For erhu jumping bows, first select the rubbing point (that is, the jumping point), control the bow like a short bow, and let the bow move left and right flat and straight (with the elbow as the support point, use the forearm to drive the wrist, rub the piano back and forth string). At this point, you will be doing all the short bow exercises, which is the first step. The wrist will also be relaxed in the second step. Because the natural jumping bow is an inertial motion, after taking off, the wrist should naturally and smoothly pull the bow back and forth with the speed of the bow. Do not use the speed of the wrist movement to control the speed of the bow, but follow the speed of the bow. The speed of the movement, the wrist also moves synchronously from left to right. At this time, the wrist is relaxed and natural and smooth, and the performance of the inner string jumping bow can be carried out easily and lastingly.

The biggest challenge with a natural jump bow is changing the strings. Because the force of the inner and outer strings is opposite, the direction of the elastic force is opposite, and the jumping point is different, so the first note is actually a new starting note after the string is changed, and inertia must be formed on the new string to play a natural jumping bow. If you encounter frequent string changes, theoretically speaking, this inertial motion is often damaged, which will inevitably make the bow jumping in an intermittent state, and the note progress will never be smooth. The second is that the tension of the inner string bow is greater than that of the outer string. The jump point of the bow naturally jumps at the same speed. The inner and outer strings are not in the same bow segment. When playing the inner string, the jump point should move about one centimeter to the root of the bow, so it is necessary to solve it. It is quite difficult to change the strings of a jumping bow. According to my many years of exploration and practice, I think that paying attention to the following three points can better solve the problem of changing the strings and application of the natural jumping bow.

(1) If there is a large string of notes on the inner string and a large string of notes on the outer string, just move the friction point of the bow about one centimeter toward the tip of the bow when the first note of the string change takes off. If there is a large string of notes on the outer strings and a large string of notes on the inner strings, you only need to move the jump point about one centimeter toward the root of the bow when the first note of the string change takes off. This method is to solve the string change by adjusting the jump point.

(2) If you need to change the strings after you have just changed the strings for a few notes, in this case, it is very difficult to change the strings by adjusting the jump point, and the pronunciation is not good. At this time, the method of fixing the jump point and adjusting the tension of the bow can be used to solve the problem. This method is based on the jumping point of the inner string. When playing the outer string, the thumb pushes the bow rod outward, and at the same time, the middle finger presses the bow hair inward, thereby increasing the tension of the bow and making the tension of the inner and outer strings equal. At the same playing speed, the jump points of the inner and outer strings of the natural bow are unified at one point. The only downside of this and method is that the wrists are a little tight due to the increased tension of the bow by increasing the force of the bow, but since it is easier to jump the bow with the outer strings, it will not bring too much difficulty to the playing, and this situation (referring to Frequent string changes) are rare in music, and the time is short, so this method is still very effective.

(3) Due to the difficulty of changing the method, in order to avoid technical difficulties affecting the musical expression, when ordering the fingering, it is necessary to avoid repeated string changes as much as possible. It would be better to increase the difficulty of left fingering a little, but also to minimize the number of string changes as much as possible.

easy problems

(1) The problem of noise and poor pronunciation. Beginners first have to make the bow jump, making noise and poor pronunciation are secondary issues. To make the bow jump, it is necessary to minimize the control of the bow, so that the bow can be liberated as much as possible so that it can vibrate inside and outside. When you first learn to jump, your pronunciation must be rough and weak (especially when you push the bow). When the jump is confident, proper control of traction and momentum is required. Control the momentum and the amplitude of the bow evenly, control the friction point between the bow hair and the strings to be basically stable, and do not jump too much from the barrel. The bow moves straight from side to side (bouncing) like a short bow, making the articulation crisp and strong.

(2) When you are a beginner, you will encounter the situation of hitting another string. You need to control the amplitude of the bow so that the bow hair does not hit the other string when it rebounds. Some colleagues use the method of adjusting the bow angle to use the piano column as a rebound support to solve the problem of not touching the strings, which will bring greater difficulties to the performance and is not desirable. In fact, it is easy to solve this problem by effectively controlling the amplitude of the bow.

(3) In order to strengthen the artistic expression of the natural jump bow, after mastering the basic methods, it is necessary to practice the strength changes of crescendo and crescendo. Not only can you play accents on the first note of each beat, you must also learn to play accents on other notes. The method of strong play is to increase the length of the bow motion while increasing the traction force (external top and internal pressure).

(4) It is a common problem for beginners to pull the bow strong and push the bow weakly. Especially when taking off with a bow is more obvious. It is necessary to strengthen the practice of pushing and jumping in order to solve the problem of pushing and pulling volume balance. After the solution is completed, it is better to use the bow and jump in the music.

The natural jump bow is a very good bow technique, and it does have its own uniqueness in expressing some relaxed and cheerful emotions. However, due to its own shortcomings (small strength and weakness, difficult speed changes, and monotonous note combination, etc.), its expressive power is still limited and cannot be abused. In a piece of music where there is a lot of strong play, crescendo or string changes, if you use the natural bow, you will be unable to do what you want, which will greatly affect the expressiveness of the music. In this case, only a short bow will work. For example, the closing sentence of (Sanmenxia Rhapsody) is a series of sixteenth notes advancing upwards, requiring the crescendo to push to the strongest and highest point to end the whole piece. It is unimaginable to play with a natural bow. Not to mention that changing the strings is already in a hurry, and more importantly, the upward crescendo is simply impossible to play. And due to the shortcomings of erhu itself, the volume in the high-pitched area is small and thin, which makes the end of the song an anticlimactic, and all previous efforts have been abandoned. If you play with a short bow, you can make up for the low volume of the erhu in the high-pitched area, and end the whole song satisfactorily.