Intonation is the most basic and most important part of erhu performance. Since the erhu has no fingerboard and taste, it is completely mastered by the player's sense of pitch and understanding of the music, so the requirements for the player's sense of music and intonation are higher than other musical instruments. A player with a very keen sense of pitch will feel uncomfortable when he hears inaccurate notes in his performance, and will subconsciously quickly correct the position of his left hand until it is in tune, which shows the importance of hearing to control the pitch.

The tuning must be accurate

Whether it is a traditional tuner or an electronic organ, the pitch requirements of the player are very high. If you are not fully sure about the fixed pitch, especially for beginners, it is recommended to download a special erhu tuning software on your mobile phone. The accuracy of the software Even beyond the human ear.

Excessive or insufficient finger spacing change

The most common is that when playing a semitone, the finger spacing is often wider, making the minor second larger. Due to the tuning of the erhu, the fingering of the semitone is often changed, such as the semitone in the key of D is between the second and third fingers; the semitone of the original handle in the key of G is between the first and second fingers of the outer string, but the inner string is between the second and third fingers; The semitone is between the third and fourth fingers, so you should practice the accent scale according to the fingering of different keys, and pay attention to the change in the width of the finger spacing in each key. The intonation of the above two problems should be solved through "ear training". It is necessary to listen more to the scales and intervals of the piano, and sing inwardly to improve the ability to distinguish pitches. The distance between the fingers.

Easy to change the sound

Moving too much or not in place when changing the handle will cause inaccuracy. To ensure the intonation when changing the handle, the player must have the concept of pitch after changing the handle. First of all, you must master the pitch of each position, and then the exact position and scale of changing the handle. After long-term training, practice makes perfect, using memory to move the hand, the arm can move up and down in a measured manner, and the pitch is also solved. .

The vibrato is inaccurate

When learning to vibrate for the first time, because of not mastering the uniform feeling of the amplitude, speed, and weight of vibrato, it often results in the wandering of the sound. At this time, use the auditory adjustment to control the amplitude, strength and speed of the vibration of the wrist and palm until the vibrato sounds harmonious and pleasing to the ear. When playing some local styles of music, due to the use of some special kneading techniques, such as sliding kneading, pressing kneading, kneading, etc., some characteristic tones should be played slightly higher or slightly higher according to the style characteristics of the music. A little lower (such as Qinqiang, Wanwanqiang, and 4 and 7 in E-tune music in the northwest). Vibration is to express the emotion of music and enhance the artistic appeal of the work. Therefore, players must choose appropriate vibrato techniques according to the needs of music, and conduct vibrato with a good sense of pitch. This is what every performer must pay attention to.

It's important to listen

This is necessary for learning all musical instruments. Only by listening a lot can you form a fixed and correct melody direction and each pitch in your own memory. When you play, you can use this memory to determine the accuracy of each note. Spend. In the process of practicing a piece of music, listen to it more, in order to compare whether there are mistakes in yourself, so as to correct it in time.

To play the erhu, intonation is very important, every player must develop a keen sense of pitch and a good habit of correcting intonation. The sharper the hearing and the more skilled the technique, the quicker the action to correct pitch. Slow practice is the best way to correct pitch. It can make the performer calmly check every inaccurate tone, and thus continuously improve the hearing ability and technical proficiency, so that the performance is handy and the tone is accurate.

Intonation is not only the basic requirement of erhu performance, but also the basic requirement of all musical instruments. Since the erhu does not have a fingerboard, the string tension is relatively large, and due to factors such as the expansion and contraction of the hand shape and finger spacing when changing the handle, it may affect the intonation. In order to establish a solid concept of intonation at the beginning stage, some basic correction methods must be learned and mastered.

Although these methods vary from person to person and have different characteristics, they generally have the following common points for reference:

1. Train the intonation through a combination of watching, listening, and correcting.

"Looking" is to visually observe the position of the fingers and the change of the finger distance, so that each handle can form a relatively stable hand shape and finger distance.

"Listening" is the precursor to seeing. Beginners can use the piano and other instruments to carefully judge the relationship between different intervals and finger distances. Adjust the pitch in time and develop good listening habits.

"Calibration" is to constantly consolidate the correct pitch and hand shape by looking and listening, while correcting the wrong pitch and hand shape.

2. Practice intonation through sight-singing and tracing. Sight-singing refers to singing the score before practice; imitation refers to playing with empty hands, or imitating exercises with the help of other objects to cultivate the ability of psychological sound.

3. Pitch training by retaining fingers.

4. Use the homophonic conversion between the open string and the four fingers for correction.

5. Correction through the conversion of open strings and overtones.

6. Pitch correction through the finger spacing of fifths and octaves.

7. Pitch training through scales and arpeggio training methods.

8. Auxiliary training is carried out by changing the medium sound (excessive sound) in the process.

9. Train the intonation by the method of "fixing the finger and sliding the finger" (that is, in a fixed position, by pressing the string with the sliding finger instead of changing the handle).

10. Use open strings to temporarily make jump-type connections to obtain intonation.