In the process of erhu learning and performance, there are many reasons for inaccurate pitch. The main problems are these: the legal system. Listening habits in the flow of music. The concept of the position is not clear and the hand shape is incorrect. The relationship between sound name, phoneme, and pitch is not uniform. The way to change is wrong. Left hand strain problem. As well as backbone tone, overtone awareness.

legal system

Most middle-aged and old-aged friends are accustomed to using the law of fifths when playing ethnic music. Long-term use of the law of fifths to listen to, will cause the overall high or some habitual intervals to be high. The twelve-equal temperament is based on the relationship of semitones and is tuned in an equally divided arrangement. The difference between the two is that the interval relationship of the 5th temperament is higher than that of the 12th equal temperament. It is the twelve equal law that we use in the band and in our professional studies. In the process of erhu solo, it is often a mixed application of the three temperaments. Thus a general rule is formed: the twelve equal laws are used in the band. Use pure temperament in a choir. In the erhu solo, the twelve equal temperament shall prevail, and both the fifth temperament and the pure temperament (using the mixed temperament system) are used. As far as the current development of erhu performance art is concerned, the listening habit of using the twelve equal temperament is superior to other temperament systems. Therefore, in the erhu performance, it is found that the main reason for the inaccuracy is the problem of the regulation system in the first place.

Middle-aged and elderly erhu enthusiasts, try to use the twelve equal temperament system to train their ears and cultivate the habit of listening and distinguishing. For example, if conditions permit, a fixed keyboard instrument such as a piano can be used as a standard, from the first finger of the erhu to the fourth finger; from the original position to the middle position and then to the lower handle; from the second to the octave to compare one by one ; It also includes the hearing discrimination for changing the handle up and down. If you have used the temperament of fifths for a long time, and you are excited, nervous or stressed when playing, you will not be able to return to "home". Of course, there are many reasons for not pulling the erhu, and good listening habits are one of the conditions for pulling the erhu.

Listening Habits in the Flow of Music

Refers to the further upward distance from a note, the greater the tendency to be higher, and the opposite is true when flowing downward. For example, the upward interval: the fifth from 1 to 5, the sixth from 1 to 6, the octave from 1 to 1, if it is one or two cents higher, the human ear will accept it happily, but if it is lower, it will be difficult to hear. For example, the descending interval: 7 to 5, 6 to 3, 5 to 1, the human ear will happily accept one or two cents lower, and if it is not lowered, it will be difficult to hear. This is the listening habit in the flow of music. Therefore, in the process of playing, we must follow the way that the upward interval of music is one or two cents higher, and the downward interval is one or two cents lower (it is best to rely on feeling judgment). Everyone knows that when you sing or learn a wind instrument, if you walk up a note, your heart and energy will support an upward height. The higher you go, the more urgent the air, and the stronger the support. When the music flows downward, the support of the force will decrease more and more. Otherwise, you will not be able to sing or play. Erhu also relies on Qi and strength to support its performance, which is a very important realization. The listening habit in the flow of music and the strength of strength are the second conditions for pulling the erhu.

bit concept

The traditional division of the position refers to the original position, the middle position, the lower position, the second lower position, etc. For example, in the key of D (strings 1-5), the treble 1 of the third finger in the original position is the first finger of the middle position (the open string to the third finger constitutes a fourth), and the treble 5 of the fourth finger of the middle position is the first finger of the lower position. Fingers (one to four fingers form the fifth degree). Other tunes are also divided into four or five degrees as a position. In the process of learning, clarifying the concept of position not only increases the sense of distance, but also makes the effective chord length have a segment, classification, and many other advantages to facilitate learning and memory. Cultivate a handle position, a hand shape, and keep the fingers in the shape of a half-clenched fist. The ups and downs are not deformed, and there is no extra movement. Even if you pull the empty string sound or stretch the fourth finger sound, you need to return to the oblique string state and the half-clenched fist hand shape in time. Whether you can develop a good habit is directly related to the intonation. Therefore, the concept of position, hand shape and finger movement method are the third conditions for pulling the erhu.

Unity of name, phoneme and pitch

What we see on the score is only the name of the note, but the position of the note is on the operating string. And where is the pitch? In the heart (in the mind). The pitch needs to be accumulated over a long period of time or fixed through solfeggio. The three must be combined (three-in-one) to play the role of intonation. Usually, we don’t have much time to practice the piano, and without conditions, we practice our ears while playing the erhu. Use the open string as the standard tone, and use the standard tone to correct the pitch of the three positions, such as the original position inner string 1 2 |1 3 |1 4 |1 5 |outer string 5 6 |5 7 |5 1 |5 2 | ...and then from the middle to the bottom. For example, the interval of thirds: 1 3 | 2 4 | 3 5 | 4 6 | 5 7 | 6 1 | 7 2 | ... Cross your fingers and listen to the difference between the major and the minor. For example, the fourth interval: 1 4 | 2 5 | 3 6 | 4 7 | 5 1 |... One or four fingers form a half-clawed hand, and move down a second to change the handle. The octave distance is fixed in the same way as the fourth. This is the fourth way to pull the erhu.

handlebar technology

The way to change the handle includes the same finger change, the different finger change, the use of the empty string to change the handle, the unconnected change handle and so on. The method of changing the handle is carried out in a moving way, even if the beating is very far, the fingers do not leave the string too high. When changing the handle slowly, you can go up and down first, and when you want to go up, go down first. The trick for changing the handle is to not add force and not deform (half-clenched fist). In the process of changing the handle, the left hand should be used first, and the lower part should be used as the technical support for changing the handle to ensure the correct pitch and connection. It is easier to change the handle downwards than upwards, and it is easy to fail to return to the exact phoneme when moving upwards, and it is easy to appear high. When the action is upward, the interval relationship is downward, rather low than high. When the action is downward, the interval relationship is upward, rather high than low. This is the fifth point of pulling the erhu.

Left hand exertion

We must develop a basic state of exertion during the initial learning process. In the performance, I often use this state to support the performance, and I often return to this state in order to return, return to zero, and relax. Do not change the habit of exertion at any time, disrupt the operation rules, become in a hurry, and bring about passive operation. The strength of the string is often used as the standard. The strength of the string is the force of the string, and the force of the string is also the same. The force of changing the handle is also the same as the force of the string. Establish the unity of the forces of touching the strings, vibrating the strings and changing the handle, forming the concept of three unison. In addition, the hand does not increase or decrease the strength during the movement, and maintain the relaxed feeling of the hand movement from beginning to end, so the pitch can be guaranteed. Cultivating a state of basic exertion is the sixth condition for pulling the erhu.

Backbone tone, overtone awareness

Backbone in D: 123561235 (61). Backbone in E key: 123561. Backbone in G key: 56123561 (35). Backbone in F key: 613561 (35). B-flat backbone: 3561235 (61). Backbone in C: 23561235 (61). A key tone: 561235 (61). The backbone sound is a shelf, which is of great help to the intonation. It can be checked more before practice and performance before playing. The overtones refer to the sounds produced at one-half, one-third, and one-quarter of the string length respectively. The pure and transparent overtones are the most accurate sounds, and they can be used to calibrate the intonation. For example, the overtone of the 1st tone of the open string in the key of D is one octave higher at the half of the whole string, which can be used to correct the 1st tone of the middle position of the outer string. It is also because one-half is the daughter hidden in the heart, which is the reference of the middle and lower positions and phonemes. The backbone tone, the awareness of overtones, has an auxiliary effect on the intonation, and is the seventh condition for accustomed to erhu.

In learning and playing, grasping these aspects should be able to basically ensure the intonation. There are also issues such as the intonation and emotional changes of local music, physical and mental tension, power transmission, etc. that affect the intonation, and I will talk about it when I have a chance. In short, intonation is a difficult problem that plagues Erhu people. We must pay attention to it in the process of beginners, and think of ways to make intonation a law to follow and know in our hearts.