External string bowing: Lie the bow shaft outwards and downwards naturally on the piano barrel, (borrowing the weight of the bow shaft to make the bow hair exert pressure on the strings) The arm relaxes and sinks, and the force reaches the fingers. The combined force of the four force points that control the bow rod "sends out" the force, and begins to open the arm, the wrist is naturally slightly arched, the middle finger, ring finger, thumb and index finger control the bow rod, keep the palm and the bow hair at a certain distance, and do it outwards and to the right. Straight motion. Do not raise the elbows, the bow hair is close to the piano barrel, keep the direction of the bow straight, the speed is stable, and the strength is even, until the arm is completely straight. At this time, due to the conversion of the wrist, the palm is closer to the bow hair. Note: From the shoulder, the upper arm, the elbow, the forearm, the wrist to the fingers, there must be a tacit understanding, almost forming a whole, to jointly send the force to the fingers that control the bow, move together, and stop together. The concept of bow drawing is not only "pulling", but also "sending", "sending" power to the bow and "sending" the bow.

Pushing the bow with external strings: the arm begins to retract, the wrist is naturally slightly bent, the middle finger, ring finger, thumb and index finger control the bow shaft, the palm is close to the bow hair, make a straight movement outward and left, do not raise the elbow, and the bow hair is tight Stick the piano barrel, keep the direction of the bow straight, the speed is stable, and the force is even until the arm is fully retracted. At this time, there is a certain distance between the palm and the bow hair.

In the two exercises, you must sing the sound in the same rhythm as the rest before each pause, cultivate the ear's response to pitch, and initially form the concept of pitch and rhythm.