Playing posture is the physical manifestation of the player's playing state and musical performance, as well as his musical accomplishment, aesthetic taste, performance content, and different musical emotions. Whether the posture is appropriate or not also determines the quality of the performance. The graceful and generous playing posture gives people a sense of atmospheric beauty, which makes the performance icing on the cake and makes the appreciator and the broad audience enjoy the beauty; the excessively exaggerated and overly restrained playing posture gives people a feeling of artificiality and uncertainty. As a result, it lacks beauty and satisfaction, and even makes people feel disgusted. The excessively exaggerated posture is generally manifested as habitually swinging the body back and forth, left and right, and some even shaking their heads desperately, making expressions or playing their heads to show that they are full of passion or very devoted; excessively restrained postures are generally due to the method of playing They are not relaxed enough and appear rigid and sullen, while others are very reserved in their performances in order to show their "musical accomplishment" to the audience. Even quietly "playing deep". The above two extreme playing postures are undoubtedly imperfect and inappropriate, and we do not advocate them.

The old-fashioned sluggishness, the self-appreciative slack and the arrogant self-expression of abusive passion not only loses the seriousness and authenticity of the performance, but also is undoubtedly superficial and uncultivated from the point of view of musical performance. logo. So what kind of playing posture is reasonable, natural, generous and appropriate? We should discuss this issue carefully and concretely. In principle, as long as there is a difference between fast, slow, strong and weak in the speed and intensity of the music, the playing posture should have changes of large, small, dynamic and static. This is a general law of kinetic mechanics and musical aesthetics.

The content determines the form, and what kind of music content and music mood decides what kind of performance movements and postures to use. Generally speaking, when playing slow or singing melodies (such as "Moon Night", "Yang Guan San Die", etc.), the main posture should be "quiet", supplemented by natural and smooth bow movements. . Especially when playing ancient or traditional music, if the posture is too exaggerated and the emotion is too excited, then the simple and elegant musical connotation will not be accurate and appropriate; For example: when the sun shines on Tashkurgan, the second and fourth movements of "The Great Wall" and "The First Erhu Rhapsody"), the playing posture is too rigid and rigid or even loose and weak, which is not conducive to the full performance of specific musical emotions. It will even destroy or even distort the normal musical image due to the incongruity of playing posture and playing action.

To sum up, the right playing posture is crucial to the performance of music, but it is by no means just a matter of intuitive appearance. Essentially, the external playing posture and method are closely related and inseparable from the various internal sensations (hearing, tactile, visual, etc.) in the performance. Just the changes in the movements of bowing and changing the handle and the different feelings of "force transmission" and "change of focus position" during performance can fully explain their rich changes in performance and their close and subtle relationship with playing posture.

We know that the pronunciation state and its changes in erhu performance depend on the feeling and state of the left and right hands and fingers, the feeling and state of pressing the sound, hanging the strings and exerting effort, and the smooth transmission of force is the basic guarantee for correct pronunciation. If a player is tense and stagnant during performance or practice, it is impossible for the strength of his body (torso, upper arm, forearm, hand and fingers) to be transmitted smoothly and swiftly to the strings. At this time, no matter what kind of emotional melody he is playing, his playing posture will be rigid and not relaxed. If he plays a fast melody in this state, the effect will be even worse, and the sound must be rough and not round. At this time, the posture of its body will also be more tense and unstable, so the performance from this posture or performance state is undoubtedly not a vivid musical expression and profound artistic appeal.

The mood of music is ever-changing, even in a simple piece of music, the change of the melody itself requires rich ups and downs and changes in the mood of the music. If our playing posture remains the same or lacks subtle changes, it is impossible to play any piece of music or even a moving melody, and the ups and downs of the melody require both hands to bow and press notes from the point of view of playing method. There are many subtle changes to the vibrato and the position of the force when changing the bar.

Therefore, in addition to paying attention to the general posture changes, we also need to pay more attention to the subtle changes in the performance movements and focus positions. Only when the performance is consistent, the posture and the inner movement are coordinated and changed, can it achieve both form and spirit, inner and profound, and achieve harmonious unity in terms of scientific method and clear effect. All in all, the problem of playing posture is both a problem of artistic expression and a problem of sports science. Erhu's playing postures are rich and colorful. As long as we act in a serious and realistic manner in accordance with the laws of music, we will conquer the vast audience with graceful and generous playing postures and expressive sound on the music stage, and carry forward with practical actions. Colorful folk music.