Erhu must be practiced every day

1. Slow and long bows must be practiced with empty strings: As the saying goes, three-point fingering and seven-point bowing are enough to illustrate the importance of erhu bowing. Bowing is the foundation of erhu pronunciation, which is related to the sound quality and timbre of erhu pronunciation, while slow bow is the foundation of bowing, and students should take it seriously and practice carefully. When practicing the slow bow, the right shoulder should be relaxed and the elbow should be lowered, emphasizing the coordinated movement of the upper arm, forearm, wrist and fingers, so as to be flat, straight, rhythmic and stable.

2. Scales must be practiced: Erhu intonation is more difficult to master. Intonation is the basis for erhu players to express their music to be beautiful, moving, and touching. It is particularly important to practice erhu intonation, and scale practice is an indispensable practice for improving intonation. Therefore, practice must be strengthened. When practicing scales, special attention should be paid to the scales and finger spacing of each key, and the relationship between the major second and the minor second.

3. Vibrato must be practiced: Erhu's vibrato (playing tone) is widely used and extremely important to express the style of music in the performance of erhu. Vibrato practice is mainly to practice the flexibility and elasticity of the left hand fingers hitting the strings. There are many pieces of music that use vibrato properly in the performance process, which can add the finishing touch to the music and give people a bright and fresh feeling. Do not press with the back of your hand when practicing vibrato, but pay attention to the movement of the palm joint of your left hand and let your fingers hit the strings. When practicing, practice slowly first. When practicing slowly, raise your fingers slightly. When your fingertips hit the strings, you should use a little force. The frequency and speed are uniform, clean and elastic!

4. The fast bow must be practiced: the enthusiasm and unrestrainedness of the fast bow is extremely important for the performance of an erhu work. The fast bow should be played clearly, brightly and granularly, and with the change of dynamics, it can push the music to a climax and leave an unforgettable impression on the audience. If the basic skills of Kuaigong are not good, it will be difficult to perform an erhu work well. In order to practice the short and fast bow well, on the one hand, it is necessary to master its correct method, but also pay attention to starting from slow training, pay attention to the cooperation of both hands, and must not be impetuous and careless. When practicing, pay attention to the starting strength of the bow and the point of wiping the string, the wrist must be relaxed and swinging, the bow must be felt, and the power points of each bow must be used freely!

5. Practice for changing the handle: The core problem to be solved in the practice of changing the handle is the intonation. When practicing the traditional first position (upper position), the intonation can generally be completed well, but in the second position or higher, the intonation problem cannot be guaranteed, and the melody played is nine tunes and eighteen keys. It is necessary to master the sliding finger change, open string change, and the same finger change in the traditional position, and the new position is the finger change. , and then make the music beautiful and beautiful. When changing the handle, pay attention to the free lifting and falling of the upper and lower arms. When changing the handle at a slow speed, the falling is soft and the lifting is slightly slower. Quickly change the handle straight up and down! !

6. Vibration must be practiced: the sound of the erhu is very similar to the human voice. Vibrato is one of the most commonly used techniques in erhu performance. Vibrato is an indispensable and important means for erhu to express music. It is like the color in art, which can make the work. Brilliant. Proper use of vibrato can make music beautiful and touching. I ask my students to practice vibrato with stylistic pieces of music every time they practice the piano. When the palm is lifted, the palm should be relaxed and naturally lifted up and down. When the palm is lifted, the fingers are slightly stretched and the fingertips roll up on the string. When the palm is lowered, the fingers make a fist and the fingertips roll down on the string. Slowly lift the palm first. When the wrist and forearm move up and down with the palm, do not use force on the wrist and forearm, pay attention to the slightly larger and even lower range of the palm!

There are five types of bow movements to be aware of when practicing:

1. The flexible bowing method mostly appears as a slow bow, which has two characteristics: one is the slow running speed of the bow; the other is the fine and soft sound of the bow head. This type of bowing is mostly used to express beautiful, lyrical melodies and express people's nuanced emotional experience.

2. The agility bowing method mostly appears with the slow bow. Its two characteristics are: the bow runs slowly and the bow sound is tough. Because of the need to use the fingers, the agility of the wrist to make an explosive movement, and to distinguish it from the previous bowing category. This type of bow is mostly used to express sad and depressed musical emotions.

3. The fluency of the bow method is that the speed of the bow is fast; the second is that the bow head sound is clear and sharp.

4. Dexterity mainly refers to those fast combined bowing techniques, which are characterized by fast and changeable bowing speed and relatively small range of motion. It mainly expresses warm, cheerful and lively passages.

5. Rigidity has two characteristics: one is the strong force of the bow; the other is the strong explosive force of the bow head. This kind of bow is often used to express the magnificent scene or heroic spirit, as well as the excitement and tension.

When practicing, pay attention to the changes in the intensity of rhythmic bowing: when playing split bows, different rhythms will form different bowing changes. In any rhythm, there are actually two different and simplest basic elements, that is, the length of the sound and the weight of the sound. Rhythm is the smallest unit of rhythm. When playing bows formed by different rhythm patterns, a common problem is that often only attention is paid to the length of the time position of the musical notes, while the changes in the severity of the musical notes are ignored, which will inevitably affect the accurate expression of musical thoughts. The length and severity of the musical sound are inseparable from the control of the bow speed and bow length, the adjustment of the bow pressure and the adjustment of the bow position during the bow movement. Compared with the light and heavy notes in the rhythm pattern, the heavy notes should have a certain length of bow, and the bow length of the heavy notes should rely on the light notes of a bow in front of the heavy notes. , and quickly adjust the bow position to the bow position suitable for the accent attack, so that the accent performance can be completed smoothly. Otherwise, the pronouncing of the bow will be indistinguishable, flat and straight, or the performance will be unsmooth, and the musical emotion cannot be well expressed.

1. The characteristics of long and short bow bowing are "one long and two short" and "one heavy and two light". (Column: the first eight and the sixteen) the length of the long and short bows is relatively large, that is, the long bow should be long, and the short bow should be short. The length of the short bow does not correspond to the musical timing. For the long and short bows, the accents are combined with a long bow, and for the light sounds, the short bows are used for the point-like pronunciation. Long and short bow legato is a kind of bowing method with accent and pull and push change direction. Therefore, when changing bows, pay attention to control the bow speed and bow length according to the musical tone value, adjust the bow pressure and adjust the bow position reasonably so that Play continuously. When the long and short bows are played quickly, the bow length of the long bow should be shortened accordingly, and the bow position should be close to the middle of the bow, but the bowing characteristics of "one long and two short" and "one heavy and two light" will not change.

2. The characteristics of bowing in the point-bow method are "one long and one short" and "one heavy and one light". The bow length of the long note is relatively long, and the bow length of the short note is relatively short, but after the short note is issued, the bow should be raised quickly with the forearm to the bow position suitable for the attack of the back accent, so that Play continuously. The accent of the split bow point can be played with the bow length of the half-bow and the line combined with the pronunciation. When the split-bow point-bow method is played quickly, the length of the bow should be shortened accordingly, and the position of the bow should be close to the middle of the bow. When playing legato with split bows, you should not only control the speed and length of the bow, adjust the bow pressure, but also adjust the bow position according to the time value of the musical tone, otherwise it will cause the bow length of the accent to become shorter and shorter, and it will not be able to make the bow. Output, so that the intensity of the long and short notes are inverted.

3. The bowing characteristics of the syncopated bow method are "one short, one long, one short" and "one light, one heavy, and one light". The short note in the first half beat of the syncopated bow method can be played from the root of the bow or the middle position of the bow, and the forearm is used to move the bow by "lightly pulling the fast band" within the half beat to quickly adjust the bow position to a suitable position. In the bow position where the accent is played in the second half of the beat, it is sufficient to play a point-like light note. In the second half of the longbow with a cross-beat accent, while highlighting the accent point, use the big arm to control the bow speed and bow length in the first half of the accent, and move the bow quickly and smoothly with the big arm and forearm in the second half of the accent. The accent of the combination of dots and lines. The short note of the last half beat can be played with a short bow to complete the performance of the syncopated bow method. When the syncopated bow method is played quickly, the length of the bow is shortened accordingly, and the position of the bow moves closer to the middle of the bow. If there is a continuous cross-beat syncopated accent, pay attention to controlling the bow speed and bow length in the first half of the accent, otherwise the time value of the one-beat accent cannot be maintained. The syncopated bowing method is also a bowing method with accent and pull-pull change direction when playing legato, in which the bow position of the accented attack is adjusted according to the musical tone time value, and it is very important to control the bow speed and bow length in the first half of the accent. .

4. The characteristics of the triplet bowing method are: the first bow is relatively long in stress, the second and third bows are relatively short in light, and the third bow needs to be "lightly pulled and fast-belt" to adjust the bow position to a bow suitable for the subsequent stress attack. position for continuous performance. When the triplet bow is played at a slow speed, the length of the bow can be relaxed accordingly; when played at a fast speed, the length of the bow can be shortened accordingly. The bow position is concentrated towards the middle position of the bow, but regardless of the speed of the bow, it is necessary to adjust the bow position by "lightly pulling the fast band" before the onset of the accent, which is very necessary to highlight the rhythmic accent. The triplet bowing method is also a bowing method with accent and pull-pull change direction when playing legato.

Three basic bows that must be practiced every day:

How to practice the basic skills of erhu bowing: basic skills are very simple things in people's minds, so many people ignore them. Just like the foundation of a high-rise building, it is impossible to build a solid high-rise building if the foundation is not well laid. However, the practice of basic skills must be continuous. Unlike practice songs, you can see obvious progress after practicing for a few days or even a few weeks. Only after long-term practice of basic skills will you find your progress. . So it is very hard work.

1. Change strings for longbow and slurred bow: take the bow as the first bow, 4 times for the outer string, 4 times for the inner string, 4 times for the outer string for the inner string, and 4 times for the inner string for the outer string. Changing the inner string to the outer string means that, for a bow, the upper half of the bow is the inner string, and the lower half of the bow is the outer string.

Practice requirements: Practice at three speeds: slow, medium and fast. Practice 5 times a day

Matters needing attention: 1. It should be noted that it must be pulled from the heel of the bow to the tip of the bow. Be sure to draw a full bow. Many people can't draw their arms to the full bow, but it has to be overcome. With some practice, you can let your arms go. 2. Use your brain in the process of pulling, and slowly realize that when pulling the bow, the sequence of the movements of each joint should be remembered that the bow must be flat and stable, no matter what speed it is.

Second, the middle bow: the position of the middle bow is about 15CM, and the distance from the bow heel is also about 15CM. Draw the bow as the first bow, starting from the middle bow position. 4 bows on the outer string, 4 bows on the inner string, 3 bows on the outer string, 1 bow on the inner string, 3 bows on the inner string, and 1 bow on the outer string.

Practice requirements: the same as longbow and slurring. Practice at three speeds: slow, medium and fast. Practice 5 times a day.

Matters needing attention: Use your brain in the process of pulling, and realize slowly. When pulling the bow, remember the order of the movements of each joint. Remember that the bow must be flat and stable, no matter what speed it is.

3. Bow tip splitting: Different from the above two exercises, the first bow of the bow tip splitting bow is the push bow, the outer string is 4 bows, the inner string is 4 bows, the outer string is 3 bows, the inner string is 1 bow, and the inner string is 3 bows. , outer string 1 bow.

Practice requirements: the same as longbow and slurring. Practice at three speeds: slow, medium and fast.

Matters needing attention: In the split bow, the big arm is basically immobile, so the requirements for the wrist are strengthened and it must be flexible enough.

I emphasize to use the brain, not to be fooled by the boring practice of bowing, but also to think about how to do it better. Bowing should be practiced for no less than 20 minutes every day. Students should stick to it! Live finger practice.

fast bow exercises

Quickly pull the empty string: pull the bow: 1155 1155 1155 1155 1155.....as fast as you can pull as fast as you can, try to speed up; then push the bow again: 5511 5511 5511 5511 5511... (same as above) practice It was very effective for a while. Pushing the bow is awkward, so you must practice slowly. Gradually increase the difficulty, take the practice of different bow sections, first use the middle bow, then use the tip section and the root section of the bow, the feeling is different. If you can practice the piano for one and a half to two hours a day: Zhao Hanyang and Liu Yi'an's "Alternate Fingering Practice", Zhao Yanchen's "Eleven Kinds of String Changing", and Zhang Shao's "Quick Alternating Fingering Practice", I would The fast bow exercises and strength exercises written about 20 minutes; the next day, I practiced Wang Guotong's five-section "fast finger exercises".

Must-Practice Music: Good Night, Horse Racing, Bright Walk