The musical accompaniment instrument of Hebei Bangzi is the banhu, which is second to none and indispensable. If there is no banhu in the accompaniment band of Hebei Bangzi, no matter how high the quality of players of other instruments and the strong lineup, even a symphony orchestra with hundreds of people will still not play the charm of Hebei Bangzi itself. Therefore, it is very important to master the playing skills of Banhu. I have studied with my master Gao Jipu for many years, and now I present the playing skills and learning experience I have learned from master to my colleagues or friends in the ticket industry.

1. Correctly handle the guest-host relationship

In the whole band, the banhu is the main lead instrument, and it occupies an equally important position with the bangu.

In the accompaniment, Banhu players should dare to "take the lead" and "have the bottom line in their hearts". According to the music in the play, the strength, weakness, ups and downs, strength, speed, rhythm and various changes in the play, the Its pipes, strings and other instruments play the leading role, and if the sound of other instruments overwhelms the sound of the banhu, making it unable to exert the power of the banhu, it will not have the characteristics of Hebei Bangzi.

In the performance, the actors express the thoughts and feelings of the characters through singing. The pianist who plays the banhu uses various techniques of bowing and fingering to actively, actively and energetically serve the play, the singing and the actors. Play the important role of Banhu in "holding the tune and maintaining the tune" in the singing accompaniment.

What is "supporting the cavity and maintaining the adjustment" and supporting the cavity, that is, the accompanying cavity. Their relationship is: to sing as the main, accompaniment as a supplement. Supporting the tone and maintaining the tune is to use various circular artistic means of Banhu playing skills to enrich, set off, assist and ensure the smooth progress of the actor's singing tone through the processing methods of supporting, leading, leading, belting, wrapping, protecting, lining and padding. , so that it tends to be complete, unified and harmonious in art.

The relationship between banhu and singing is a guest-host relationship. To lead with the word "partner", it is absolutely not allowed to dominate. Let alone destroy the integrity of art in order to show off personal skills and ignore the needs of plot and singing content.

The luthier must often work with the singer to conduct artistic research and discussion. Only in this way can we understand the changes of different actors' different genres, singing styles, characteristics, and voices, so as to do a good job of cooperation and achieve a perfect match.

In the performance, for the performers of lower level, especially if they accidentally sing the wrong song, have no board or have other problems, the musician should not panic, but should be calm, sober, calm and active Active, flexible and dynamic accompaniment skills and performance levels.

Only by doing the above points, can the accompaniment of banhu duet play the role of setting off the clouds and supporting the moon, and the green leaves lining the red flowers.

2. Artistic processing of rhythm, speed and intensity

A piece of singing, a pass or a piece of music all involve the artistic handling of rhythm, speed and dynamics.

For banhu players, the first thing to do is to study and analyze the era background, ideological content of each play, the thoughts and feelings of the characters in the play and their development and changes. Around the development and changes of the characters' thoughts and feelings in the play, the images created by singing and music, as well as various performance skills of Banhu in bowing and fingering, and various means of supporting the singing and maintaining the tune are produced. This is the basis for the artistic treatment of rhythm, speed, and dynamics. Without this basis, there will be no issues of rhythm, speed, and intensity, and it will become a disorderly list of notes, and it will not be art.

In musical language, rhythm is as important as the skeleton of an object. Without rhythm, there is no music.

The rhythm mentioned above is what we call the "dimension board" problem in the opera circle. The so-called sense of rhythm, I understand it as "heart board". That is to say, I know how to feel the light, heavy, slow and rapid changes of the music. Several actors and performers with a strong sense of music and rhythm get together, even if it is an unfamiliar piece of music, as long as their thoughts, feelings, and musical sense are handled in a unified manner, they will naturally meet together.

A variety of different board styles have different sizes of board heads according to the needs of the development of the plot. The so-called size board head refers to the passage in each aria, and the aria includes the rhythm of the "challenging board", the change of speed and the length of the note time value of its change.