There are various techniques in pipa performance, which can be roughly classified into three series: strumming, ring fingering, and group fingering. Wheel finger is one of the most basic and most distinctive techniques in pipa performance. As the name suggests, it refers to the orderly plucking of the strings at the end of the right finger, as freely and evenly as the "wheel" rolling. Just like the erhu and other stringed instruments can use a long bow to obtain continuous sounds for playing long notes, long notes are expressed by the fingers of the wheel in the performance of the pipa. In addition, the ring finger and other techniques are combined into various fingerings, which make the expressive power of the pipa more colorful and infinite.

Wheel fingers can be roughly divided into four types: short wheels (three, four and five fingers), medium and long wheels, hook and pick wheels, and double wheels. Its unique expressive function and other fingering skills are used in combination, so that the right hand of the pipa can produce both a vigorous full round and a comfortable and comfortable half round. The round, elegant and euphemistic, bright and beautiful long round can appear. These fingerings are used in a harmonious and contrasting intricate manner, making the performance of the pipa more colorful and endless.

The formation of the ring finger is because the sound of a finger hitting a string and generating a point is the most basic unit in pipa performance. Due to the loss of energy and the relationship between various resistances, the sound of this point is quickly weakened. The human ear's perception of the sound at this point is relatively short. In music performance, when it is required to prolong this short sound, it is necessary to use the finger-wheel technique to connect many points into a line, which plays the role of prolonging and coherent sound. The round fingers do not rely on the friction of the particles of the ponytail on the strings to form a long note like a stringed instrument. Instead, the five fingers touch the strings in turn to form a perfect long note. Therefore, the weight connection, rapid ups and downs, the angle of touch, and the depth of the string are the important prerequisites for determining the quality of the ring fingers. The hand-shaped structure of the pipa finger is not only related to the naturalness, stability, beauty and comfort of the shape of the finger, but also involves a series of internal technical factors such as the force method, method and volume of the whole finger, the angle of touching the string and the timbre. What is inside is always expressed through a certain form. From a larger perspective, it is the relationship between content and form, and from a smaller perspective, it is the relationship between the dialectical unity of the outside and the inside. Therefore, in turn, we can use the external hand-shaped structure of the player's wheel to see whether the force is applied correctly, whether it can reach a certain volume, whether the sound is beautiful, and so on. These are basic and crucial technical requirements for playing.

The distance between human fingers is not uniform. In particular, the distance between the thumb and the index finger, the thumb and the little finger is the largest, and the distance between the other fingers is small. The directions of the five fingers are not uniform. The index finger, middle finger, ring finger, and little finger touch the string forward, and the thumb touches the string backward. Two completely different ways of touching the strings will cause differences in the effect of tone II. The thickness of the fingers is not uniform. For example, the thickest thumb makes the loudest sound; the little finger, the thinnest, makes the weakest sound. That is, the timbre and intensity of each finger touching the strings are also different. Inconsistency of finger independence. The thumb, index finger, and middle finger are commonly used fingers, and they are relatively independent, but the ring finger has the strongest attachment during its movement. These four inconsistencies will cause uneven and unclear points of the wheel fingers, and will also affect the speed of the wheel fingers. It will also cause the fingers to touch the strings unevenly when the wheel fingers are ringing and weak. To solve these problems, it is necessary to understand that the wheel finger does not rely on the inertia of the fingers to move, and it is necessary to strengthen the control of each finger and the training of the independence of each finger. The primary stage of wheel finger is also a rigorous training process for finger independence.

The wheel finger is the continuation of the development and change of the pick. It uses four picks (the index finger of the right hand, middle, nameless, and little finger for picking) and one pick (the thumb picks), that is, the four fingers, the index finger, the middle, the nameless, the little finger, and the thumb. A reverse play, a total of five sounds, called a full round. The five fingers in this regular sequence make a cyclic and continuous triggering sound, which is called a long wheel. It is mainly good at expressing beautiful, tactful and lyrical melodies. When playing, the upper arm hangs down naturally, and the forearm and wrist are basically parallel to the panel and in a loose state: a reasonable hand shape is half fist with fingers and a round tiger's mouth, so as to maintain a natural relaxed state of the hand, which is conducive to controlling the change of tone, volume and sound. Mutual transformation of various fingerings. The position where the wheel finger touches the string is about 3-4 cm above the compound hand. The range of motion of the five fingers is about 6 cm above the compound hand. The sound that pops out of this position is smooth, round, and bright. Also for beginners, thumb training is a key issue. The thumb mainly relies on the large joints to control the action, and its touch point is above the movement of the four fingers, so that the thumb is more natural when picking, and the strength can be well grasped. The range of motion of the five fingers is mainly based on the distance of the natural half-clenched fist movement of the five fingers. During the performance, it should be prevented from moving up and down, and the strength of the five fingers (four bounces and one pick) should be uniform. Due to the different directions of the four playing and one picking, the timbre is difficult to unify, so we can only make up for this deficiency with the uniformity of strength, and strive to achieve the effect of appropriate strength and pure timbre.