Erhu has entered a new era of acoustic vibrato, and it is very necessary to re-understand the principles and importance of the three elements of vibrato. First of all, it is necessary to know that the road of erhu accent is the only correct and practice-proven direction that must be moved forward. To move in the right direction, we must fully and correctly understand the three elements of vibrato.

One, the frequency

What is the most correct frequency for erhu vibrato? The concept of the correct frequency selection application is currently quite vague in the industry. Very random and unclear, each performance of a certain note is largely different. Euphemistically called this time, the mood, mood, etc. are not good, resulting in such a performance effect. This is due to a serious lack of understanding of erhu rubbing frequency, and there is no correct rubbing frequency concept for a certain note in my heart. The importance of frequency is not technically known. Here we mainly discuss the mimeto vibrato, so it is inseparable from knowing the principle of singing vibrato. A whole note 5—four beats, for example. In addition to the national singing method, the first one or half a beat is not expressed in vibrato, and the other three beats or three and a half beats must be expressed in vibrato. (The bel canto or violin mostly use the first vibrato and the first vibrato.) The so-called late vibrato is to start a beat or half a beat without vibrating the strings. According to the principle of singing imitation, how should this whole note 5-1- behave? National singing method: 123.1234.1234.123 The tail must have an airway to connect the previous and the next, so there is only three-frequency vibrato. Bel Canto is different: 1234.1234.1234.123. This is the vibrato frequency of the singer. We can only produce beautiful vibrato frequencies if we have a clear understanding of the singer's beautiful vibrato frequency. The frequency of the mimetic vibrato is to perfectly follow the singer's wonderful vibrato frequency, so the erhu mimetic vibrato is the pursuit of this digital standard and clear vibrato frequency. Frequency is one of the most important factors in the three elements of mimetic vibrato.

Second, the strength

The strength factor of erhu vibrato is also a very important factor. There is no dynamic factor in the violin. Because of the different vibration modes of the material structure and the violin has a fingerboard, there is no dynamic factor. The erhu is not the case. The erhu string is suspended in the air, and you don't need to press the string with appropriate strength (too big or too small). If it is too loud, the singing turns into a weeping sound. (At present, most of our erhu vibrato is like this. The performer presses hard on the strings in order to show himself using vibrato.) In fact, it has the opposite effect, seriously destroying the emotion of the song. Let the notes rubbed suddenly change, but I don't know that this is not singing, praising, praising... singing of beautiful love, great motherland... etc. It sounds like blood and tears. Is this the correct performance of the erhu vibrato? Too little pressure, too bland, not lyrical, and not expressive. It's better for the former to press the words, blood, and tears than the latter, at least it doesn't destroy the emotion of praise and praise. Therefore, the issue of strength is a major subject that everyone in the erhu performer must study. This kind of dynamic problem is properly grasped precisely because the erhu vibrato is similar to the human voice, which is a unique factor that the western violin does not have. Whether the violin is rubbing the strings with the wrist or the back, it can't imitate the sound of crying. After decades of research, the author believes that the strength problem can be completely measured by physical methods. But this mechanical measurement is meaningless. But with practice you can find the best way to identify the strength of the vibrato. This is when we have a good understanding of the three elements of vibrato, and when we actually use mimetic vibrato to play a whole note, we change the bow for many times without interruption, making it difficult for the listener to find that the player is pushing and pulling to change the bow. The use of this kind of force is the best force control for the Erhu vibrato. Commonly known as the highest state.

Third, the magnitude

Compared with the violin, the amplitude of the erhu vibrato is a short term, that is, it is lacking. Due to the structure of the violin fingerboard, it has an extremely good performance in the control of the amplitude, which is the patent of its beautiful lyricism, especially the large back of the violin is very expressive, it can make the note to be expressed at #5 fluctuate between drops. So far, Erhu Xianxian has not been able to do it at all, and it is far from being possible. Erhu art has developed so far no matter what kind of kneading string such as: digging, pressing, rolling, pad finger kneading (multi-finger combined finger movement, sliding kneading can increase the range, but adding strength and sliding cannot move) theoretically, they are pursuing a good range , but this high-level control technology for amplitude is completely unavailable in erhu technology. After decades of artistic practice, the author has perfectly solved this unsolved problem. Inspired by acrobats walking a soft tightrope, he invented the method of erhu frequency division imitation vibrato. The imitation effect is excellent. Therefore, it is named "Erhu Imitation Vibration String Method", that is: imitation sound vibrato.