Today, I will give you a list of "little unilaterals" in erhu learning, I hope it will be helpful to everyone's learning.

1. Seek strength in looseness, use inch strength to exert force, concentrate but not disperse. Strength will be damaged, noise will hurt. The pronunciation is divided into soft and hard, the beginning of the sound is divided into strong and weak, and the final sound is weak and not empty. The conversion needs to be relaxed, and the sentence needs to be ventilated. The performance has a personality, the tone has a heritage, and the handling has a virtue.

2. The effect of kneading the strings is to vibrate the strings. The understanding of the word "kneading" requires life and imagination. The movement of the hand is lifted up, and the fall should not feel too heavy. The finger joints roll gently, feel the strings are tight and the joints are soft, and the elasticity is natural. The sound effect is elegant and relaxed, as regular as the vibration of the engine, and as elegant as the red flag flying in the wind.

3. The shoulders and backs are loose like "sleeping", the elbows and wrists are not greedy, the force is transmitted to the hand through the sound, the wrist is controlled by the arm and the hand, and the heart and the hand are one.

4. The methods and movements of the fast bow and the slow bow should be unified. The movement of the right wrist of the fast bow is smaller than that of the slow bow, and the strength of the bow is not controlled by the arm. Change the bow level, and use the force to level the call to focus on one plane. The bow is loose and the weight of the bow is used to exercise, and it is convenient for power transmission when the bow is heavy and the arm is light.

5. The strength of music is changed by the right hand, and the color of music is changed and enriched by the left hand.

6. When learning erhu, the right and left hands are light, the tendons and muscles are soft, the operation is slow, and the progress is slow. When the method of left and right hands is fixed, the right hand is often heavier than the left hand, which is called the right-hand tube pronunciation and the left-hand tube intonation.

7. Practice the right-hand pronunciation and bow control on the empty strings, and practice the ear's hearing and discrimination on the scales. The etude focuses on solving individual skills, and the music learns to deal with music.

8. In the process of learning erhu, image thinking and logical thinking are easily misplaced, and attention should be paid to the transformation of thinking methods.

9. "Feeling" is accumulated during the study and performance of Erhu, such as all the information such as hand feel, timbre, force, qi and so on. "Feeling" is an indispensable thing hidden in music art. Almost everything that can be seen can be explained by invisible "feeling", which is the mystery of music art. Lack of technology and correct handling methods can be learned, that is, to enrich through the accumulation of the day after tomorrow, the lack of "feeling" is indeed too troublesome. "Feeling" has innate factors and nurture. The concept of "feeling" needs to start from understanding, mobilize image thinking, and continuously accumulate and revise.

10. The movement of the left hand in slow music feels like an iron shoe on the ground, with a sense of weight and string hitting; in fast music, the movement feels like "floating on water". Strings are like the surface of water, and fingers are like dragonfly touching the water, so there is more than one feeling of touching the strings. It is emphasized that the strings should be struck while preventing the hand from being tight.

11. The right-hand pronunciation is like "sticky attracting iron" in slow music. In the fast music, the pursuit of clarity and concentration like "pearl falling on a jade plate", so the force is small, the force is flat, and the bow is short; the shoulders, back, arms, hands and wrists are all loose, the force reaches the fingertips, and the swing is relaxed and natural.

12. The left-hand touch point and rubbing point and the right-hand force point form a triangular three-dimensional surface and always move (force) on the formed surface. The left-hand touch point and the wiping point form an up and down movement (force), and the right-hand force point and the wiping point form a parallel movement (force). During the operation, the force is always transmitted to the touch point and the wiping point, and the force point always controls the stability of this triangular three-dimensional surface.

13. The strength in the performance can be loosened with the syntax of the music. The combination of music breathing and human breathing is just like the breathing and breathing of a qigong master during the operation. Once the qi cannot be lowered, the body will not be able to relax, and the inner strength will not be recovered. flow obstruction, etc.

14. Music is a combination of natural breathing and ideologically demanding breathing. We often refer to the force emitted by the breath that requires thought as "jin force", and the qi and force guided by thought as "gong". Therefore, the application and performance of breathing methods require learners to scrutinize and study repeatedly.

15. Performance is an expression freed from notes; performance is the extension form of music, a portrait of music content, and a catharsis of thoughts and emotions. The performer has to have the storyline in mind, the cinematic imagery, and the music when the emotion and content are intertwined. You have to get in and out during the performance.

16. In addition to technology, one should also pursue peripheral knowledge such as human temperament, quality, taste, moral cultivation, culture and aesthetic taste, as well as extensive involvement in other disciplines, in order to achieve "positive results".