According to the principle of acoustics, each accurate musical sound has its fixed vibration frequency. If each sound played matches the vibration frequency, then these sounds are accurate, otherwise they are not accurate.

Intonation is the most basic and most important part of erhu performance. Since the erhu has no fingerboard and no taste, the pitch "63" has no specific position, and is completely mastered by the player's sense of pitch and understanding of the music. Therefore, the pitch control is quite difficult. If you want to play a series of accurate tones easily and with certainty during performance, in addition to the skills of pressing the tone and changing the handle, the most important thing is the judgment and control of the auditory pitch. A player with a very sensitive pitch sense will feel uncomfortable when he hears inaccurate notes in his performance, so he subconsciously corrects the movements of his left hand until it is in tune. This speaks volumes about the importance of hearing for controlling pitch. First of all, the inner hearing of the player should be trained, and then the position of the fingers to press the sound and the scale of the handle should be adjusted under the guidance of the auditory. This process of training to identify and control the pitch requires the player to pay attention from the beginning to the end, otherwise it is impossible to train well in tune.

Here are some solutions to some pitch problems:

1. The sound of the empty string is not allowed. Open strings should be tuned before practicing or playing, just like tuning a band before a performance. Strictly press d at the same time, an a ' sound inside and outside the school.

2. The alto is not allowed. There should be an accurate concept between the mid-tone and the tone of the music, and attention should be paid to the width of the finger spacing. The most common is the inaccurate semitone relationship, often the finger spacing is too wide, making the minor second larger and the pitch too high. The chromatic relationship is generally between the third and fourth steps and the seventh and eighth steps of the heptatonic scale. The seventh step should be slightly higher when the melody goes up, so as to enhance the tendency of the lead to the tonic. In addition, due to the tuning of the erhu, the fingering of the semitone is often changed, such as the semitone in the key of D is between the second and third fingers; the semitone of the original handle in the key of G is between the first and second fingers of the outer string, but the inner string is between the second and third fingers; F The semitone of the key is between the third and fourth fingers... Therefore, you should practice the accent scale according to the fingering of different keys, and pay attention to the change in the width of the finger spacing in each key.

The intonation of the above two problems should be solved through "ear training". It is necessary to listen to the scales and intervals of the piano, and sing inwardly, so as to improve the ability to distinguish pitches as much as possible. The distance between the fingers.

3. The position of the tiger's mouth holding the piano is not fixed, which affects the intonation. In the practice of the original handle, the position of the tiger's mouth sticking to the piano bar should be based on the accuracy of the sound dropped by one finger, and should not be too high or too low. In addition, some people with small hands move down the position of the tiger's mouth when pressing the four fingers, resulting in a high pitch. The way to correct it is: keep the tiger's mouth sticking to the piano bar position, press the four fingers with the palm slightly to the side, and return to the normal hand shape after use.

4, change the tone is not allowed. Moving the handle up and down with the left hand during performance is also one of the important reasons for the inaccuracy. The force and method of correction is: the player must have the concept of pitch after changing the handle. First of all, you must master the intonation of each position, and then you must change the accuracy and sense of proportion. When changing the handle, you must overcome the nervous psychological barrier. The left arm and wrist should feel relaxed, and the brain will direct the hand to move to the correct position. As long as the method is correct, after long-term training, the arm will be able to move up and down in a measured manner, and the intonation will be solved accordingly.

5. The vibrato is not allowed. When learning to vibrate for the first time, because of not mastering the uniform feeling of the amplitude, speed, and weight of vibrato, it often results in the wandering of the sound. At this time, use the auditory adjustment to control the amplitude, strength and speed of the vibration of the wrist and palm until the vibrato sounds harmonious and pleasing to the ear. When playing some local styles of music, due to the use of some special kneading techniques, such as sliding kneading, pressing kneading, kneading, etc., some characteristic tones should be played slightly higher or slightly higher according to the style characteristics of the music. A little lower (such as Qinqiang, Wanwanqiang, and 4 and 7 in E-tune music in the northwest). Vibration is to express the emotion of music and enhance the artistic appeal of the work. Therefore, players must choose appropriate vibrato techniques according to the needs of music, and conduct vibrato with a good sense of pitch. This is what every performer must pay attention to.

In short, intonation is very important, and every player must develop a keen sense of pitch and a good habit of correcting intonation. The sharper the hearing and the more skilled the technique, the quicker the action to correct pitch. Slow practice is the best way to correct pitch. It can make the performer calmly check every inaccurate tone, thereby continuously improving the auditory ability and technical proficiency, so that the performance is handy and the tone is accurate.