When changing bows, you should be active, the transition between pushing and pulling should be natural and smooth, and a certain contrast should be formed in terms of timbre and strength, and should be carried out in accordance with the corresponding rules.

Another key to carrying a bow is to change the bow. Changing bows is a transition between pushing and pulling. It should not only transition naturally and smoothly, but also form a certain contrast in terms of timbre and strength. In order to achieve such a requirement, it is necessary to strive for the initiative of changing the bow, so that every "push" or "pull" conversion action appears calm and prepared. Specifically, when the bow is still running smoothly, the entire right hand of the bow should be prepared and prepared for the upcoming bow change; when changing the bow, the wrist and fingers will naturally lead under the control of the forearm. The bow turned smoothly. If the bow change is passive, there will be a clear gap in the pronunciation of the erhu.

There are certain rules for changing bows. If you don’t change the bow where you should change the bow, it will make the bouncy tune lack vitality; if you abuse the bow in the place where you shouldn’t change the bow, it will make the round and smooth melody appear. Fragmented. Lose the string effect. Generally speaking, if the tuplet "⌒" in the music is not a lining or dragging cavity of more than four beats, no matter how densely the notes covered by "⌒" are and how large the span of the range is, it should generally be treated as a bow. No changeable bow splits (this is especially true for notes extended with a tie "⌒" as a specified duration); if the note head is not covered by "⌒", no matter how short the note duration is, it should be one note per note Bow, not a bow to play several notes without an arc on the head.

In order to gain the initiative to change the bow, you must have a certain rhythm concept in your mind. Although changing bows is not necessarily carried out under a square rhythm (except for fast bows), the bows between these tones often constitute a certain rhythm pattern.

Where to use the draw bow and where to use the push bow, you should fully consider and make a preliminary estimate before you play. According to the common habit of the performers, most of the bow at the beginning of a piece of music is a draw bow, and the last bow is mostly a push bow. Push and pull the bow sequence to make appropriate adjustments. If the total number of push and pull times in each passage or phrase is even, it is just in line with the bowing rule of "pulling the bow, pushing the bow and closing"; if it is an odd number, adjust the odd number to an even number, otherwise push and pull the bow There will be a "pulling" phenomenon in the sequence.