I have finished the erhu hand shape practice, string pressing practice and interval fingering practice. Now I will still use the erhu pitch meter to explain the practice of changing the handle. Today, I will talk about how to practice and operate a few essentials of erhu changing handle, I hope it can be helpful to everyone!

The posture of changing the handle of the erhu and the action of changing the handle: all parts of the left hand (arm, elbow, wrist, tiger's mouth and fingers) should be relaxed and natural during the changing of the handle, and the tiger's mouth should not be held tightly against the piano rod. In the technical change of the handle must be "smooth, quick, punctual", to avoid the rush of the fingers. In addition, the thumb should not go first before changing the handle.

1. In the "technical" bar change, the tiger's mouth should be lightly attached to the piano bar, and the bar should be wiped when changing the bar. When there is a portamento switch ("expressive" switch), there is a certain pressure change between the tiger's mouth and the stem, but the stem cannot be squeezed tightly.

2. The action in slow-speed change--the left arm drives the wrist, and then the wrist drives the fingers to change the handle. This is the same as the right-hand bowing principle, that is, the movement of the left finger is passive. The point of in-depth analysis of this action is that the handle change is done by the arm, elbow, and wrist, while the fingers focus on pressing the finger correctly. This division of labor and cooperation is very conducive to the correct position of the handle change and the flexibility and smoothness of the handle change. It can maintain the basic stability of the piano body. See the first column below for specific diagrams.

3. The action of changing the handle quickly - the left arm, wrist and hand are basically the whole movement, that is, the movement of the arm joint drives the left hand in one step to ensure the stability of the hand shape and the accuracy of changing the handle. Excessive wrist movement is not required, and finger (passive) movement is less pronounced.

4. The replacement of the handle at close range (such as semitone spacing) is often dominated by hand movements, and sometimes only the extension of the fingers is used to replace the replacement handle.

5. Generally choose to switch on the strong beat of the rhythm. In addition, the sound before the switch should be played clearly and the time value should not be shortened. In the aspect of right-hand bowing, it is necessary to ensure the synchronization of the fingers and the bow, and the correct distribution of the bow segments.

1. Intuitive judgment method of left-handed hand shape in erhu slow-speed change

1. In the process of changing the handle upwards (as shown in the figure above, changing the handle from the low handle to the high handle position), the left wrist gradually turns from a slightly convex position to a straight or slightly concave state. In the process of changing the handle downwards (from high handle to low handle), the posture of the wrist gradually protrudes upward from the state where the high handle position is basically flat. Note: No matter whether you change the handle up or down, when the handle is in place, the wrist should be restored to the normal, relaxed finger movement state (slightly convex state) and the correct angle of touch.

2. The left finger feels pushed down by the wrist when changing the handle upwards, and the left hand feels like being dragged upwards by the arm and wrist when changing the handle downwards. Therefore, in the process of moving up and down, the radians of the joints of the fingers are different, and the changes are also different (the joints gradually bend when going up, and the joints become flat when going down). Note: Regardless of whether to change the handle up or down, when the handle is in place, the arc of the pressing finger should be restored to a normal, slack bending posture, and the appropriate pressing finger pressure should be quickly restored.

3. With the rise of the handle position, the distance between fingers 1-4 should gradually decrease, and vice versa.

Note: When the speed of changing the handle is accelerated, especially when the distance of changing the handle is short, the change of the corresponding posture in the changing of the handle is not large. Although the movements in the slow and fast handlebars are different, the corresponding movements are similar, that is, the above-mentioned basic principles should be followed.

2. The concept of "guidance" should be introduced in the replacement of erhu

In order to change the handle smoothly, "guidance" and "medium sound" should be introduced in the handle change, which is the only way to master the correct position of the handle.

The figure above shows the three tones of "3 67", of which the two tones of "67" are in the third position. In the picture, the index finger is the "guidance", and the sound of "5" is the "medium sound". To change the handle, the index finger is first guided from "3" to "5", and then the two sounds of "67" are pressed. When first practicing on the real piano, you can slide your index finger to "5", and you should be able to hear the sound of "5". After you are familiar with it, you can use "virtual sliding" (moving your finger) to weaken or remove this "medium". sound". It should be clear that the index finger is the "guide finger" and the middle finger is the "reaching finger" (because the purpose of changing the handle is that the middle finger can press the "6" sound).

Pressing "3 67" in the picture above is a special case, which belongs to "different finger switch". For more specific content about "Guide" and "Medium Sound", please refer to the "Guide, First Slider, Tail Slider" page.

Note:

1. Erhu's bar-changing skills can be divided into "technical" and "expressive" in performance. For handlebars that do not require portamento, try to minimize the presence of "medium sound" traces. Generally speaking, portamento is needed when expressing emotion in a slow change.

2. The "medium sound" should not be quoted excessively, and the time value of the original sound should not be occupied, and the "medium sound" should not be reduced by "jumping". There are different ways of dealing with "medium sound", and we should learn from various aspects to change the correct use of "medium sound".

3. Generally, after learning "slip finger changing" and mastering the accurate handle changing movement, you can further learn "moving finger changing handle". There are also many techniques in the "finger shift" method, such as shortening the "finger shift" distance, changing the handle at the chromatic relationship, etc., to better reduce the existence of portamento.

3. Changes in the frame and finger shape of the Erhu handle

To ensure the intonation in changing the handle, not only requires the coordination of the hand, wrist, arm and shoulder during the changing process, but also requires attention to the change of the fourth-degree frame and finger shape. In the process of changing the handle, the four-finger frame and finger shape required for the new handle position should be completed quickly and in time, so as to facilitate the pressing of the fingers in the new handle position. In the process of changing the handle, it is necessary to develop a sense of the size of the new handle frame, the sense of distance of the finger shape, and to clarify the order of the fingers that the new handle will be pressed. In the transformation of the finger shape, the change of the position of the front and rear semitones is the most important.

The picture above is the change bar on the outer string of F major, the finger shape of the first position is "222"; when the bar is changed to the second position, the finger shape of the finger becomes "221"; In the third position, the finger shape of the fingers becomes "212"... As can be seen from the picture, the frame of the four fingers in the upper handle is gradually reduced.

Note: In a few occasions, it is not necessary to change the middle finger type, such as the repeated up and down change of a certain finger or a short change of the handle.

4. The "cutting method" of the traditional Erhu position

In the "traditional position" of the erhu, it is divided into five (upper, middle, lower, second lower, and lowermost). The advantage of this method of using "Do(1)" or "So(5)" as the starting point of the handle is that it is easy to memorize and the pitch is easy to control. The control of the sound before and after changing the handle is also easy to achieve, and beginners often use this method to learn to change the handle.

The picture above shows two tonal "cut bars" conditions:

1. D key -- when the index finger is pressed on the "" sound, this is the "middle position" in the traditional position, and the above picture is the situation on the outer string. On a real piano, the index finger is "cut" in the "4" position.

2. F key - the index finger "cuts" on the "5" (middle position) and "" (lower position) of the F key.

Note: The hand shape (posture, hand shape, finger shape) of the left hand cutting the strings should be standardized, the four fingers should be arranged along the phonemic direction, and the four fingers should be kept bent (the little finger is preferably slightly bent), and the tiger's mouth should not be tightly clamped. rod.

That's it for the four essentials of erhu changing. I don't know if you have any doubts. If you have any, you can leave a message in the comment area to discuss. Tomorrow I will talk about the skill practice of erhu's leading tone, medium tone, portamento and so on.