Holding the bow is a must for learning the erhu, so do we all know the erhu's bow-holding posture? The following are the precautions for learning the erhu, I hope it will be helpful to everyone!

Bow holding method

Children holding a bow do not pay much attention to the interaction between the thumb, index finger and ring finger. If the requirements and essentials of the three fingers in holding the bow are unclear, and the requirements for oneself are not strict, then it will be difficult to coordinate the leverage of the force point, the fulcrum and the key point. Due to the uneven end of the index finger (refers to the bow rod), the wrist is slumped down, the bowing wrist is weak and the force point is unclear, and the bow rod often loses control, causing the 2-mic of the bow rod to slip on the forefinger, turning in circles or the wrist is stiff and other problems. Once the teacher finds that the students have these problems, they should pay great attention to them and correct them in time, so that the students can truly experience: the index finger has a feeling of being lifted up, the thumb has a downward pressing effect, and the middle finger has a kind of feeling when pulling the outer string. The effect of hooking in. Therefore, holding a bow with fingers is generally summed up in the words "lifting, pressing, topping and hooking". Because the quality of holding the bow directly affects the timbre and sound quality of the erhu and the success or failure of the erhu music, teachers must check and correct them repeatedly in the classroom until they truly meet the requirements.

Common problems with bow

In children's bowing, there are often irregular movements in the bow speed, the direction of the bow is not straight, the bow is suddenly fast and slow, the up and down, the left and the right are irregular, or the bow is drawn quickly, the bow is pushed slowly, the bow is strong, and the bow is weak. , The common problems of heavy arch root and light arch tip. These common faults should be reminded in time to clarify the root causes of these problems, let the children stabilize the bow first, and distribute the bow segments reasonably according to the rhythm. It is at right angles to the strings, and the root of the bow should be believed in the bow. The further the root of the bow is away from the barrel, the stronger the force will be. On the contrary, the closer it is to the barrel, the force will gradually weaken, so that the strength of the bow can be uniform and round.

left hand piano problem

The left hand holding the violin is often due to the improper method of holding the violin with the left hand, resulting in the tiger's mouth tightly clamping the violin rod, the thumb is too upturned, and the left hand is tense, so that the violin rod is too straight or the stretch of the big arm is not enough. Pushing the piano bar to the right, covering the face, seriously affected the image of the performance. For this problem, teachers should pay attention to the students' tiger's mouth extending and loosening, and the thumb is naturally flat on the inside of the piano bar, so that the piano bar is naturally inverted. When playing, the tiger's mouth should be as loose as possible to reduce friction. This is also very beneficial for future learning to change the handle.

Left hand cut string problem

The hand shape requirements for cutting strings should be standardized. Some students do not pay much attention to their own hand shapes, and do not follow the teacher's requirements. The strength, strength and operation of the string cutting, or the left finger stretched too straight or too far apart, will affect the tuning of the string and the change of the handle. The four fingers are arranged in the direction of the phoneme, the knuckles are bent, and the fingertips should be arranged above each note. It is required to hold it naturally and relaxedly on the piano rod. This kind of cutting hand shape is both beautiful and easy to operate. , which is of great benefit to the development of future technology.

Finger strength and sound quality

It is generally believed that as long as the fingers can touch the strings, what is the finger force and force point of the string cutting? How is the sound quality? No analysis. When cutting strings, the sound quality is often loose, the skin is collapsed, the fingers are weak, the sound pattern is blurred, etc., or the fingers are too tense, the finger joints are ineffective, the rise and fall are slow and rigid. The correct method of cutting strings is based on the specifications of the left hand piano. The ups and downs of the fingers should be clean and clear, and the joints of the fingers should be elastic, so that all the force is transmitted to the fingertips. On the contrary, the finger strength is not in place, and the sound quality of the cut strings is pale and weak. In a word, the learning of erhu is a systematic project, and one cannot ignore the other. While paying attention to the bowing of the right hand, it is also necessary to pay attention to the display of various skills of the left hand.

pitch problem

The intonation of the erhu is a difficult problem for beginners. Under normal circumstances, as long as the students have no problem with hearing and can follow the teacher's requirements when practicing the piano, the problem of intonation is not difficult to solve. I'm afraid that I'm not strict in practicing the piano, and I don't have to listen to it, and I'll develop some intonation problems that shouldn't appear. For example, the common finger spacing is inaccurate, one finger is easy to be high, the little finger is habitually low, the relationship between semitones is ambiguous, and when the handle is changed, it is suddenly high and low. In the classroom, the teacher corrects it a little better, and then returns to life again after returning home. This repeated failure to correct the intonation problem in time is very harmful to deepening the study of erhu. For intonation teaching, I generally use the method of one listening, two reading, and three corrections. That is, students are required to pay attention to hearing, and whether the intonation is mainly identified by the ears, which is the main method. The second is to look, which is to identify the intonation by visual inspection (the method of visual measurement of finger distance and position). The third is to correct frequently. If the sound is inaccurate, it must be corrected in time. Never let go of every inaccurate sound. The speed of correction can be slow at the beginning, and the speed of correction will be faster when the hearing sensitivity is improved.