Today, I will talk to parents about the problems that are easy to occur when children play the erhu, and how to correct them.

1. The question of how to hold the bow.

Children holding a bow do not pay much attention to the interaction between the thumb, index finger and ring finger. If the requirements and essentials of the three fingers in holding the bow are unclear, and the requirements for oneself are not strict, then it will be difficult to coordinate the leverage of the force point, the fulcrum and the key point. Due to the uneven end of the index finger (the bow rod), the wrist is slumped down, the bowing wrist is weak, and the force point is unclear, and the bow rod is often out of control, causing the 2 mics of the bow rod to slip on the index finger, turning in circles or wrist stiffness. Once teachers find that students have these problems, they should pay great attention to them and correct them in time, so that students can truly experience: the index finger has a feeling of being lifted up, the thumb has a downward pressing effect, and the middle finger has a kind of feeling when pulling the outer string. The effect of hooking in. Therefore, holding a bow with fingers is generally summed up in the words "lifting, pressing, topping, and hooking". Because the quality of holding the bow directly affects the timbre and sound quality of the erhu and the success or failure of the erhu music, teachers must check and correct them repeatedly in the classroom until they truly meet the requirements.

2. Common problems with bows.

In children's bowing, there are often irregular movements in the bow speed, the direction of the bow is not straight, the bow is suddenly fast and slow, the up and down, the left and the right are irregular, or the bow is drawn quickly, the bow is pushed slowly, the bow is strong, and the bow is weak. , The common problems of heavy arch root and light arch tip. These common faults should be reminded in time to clarify the root cause of these problems, let the children stabilize the bow first, and distribute the bow sections reasonably according to the rhythm. It is at right angles to the strings, and the root of the bow should be believed in the bow. The further the root of the bow is away from the barrel, the stronger the force will be. On the contrary, the closer it is to the barrel, the force will gradually weaken, so that the strength of the bow can be uniform and round.

3. Left hand piano problem.

The left hand holding the violin is often due to the improper method of holding the violin with the left hand, resulting in the tiger's mouth tightly clamping the violin rod, the thumb is too upturned, and the left hand is tense, so that the violin rod is too straight or the stretch of the big arm is not enough. Pushing the piano bar to the right, covering the face, seriously affected the image of the playing. In response to this problem, teachers should pay attention to the students' tiger's mouth extending and loosening, and the thumb is naturally flat on the inside of the piano bar, so that the piano bar is naturally inverted. When playing, the tiger's mouth should be as loose as possible to reduce friction. This is also very beneficial for future learning to change the handle.

4. Left hand cut string problem.

The hand shape requirements for cutting strings should be standardized. Some students do not pay much attention to their own hand shapes, and do not follow the teacher's requirements. The strength, strength and operation of the string cutting, or the left finger stretched too straight or too far apart, will affect the tuning of the string and the change of the handle. The four fingers are arranged in the direction of the phoneme, the knuckles are bent, and the fingertips should be arranged above each note. It is required to hold it naturally and relaxedly on the piano rod. This kind of cutting hand shape is both beautiful and easy to operate. , which is of great benefit to the development of future technology.

5. Finger strength and sound quality.

It is generally believed that as long as the fingers can touch the strings, what is the finger force and point of force for cutting the strings? How is the sound quality? Do not analyze. When cutting strings, the sound quality is often loose, the skin is collapsed, the fingers are weak, the sound pattern is blurred, etc., or the fingers are too tense, the finger joints are ineffective, the rise and fall are slow and rigid. The correct method of cutting strings is based on the specifications of the left hand piano. The ups and downs of the fingers should be clean and clear, and the joints of the fingers should be elastic, so that all the force is transmitted to the fingertips. On the contrary, the finger strength is not in place, and the sound quality of the cut strings is pale and weak. In a word, the learning of erhu is a systematic project, and one cannot ignore the other. While paying attention to the bowing of the right hand, it is also necessary to pay attention to the display of various skills of the left hand.

6. problem of intonation.

The intonation of the erhu is a difficult problem for beginners. Under normal circumstances, as long as the students have no problem with hearing and can follow the teacher's requirements when practicing the piano, the problem of intonation is not difficult to solve. I'm afraid that I'm not strict in practicing the piano, and I don't have to listen to it, and I'll develop some intonation problems that shouldn't appear. For example, the common finger spacing is inaccurate, one finger is easy to be high, the little finger is habitually low, the relationship between semitones is ambiguous, and when the handle is changed, it is suddenly high and low. In the classroom, the teacher corrects it a little better, and then returns to life again after returning home. This repeated failure to correct the intonation problem in time is very harmful to deepening the study of erhu. For intonation teaching, I generally use the method of one listening, two reading, and three corrections. That is, students are required to pay attention to hearing, and whether the intonation is mainly identified by the ears, which is the main method. The second is to look, which is to identify the intonation by visual inspection (the method of visual measurement of finger distance and position). The third is to correct frequently. If the sound is inaccurate, it must be corrected in time. Never let go of every inaccurate sound. The speed of correction can be slow at the beginning, and the speed of correction will be faster when the hearing sensitivity is improved.

7. rhythm problem.

The rhythm problem is also another problem that is easy for children to learn the piano. It is often caused by obstacles in the recognition of spectrum. In such a situation, teachers should patiently correct the rhythm problem on the one hand. On the other hand, it is necessary to arrange time to teach students music theory and reading notation. When a teacher starts a new class, he must first let the students sing notation and explain the rhythm of the music and the problems that should be paid attention to. The rhythm problem of children learning piano is that they drag the rhythm or grab the rhythm when changing measures, the rhythm of syncopation and rests is unstable, and the rhythm of strong and weak beats is unclear. There is a certain amount of time to solve some problems. For children who are beginning to learn Erhu, it is a very effective method to take professional courses, music theory courses and music knowledge courses. Often can play a subtle and multiplier effect.

8. Regarding relaxation.

Relaxation is one of the most common, basic, and most critical issues in erhu performance. Some children are tense when they play the violin, from the head to the shoulders and the whole body is in a rigid state. The rigid movements are inelastic and the sound quality The dull, obscure tone is mainly due to the lack of attention to the practice method. To relax the erhu, the first thing is to relax mentally. When playing, the shoulders, arms and hands (including the whole body) should be relaxed. When carrying the bow, the wrist should not be stiff, and the force of the bow hair to press the string should not be too large or too strong. Heavy, there must be a procedure for pushing and pulling the bow (pay attention to the flexibility of the wrist), and pay attention to breathing evenly and freely during the performance. Relaxation is achieved through repeated practice and practice. All in all, to get the best sound quality, relaxation is essential. Relaxation is not without force, but with just the right amount of force. It is necessary to exert force on the basis of relaxation, so that the sound produced is beautiful and beautiful, the sound quality is strong and full, and the melody is smooth and round.

9. Change the problem.

In the erhu playing technique, changing the handle is very important, it is an important means to expand the expressive power of the erhu, and it is also an important lesson for learning the erhu. At the beginning of learning to change the bars, students are prone to nervousness psychologically. The main reason is that due to insufficient relaxation, the tiger's mouth is tightly clamped to the piano rod, resulting in blockage and poor smoothness when changing the bars. At the same time, the students do not pay attention to the angle of the piano when changing the bars. When changing bars, the tone is inaccurate or the movement is heavy and awkward. Teachers should give students more demonstrations of changing bars, explaining the essentials of changing bars and the issues to pay attention to. Changing bars is a performance movement from one bar to another. When changing handlebars for the first time, you should strictly abide by the method of using the fingers with your hands, that is, when changing the handlebars upwards, your wrists should lead down; when changing handlebars downwards, the wrists should be brought up first. It is not obvious at the time, but it still exists, because the changing of the handle is done by the joint action of the upper arm, forearm, hand and fingers. When learning to change the handle, it can be done in stages. Practice the second position, and then continue the practice of changing the first, second, and third positions. In the practice of changing the bars, special attention should be paid to the accuracy of the sound and to reduce the friction of the tiger's mouth on the piano rod, which not only makes the up and down changing more convenient, but also can Keep the body of the piano stable, and at the same time have a plan in the practice, step by step, step by step, start slowly, and then gradually speed up when you are proficient.

10. vibrato problem.

Erhu's vibrato is to beautify the timbre and serve the music. After children learn Erhu for one stage, in order to cooperate with music teaching, they can practice kneading techniques. For children, beginners should master the wrist kneading method. For other vibrato (pressing, sliding), you can temporarily leave it alone, because wrist kneading is the most commonly used method in erhu kneading techniques and must be learned first. Children have small hands, good softness, and quick acceptance. more favorable. As long as the teacher demonstrates the movements clearly and explains the essentials thoroughly, it will not be difficult to learn the vibrato well. The key is to use the wrist (up and down kneading) to drive the various joints of the fingers to fluctuate up and down, so that the fingers evenly vibrate the strings to emit round and soft sound waves, increasing the appeal of the music. In the process of learning to vibrate, the common faults of children should be corrected in time. For example, the uneven speed of kneading caused by insufficient relaxation of the left hand, the tension of pressing the string in bursts, or the phenomenon of fast and slow, heavy and light, and due to the strength of the fingers, the fingertips are often not pressed. Hold the string, the fingers slide down with the vibrato, and the higher the kneading. At the same time, the students should be reminded to pay attention to the appropriate speed and strength of the vibrato. Too large, too fast, too heavy, and too light will affect the vibrating sound.