The four realms of erhu intonation, which four are specifically, will teach you how to recognize them today!

The "Clock Theorem" of management gives an important principle, "When people have several clocks in their hands, they should learn to discard them, firmly choose one of them, and use this as the standard of trust". In the process of learning erhu, the standard system of intonation should be the standard of temperament. The most common and commonly used are the law of five degrees of mutual growth, the law of twelve averages, and the pure law.

Erhu teachers often require beginners to put the second and third fingers against each other to form a semitone relationship of 3, 4, 7, and i. Professor Zhao Hanyang's "Erhu Basic Course" page 15 The three-fingered stringing practice obviously has this feature. Make the pitch sequence run according to the law of fifths. It is very important to form such an "initialization". The beginners of erhu should be standardized according to the law of five degrees of mutual growth, which is the first realm of erhu intonation.

Learning continues in depth, with exposure to broken chord pattern exercises. In the tutorial "Song of the Trumpeter", if the 3rd tone of the three fingers is returned, that is, the distance between the fingers of one or three fingers is slightly narrower than in the previous study, and the music is more harmonious. In fact, it operates according to the basic characteristics of pure law, such as the later "Bright Practice" and so on. In order to pursue a more harmonious performance, the music with chord characteristics is standardized according to the operation of pure temperament, which is the second realm of erhu intonation.

In Professor Zhao Hanyang's "Erhu Intermediate Course" chromatic scale practice, it is necessary to break through the characteristics of scales that have been solidified by previous learning, and to establish more awareness and concepts of intervals; to dilute the traditional first key tonal law, and more to follow the fixed key law. , making transposition a simple and easy technique. At this time, the twelve-equal temperament has the advantages of equal interval division (for example, its semitones are all 100 cents), and it is convenient for transposition (no interval operation obstacle). Law system, such as "Zardas", "Song of the Wanderer", "Carmen", "Infinite Movement", "The Great Wall Capriccio" (second movement) and so on. Play in accordance with the twelve equal temperament and solve its intonation problem, which is the critical stage of erhu performance. Teachers often ask students to strengthen the study of solfeggio to help them become familiar with the twelve-equal temperament system, and then make it a "clock" for erhu playing. This is the third realm of erhu intonation.

A traditional national musical instrument, bearing more than a thousand years of national performance techniques and thousands of years of Chinese culture. The ultimate goal of learning erhu is the study of history, humanities, emotion and aesthetics. It is far from enough to reach the third realm of erhu pitch. In the hands of the master, the erhu has become a kind of magic. Music from all over the world, the music of various provinces and even regions in China can be performed vividly and appropriately. High-level erhu performance must break through the above three realms. In a piece of music, or even a phrase, a variety of temperament systems are often used. This kind of pitch is difficult to see in traditional temperament classification. The 7th is low, the 4th is high, etc., and "Erquan Yingyue" is set to play the 6th high. This requires that the performer must proceed from the characteristics of local culture, regional culture, and the background of the times, carefully study the rhythm characteristics and expression methods of each or even each sentence, that is, "playing culture", and accurately express the ideological connotation and emotional lines of the music. to become a mature player.

The mature erhu tutorials are all targeted with selected erhu pieces, give a detailed text introduction to the author, background, ideas, etc. of the music, and dissect the structure of the music, the method of playing the phrases, and the characteristics of the rhythm, so that students can learn Players can quickly master the basic performance methods and express ideas of music. This arrangement has already coincided with the fourth realm of intonation, which is of great significance to guide the performers to perform "cultural" performances. Therefore, only when one reaches the fourth level of erhu playing intonation can we say that the learning of the erhu is a success.