To strike a bow is to lift the bow about 10 centimeters away from the qin barrel, and then strike down quickly. When the bow falls to the qin barrel, the fingers exert force on the bow shaft. Use the downward momentum of the bow to increase the stringing pressure of the bow hair, and at the same time cooperate with the rapid movement of the right hand to produce a powerful sound. After a bowing note is completed, the bow will jump out of the harp again under the action of its own elasticity. If the next note still needs to be played by bowing, then just hit the bow again and repeat the bowing action. If the second note is not a bow strike, let the bow fall freely and do not strike down hard. When the bow falls back to the qin barrel, the fingers do not need to exert force instantly, and the right hand should not move quickly, just enter the normal bow.

Pay attention when playing the bow: When the sound is made, make sure that the bow jumps naturally, so that the pronunciation can be elastic.

If the same bow segment and the same bow direction are played consecutively when the bow is played, we call this kind of bow "the same direction in-situ bow". It is to return the bow to the preparatory position for the first bow when the bow naturally jumps after playing a bow, and then perform the same bowing action in the same bow section. This kind of in-situ bowing is generally only used for drawing the bow. The speed of the two bows is not too fast. The effect is stronger and more powerful than ordinary bowing. the beginning. The whole action process is that the bow is driven by the hand to draw an ellipse on the upper and lower planes, much like shaking an eccentric wheel counterclockwise with the hand. During the performance, special attention should be paid to the back bow not to bring out the noise of rubbing the strings.