in an instant, showing an emotion of trying to resist, and then the intensity is slightly weakened to form a contrast with the previous one and push the music to a climax. Finally, the memory of the villagers gradually returned to the endless reverie of the audience after listening to the story. The intensity changed from strong to weak, and the volume was correspondingly weakened. When carrying the bow, pay attention to the friction between the bow hair and the strings. In the transition between pushing and pulling, it should transition naturally, smoothly, slowly and lightly until the end of the music.

Of course, when playing this piece, you can make some changes according to your own understanding of the piece.

To sum up, strength is a necessary element to reveal the content of music, shape the image of music, and express the feelings of music. In the performance of the majestic, tragic, lyrical and so on in the erhu music, it all plays a pivotal role. In the erhu performance, how to master the strength of the lucky bow is an essential skill for the performer. In order to play a piece of music perfectly, it depends on whether the performer can deeply and carefully dig out and comprehend the true meaning of the piece of music, and handle and use the intensity just right. Only reasonable and ingenious application of dynamics to music can perfect interpretation of the content of the work.