"Eating sound" and "leaking sound" are two terms in Erhu Kuaigong. Of course, this term belongs to folk sayings. Its original meaning is to say that there are two consequences if the fast bow is not changed properly, one is "eating sound", and the other is "leaking sound".

The so-called "eat sound" means that when the erhu inner and outer strings are switched, the first note does not appear, as if it is a rest. As the name suggests, this note is like being eaten, so folks call this phenomenon "eating sound".

The so-called "leakage" means that when the erhu is changing the strings, the note to be pulled is played in advance, and the time value of the previous note is accounted for, which means that a note is missed.

To be honest, I only heard about the concepts of "eating sound" and "leaking sound" recently, after a friend read my article about the problems that may arise when changing the strings of an erhu bow quickly. mentioned in the comments. At first, I didn't know what the real meaning of these two concepts was. After consulting, I realized what these two concepts really mean.

The concepts of "eating sound" and "leaking sound" are actually two problems that are easy to occur in erhu quick bows. Why do these two problems occur? The fundamental reason is that the basic skills of erhu are not at home, and the rhythm is not grasped.

Reasons and Corrective Methods for the Phenomenon of "Eating Sound" and "Leaking Sound"

"Eating the sound" means that when the bow is changed quickly, the first note does not appear, and the second note is pulled directly, and the first note seems to be eaten.

Why does this phenomenon occur? The fundamental reason lies in the grasp of the rhythm.

The rhythm of the erhu is a very important issue. If the rhythm is not allowed, the musical expression of Erhu will be inaccurate and complete. Whether it's self-indulgence or working with a band, there will be dissonance.

The phenomenon of "eating the sound" means that the rhythm is unstable, which is what we usually call "grabbing the rhythm". In practice, it is possible to grab half a beat or one beat. In short, it is ahead of the normal rhythm.

And "leakage" means that when you play the erhu, you don't keep up with the normal rhythm. In order to keep up with the rhythm, you have to drop half a beat or a beat of notes.

The phenomena of "sound eating" and "sound leakage" are most likely to occur when the fast bow is drawn, especially when the inner and outer strings of the fast bow are switched. We can often see that when some people pull the erhu, the bow is not very stable, and the notes they draw do not conform to the normal timing, sometimes fast and sometimes slow. Some people are pulling faster and faster. Because some people are unfamiliar with the score and tune, they want to play it now, but they can't keep up with the normal rhythm, and the rhythm lags behind. When the inner and outer strings of a fast bow are switched, especially when the notes are jumpy, some people spend too much time in order to find the correct position and finger position, which leads to the occurrence of rhythm lag.

In fact, there is a very short time division between each section of the fast bow, but this very short time division is ignored by us.

We don't need to be very nervous when we are drawing fast bows, just like when we sing, we just need to grasp the accuracy of the notes and the correct rhythm. The so-called inaccurate timing and inaccurate rhythm are entirely caused by mental factors.

In the final analysis, the phenomenon of "eating sound" and "leaking sound" is still a matter of basic skills. The basic skills of the fast bow and the basic skills of the slow bow are not much different in essence, as long as you maintain a peaceful mind. Artificially causing tension to one's own emotions is the most prominent manifestation of lack of solid basic skills.

It is not difficult to find the cause of the phenomenon of "eating sound" and "leaking sound", and it is not difficult to correct it.

One of the methods is to practice fast bows slowly, which is a mature experience. The purpose of slow practice is to become familiar with the positional relationship of each note, the proportion of time value and how to correctly express this relationship. From slow to fast, in fact, the memory of the feel is fixed, forming a habitual action.

The second method is to consciously learn emotional stability. The so-called mistakes while busy are the truth. The premise of stabilizing emotions is solid basic skills. In fact, panicking when you encounter a fast bow is the most fundamental reason for the weak foundation of the fast bow. Therefore, laying a good foundation is the key to avoiding problems with the fast bow.