Bowing is one of the main means to transform the timbre of the erhu and reveal the content of the music. When carrying the bow, the movements must be coordinated, the hand shape is natural, the movement has a track, and the bow must be active. The bow should be in a straight line.

Bowing is a key training item for the basic skills of erhu playing. The length, short, fast, slow, light, heavy, slow, rapid, and even depression, yang, pause, and setback of the erhu qin sound depends to a large extent on the right hand of the bow. Therefore, bowing is one of the main means to transform the timbre of the erhu and reveal the content of the music. However, some beginners don't pay much attention to the bow movement, thinking that pulling the erhu mainly relies on the fingers of the left hand. Once the fingers are pressed, the tune can be pulled out. The forearm is used to drive the bow to swing left and right; some even the forearm and wrist are basically deadlocked when carrying the bow, and the big arm makes a large movement to drive the bow to push and pull irregularly on the qin barrel. Both of these two forms of bowing only depend on the local movements of the right hand, which causes tension and stiffness in other parts, making the bowing movement shaky and trembling. Even if the left hand is more proficient in pressing the strings, the sound will still be indistinct.

In order to make the erhu sound beautiful and unified, the right hand of the bow must be coordinated, the hand shape is natural, the movement has a track, and the bow must be active. The bow should be straight, and the running trace left by the bow hair on the piano barrel is basically a straight line; at this time, the wiping force of the bow hair is adapted to the vibration of the string, and the pronunciation is natural, round and smooth.

The "one line" that the bow runs, looks simple, but it is not very easy to do. In terms of drawing a bow, the correct bow movement should be: the upper arm takes the shoulder joint as the axis, rotates slightly outward, the elbow moves slightly forward to the right, and the forearm, under the control of the upper arm, drives the wrist to move forward. Make a uniform motion to the right. With the slow movement of the bow, the distance between the point of the bow hair and the point of holding the bow gradually widens, the wrist gradually bulges to the right, and the fingers gradually straighten. In this way, the right hand pulls the bow smoothly from the root to the tip of the bow under the coordinated action of various connected parts (the end near the bow holding point is called the "bow root", and the end opposite to the bow holding point is called the "bow tip"). ).

If you then turn to pushing the bow, the bowing procedure is exactly the opposite of the drawing bow. The specific actions are: the upper arm rotates slightly inward, the elbow moves slightly parallel to the left front, and the wrist pulls the bow to move at a constant speed from right to left under the action of the upper arm and forearm. As the wiping point gradually approaches the bow holding point, the angle formed by the upper arm and the forearm gradually becomes smaller (the right half of the bow is stabilized at a right angle), the wrist is gradually straightened, and the fingers are gradually bent. On the surface, the pushing and pulling of the bow seems to be the alternating flexion and extension of the wrist and the fingers, but it is actually the joint action of the right shoulder joint, the upper arm, the elbow, the forearm, the wrist joint, the wrist, and the fingers.

A coordinated bow does not mean that the basic requirements of pronunciation have been met. With this external bowing action, although the bowing route is "one line", the frictional force of the bow hair on the strings is also constantly changing due to the constant change of the distance between the point where the bow hair brushes the string and the point where the bow is held. Therefore, it is possible that the pronunciation of the root of the bow is cloudy and harsh, and the pronunciation of the tip of the bow is light and dull. Therefore, we should also pay attention to controlling the internal wiping strength, that is, adjust the wiping strength of the bow hair at any time according to the distance between the bow hair wiping point and the bow holding point. When the wiping point moves to the bow tip, it gradually increases Gradually reduce the wiping strength as you approach the root of the bow. In this way, the pronunciation of each bow drawn or pushed is consistent, round and full.