Some Hu friends believe that the function of the left hand when pulling the erhu is to press the strings accurately, so that the erhu can sound accurately, and when you need to knead the strings, just knead it. In fact, the left hand has become more knowledgeable. Today, I will talk with you about some "knowledge" of the left hand.

The correct finger movement method when playing the erhu depends on the correct posture of holding the piano. The first thing to pay attention to is the "45 degrees" of the three parts of the left hand: that is, the forearm and the left chest are about 45 degrees, and the forearm and the piano bar are about 45 degrees. 45 degrees and the second and third sections of the fingers (counting from the fingers) and the strings (in the direction of the gold) constitute about 45 degrees. Specifically, the forearm should hang down properly, the elbow should sink down, and the forearm should not be raised horizontally. The tiger's mouth should be kept loose and natural, and the fingers should be bent slightly downward. The whole hand is in the shape of a loose half fist. The four chord fingers are "next to each other" with the strings, and they are all in the state of wanting to touch the strings. Such a hand shape creates favorable conditions for the left hand to touch the strings accurately and sharply; when the fingers touch the strings, they should be pressed with the part between the pads of the fingers and the tips of the fingers, and should be lightly placed on the strings. When you leave the string, you should return to the original position naturally and quickly. This kind of elastic fall together, on the surface, the fingers are moving, but in fact it is dominated by the "internal energy", which in turn originates from the whole harmonious and natural left hand holding the piano.

The mistakes that beginner erhu students tend to make when learning to press the strings are: the arms are raised too high, the tiger's mouth is pinching the piano rod too much, and the four pressing fingers are stretched straight and not curved. Some people use their knuckles to touch the strings when pressing the strings, instead of the balls of their fingers. Some people lift their fingers high when they leave the strings after pressing the strings. This kind of incorrect finger movement makes the whole string pressing action very stiff and slow and lacks elasticity. Even though the right hand is more proficient in bowing, the sound is still muddy and confusing. If you don’t overcome the above incorrect finger movements when you are first learning erhu, if you let them develop, these problems will be consolidated. Even if you are determined to get rid of them, it is actually a little more difficult than learning and mastering a new technique. .

Only by mastering the correct method of the left hand can you make your erhu play more charming, rather than simply piecing together scales.