When changing strings, attention should be paid to the mutual coordination of wrist strength and finger strength. Quick bow is usually used to deal with fast-melody music, and it is one of the basic means to improve the expressive power of erhu.

A string change is when the bow hair rubs one string instead of rubbing the other. There are only two situations to change the strings: one is to change the strings when the bow is changed, and the other is to change the strings while the bow is running. These two kinds of string changes require the timing of the notes to be deducted, and the transition is natural. For beginners, because the action of changing strings is one-sidedly dependent on finger strength and insufficient wrist strength, the finger force is passive in changing strings. When changing the strings, there is often a sudden stop, or the strings are slammed, and the problem of changing strings in a fast melody is still prominent. Therefore, the mutual coordination of wrist strength and finger strength is very necessary for changing strings.

The bow holding point formed by the index finger and the thumb should be fixed no matter when the bow is drawn, pushed, changed or changed. When the bow is moved, the whole right hand takes the bow holding point as the axis, and the thumb and the index finger are related around the axis. sector rotation.

In addition, you should develop the habit of consciously abiding by the symbols and markings in the practice of playing, and remember some common bowing symbols, otherwise the whole bowing sequence will appear chaotic and detrimental to the performance of the musical image. Except for the slurred symbols clearly marked in the score of Erhu practice, other symbols (including finger movement symbols) are only marked where necessary. For unmarked notes, inferences are made from the preceding and following playing symbols.

For music with dense tone patterns, compact rhythms and fast melody, the bowing method of one note and one bow is usually used. The fast bow is widely used in modern instrumental music and is a basic means to improve the expressive power of the erhu.

To play the fast bow, you must start with the slow bow first. Only by pulling the slow bow stably, flatly, straightly, and implicitly, can the muscles of the relevant parts of the right hand deepen the memory of the subtle movements of bowing priorities. To learn to play fast bows, these muscles can gradually adapt to the needs of fast bow movements, and then gradually increase the speed after pulling to a certain extent.

The string change is divided into slow (including medium speed) string change and fast string change. In the fast string change, it is divided into forward string change and reverse string change, and they have certain differences in action.

When changing strings at a slow speed, generally speaking, try to focus on the movements of the middle and ring fingers of the right hand, and use the movements of the arms as a supplement. In the string changing process, the bow hair is usually required to "lean" on the string, rather than "bump" on the string. In addition, pay attention to keep the speed of the bow balanced, and do not change the speed of the bow suddenly due to changing strings.

Because of the fast speed of changing strings, if you use the active movement of the middle finger and ring finger to change the strings, the fingers will not be durable and not easy to be evenly due to the heavy burden. Therefore, the finger movements of quickly changing strings are actually driven by other parts of the right hand. There are two kinds of fast string changing: forward and reverse. Pull the inner string first, and push the outer string later, which is called forward string changing. In a positive fast string change, the movement of the fingers is driven by the wrist.

Therefore, the movement of the wrist must be relatively active and flexible. A quick change in which the outer string is pulled first and the inner string is pushed back is called reverse string change. In reverse quick string change, the action of changing the bow is driven by the arm.

When changing strings, attention should be paid to the mutual coordination of wrist strength and finger strength. Quick bow is usually used to deal with fast-melody music, and it is one of the basic means to improve the expressive power of erhu.

A string change is when the bow hair rubs one string instead of rubbing the other. There are only two situations to change the strings: one is to change the strings when the bow is changed, and the other is to change the strings while the bow is running. These two kinds of string changes require the timing of the notes to be deducted, and the transition is natural. For beginners, because the action of changing strings is one-sidedly dependent on finger strength and insufficient wrist strength, the finger force is passive in changing strings. Selected from China Erhu Art Network. When changing the strings, there is often a sudden stop, or the strings are slammed, and the problem of changing strings in a fast melody is still prominent. Therefore, the mutual coordination of wrist strength and finger strength is very necessary for changing strings.

The bow holding point formed by the index finger and the thumb should be fixed no matter when the bow is drawn, pushed, changed or changed. When the bow is moved, the whole right hand takes the bow holding point as the axis, and the thumb and the index finger are related around the axis. sector rotation.

In addition, you should develop the habit of consciously abiding by the symbols and markings in the practice of playing, and remember some common bowing symbols, otherwise the whole bowing sequence will appear chaotic and detrimental to the performance of the musical image. Except for the slurred symbols clearly marked in the score of Erhu practice, other symbols (including finger movement symbols) are only marked where necessary. For unmarked notes, it is necessary to infer from the playing symbols before and after, or refer to the playing symbols of the same melody before and after, and grasp the appropriate playing method according to people's common playing habits.