Graininess is not a quantitative hard indicator, but a qualitative subjective feeling. The plucked instruments, such as the music of the pipa, such as "big beads and small beads falling on the jade plate"; the percussion instruments, such as the music of the dulcimer, such as the popping beans. They are all noticeably grainy. However, applying granularity to the fast bow of the erhu has a special meaning that is different from other musical instruments. This particle is not that particle. The graininess of plucked and percussion music is popped and punched out; the graininess of erhu is drawn out by the friction of the bowstring. The graininess of plucked and percussion instruments is a single small particle, and the two notes are disconnected.

The graininess of Erhu Kuaigong is a continuous block of particles, the beginning and the end are connected. The tones are neither spherical nor jujube-shaped, but a line segment, and the two tones are closely connected with line segments. Even an extremely fast fast bow sounds like a point, but zooming in on it is still a smaller line segment. Because the formation of the fast bow sound is based on the time and distance of the bow hair rubbing the strings, although the distance of the bow hair on the strings is less than 1 cm, it is also a line segment rather than a point. Since the quickbow is the connection between the line segments, why should the graininess be emphasized? This is the genius of the pioneer of the quickbow's granularity. Use the feeling of particles to highlight the texture of the fast bow, and play the short line segments of the fast bow into a blocky and large particle feeling. The connection between the large particles of the block does not allow any gaps, and it must be seamless, so as to improve the high level and high quality of the fast bow.