The hand shape of the left hand of the erhu should be standardized. Generally, the following principles should be followed in holding the piano:

When holding the piano with the left hand, you should mainly pay attention to the inclination of the piano bar and the comfort of the tiger's mouth. Avoid the piano bar being too straight or too right (covering the face). The left upper arm and the outside of the waist form an angle of about 45 degrees, and the lower arm and the piano bar are also roughly at a 45-degree angle. The arm should not be raised too high. The whole hand is in the shape of a half fist, and the four fingers are kept bent (the little finger is preferably slightly bent).

The left hand including shoulder, upper arm, lower arm, wrist, tiger's mouth and five fingers should be relaxed (scientific relaxation, not paralysis-like relaxation). The inside of the tiger's mouth is lightly attached (not clamped) to the piano rod, and the place where it is attached is the good "support point" of the tiger's mouth.

Different teaching materials have different opinions on the posture of the left thumb and the distance from Qianjin, which varies from person to person. Generally, those with smaller hands can appropriately move the tiger's mouth down. The thumb should not be hooked inward. There are three common postures of the thumb (naturally upturned, flat or slightly convex). There are also different opinions. Generally, the one with the smallest contact surface where the tiger's mouth and the piano rod are attached can be selected as the object of choice. Make the thumb stretch out naturally and slightly upwards (the thumb is slightly flat in the second picture). It should be noted that during the performance, the posture of the thumb is not static, but changes dynamically. For example, when the little finger expands and presses the finger downward, the thumb should be naturally upturned.

Difficult fingering that cannot be done with an irregular hand shape. This is in the process of retracting the fingers and changing the handle, but also pay attention to the relative stability of the hand when holding the piano.

Generally, when the strings are empty or when the index finger is pressed, the back of the hand is basically upward (the root joint of the index finger is as close to the piano rod as possible). If the fingers are longer, the palm should face the piano barrel; when the little finger presses the finger, the difficulty of pressing the string with the little finger should be considered. At this time, the palm should be closer to the piano bar (the angle between the back of the hand and the piano bar is reduced), The picture on the left shows the basic posture when the little finger is pressed.

be careful:

1. The meat pad part of the finger end touches the string to avoid the movement of the fingers in the front, back, left and right directions.

2. The force of the finger dropping comes from pressing the base joint of the finger (the force of the palm should not be used), and the force of each joint is concentrated on the fingertip to avoid hard pressing and virtual pressing.

3. In addition to the fingers that should be pressed, there should be a certain amount of pressure, and the fingers that are not pressed should be relaxed. And each finger should deal with the strings when not pressing the strings.

The posture of the wrist is very important to form the correct left hand shape. The left wrist should not be excessively concave or convex, and should be kept straight or slightly convex. The picture shows the left wrist in a slightly convex state when the left hand presses the sound on the low handle. In the first position, the knuckles of the thumb are neither excessively concave nor convex. Generally, it is maintained in a slightly convex state. When the little finger is pressed, the thumb can be raised to a certain angle.

When practicing, the wrist should be relaxed.