Erhu vertical performance is standing and pulling the erhu, which is a familiar erhu playing posture in recent years. This posture is not the whim of any musician, nor the creative idea of any performer, but a playing posture that has accompanied the erhu through nearly a hundred years of history. This kind of posture is for the old folk artists to set off the scenes of silk bamboo festivals and temple fairs in towns and villages in the past, and even more passionately performed by handsome men and beautiful women on the stage with gorgeous sound and image. Therefore, in various erhu textbooks for more than half a century, vertical and seated performances have always been listed as the basic postures of erhu performance until now.

We know that an excellent instrumental player, no matter what kind of musical instrument he is operating, his highest performance state (only in terms of physiology) is to have full body energy, natural coordination of movements, flexible and relaxed hands, and one move Only when one has to be handy and sway freely can one achieve the superior state of shape, sound, energy, potential, spirit, and rhythm. The same goes for erhu playing. On the surface, the movements of erhu performance are limited to the opening and closing, flexion and extension of the arms, and the pulling, pushing and kneading of the hands on the bow and strings. It is completed in the state of coordination of body movements, access to vigor, and concentration of expression. The source of coordination and strength of its movements is also formed by the overall penetration of the shoulders, the arms, and the fingers. Specifically, the methods and techniques in erhu performance, whether it is the right hand's long, short, continuous, pause, throw, jump, strike, or the left hand's chant, kneading, trembling, hitting, slippery, slippery, pan, their movements Both strength and strength come from the coordination of body movements and the penetration of strength. For example, the action of kneading strings is intuitively formed by pressing the strings with fingers as the fulcrum, and the palm joints and knuckles rolling up and down. The overall coherent action that goes directly to the belly of the fingers; on the surface, the action of changing the handle is made by the fingers moving up and down or beating on the strings. A series of coherent movements can make the sound of changing the handle smooth and the movement natural. If you want to closely cooperate with the right-hand bow movement to achieve the rhythmic effect of ups and downs, you need the strength between the shoulders and the back to stretch to complete. Another example is the slow longbow method. When the bow is gradually moved to the tip of the bow, in order to obtain fullness and unity of the sound, it is often necessary to adjust the back, waist and crotch accordingly, so that the center of gravity of the body gradually moves from the center to the right hip. and the right shoulder, so as to ensure the continuous strength of the bow. In a word, no matter what kind of action is performed, the fundamental source of human strength lies in "originating from the root, originating from the waist, transporting to the arm, and reaching to the fingers".

Figuratively speaking, in the process of human movement, the human body is like a big tree full of vitality: the feet and legs are the roots, the body is the trunk, the arms are the branches, and the palms and fingers are the leaves. The relationship between a person's arms and the body is like the relationship between branches and leaves and the trunk of a tree: "The waist is like a trunk, and the limbs are like branches; the waist moves slightly, the limbs are automatic, the waist does not move, the limbs are automatic, useless effort, nothing." Opening and closing, the smooth up and down movement of the fingers, as well as the rigidity and softness of the movement of the hands and the solidity, all contain the force exerted by the waist and crotch to drive the arms and reach the fingers, so that complete strength can be obtained. In layman's terms, the relationship between the arms and the body is like a rattle. As soon as the drum handle (body) turns, the rope (arms) turns naturally with the drumsticks (hands), and the force bounces to the drum surface ( On the bow and strings), the faster the drum handle turns, the more flexible the force of the drum sticks on the drum surface, and the clearer the sound (like the swinging action of a fast bow). Of course, since erhu performance is limited by the straight line of the bow and strings, on the surface, the hands are only in straight line movements left and right and up and down. As far as the fast bow is concerned, because of its tight movements, concentrated pronunciation and full of tension, This primary and secondary driving action becomes an inner support and is not exposed to the outside. However, if the fast bow action is unfolded and the slow bow action is turned into a slow bow action, the inner joints and meridians still follow the trunk, branches and drum handle. The action relationship with the drumsticks is running. In view of the above analysis, we will clarify a concept: the ideal method of erhu performance is to understand and understand the relationship between the hands, arms and even the body. The best way to teach erhu is to grasp this relationship as soon as possible, and fundamentally By grasping the inherent laws of the body's motor function, you can get everything right. In fact, getting students to master the correct erhu playing method as soon as possible is the path that every coach has devoted himself to pondering; and pursuing coordination and relaxation, mastering the erhu playing method as soon as possible, and successfully completing various skills in the performance, is also an important task for every piano learner. the assiduous goal. Corresponding to the stage performance form of concert solo or ensemble, most of the professional and amateur Erhu teaching for more than half a century is taught and practiced in a sitting posture, which is a habitual performance posture. However, in many years of teaching practice, the author found that a considerable number of piano learners, who have gone through a long history of learning the piano, still have not figured out the source of the power of erhu playing, and how the hands, arms and shoulders, back, The inner relationship between the waist and the crotch has caused all kinds of piano diseases. For example: improper sitting posture, tense back, inactive waist, stiff shoulders, inability to turn elbows, immobility of wrists, etc., and these phenomena will directly affect the way of holding the piano with both hands, improper method of holding the bow, bowing, The finger movement is ineffective, so that the slow bow is not stable, the fast bow is not clear, the vibrating string is not smooth, the changing of the handle is not smooth and so on. When we only change the handle to correct the change, only use the fast bow to train the fast bow, and solve the movement problems of the ends of the hands from the perspective of branches and leaves, it is often difficult to obtain the desired effect. In addition, due to the limitation of the movement orientation of seated playing, the root causes of some technical problems are easily concealed and difficult to detect, which often makes it difficult for the learner to understand the reasons for the uncoordinated movements of the hands and the lack of smooth force, and the professor also has to spend A lot of time to find the crux of the piano disease.

When the erhu is played vertically with the erhu vertical hook, the above problems will become clear and easy to correct and solve. When you get up and practice the erhu (especially while walking and practicing the piano), you will easily find out whether the whole body is tense, whether the movements cannot be coordinated, whether the waist and back are restrained due to the stiffness of the crotch (the stiffness of the waist and crotch is the erhu performance movement Stretching taboo). Try to use the concept of a rattle to turn your body, intentionally free your hips, try to loosen your waist and drop your hips, and make your waist and hips loose; when you turn your waist horizontally from side to side, and at the same time drive your right arm to pull and push the bow, you will It is easy to realize whether the shoulders are loose, whether the arms are stretched, and figure out the meaning of heavy shoulders and elbows. When you use this inertial motion to dominate the wrist movement, you will clearly realize the adjustment function of the wrist in the movement of the arms; when the movements of the joints of your left and right arms are coordinated and the force is transmitted to the hands smoothly , you will feel that the operation of the fingers on the bow string is much more flexible and smooth (especially when playing a slow longbow and changing the handle greatly, the coordination between the strength of both hands and the movement of the whole body is more obvious). Playing upright makes your practice more difficult and technical problems aggravated, like a track and field athlete training to run with sandbags tied to his legs. When exercising, you can slow down the speed first, in order to coordinate and relax the movements, and then gradually speed up the speed and increase the difficulty. When you are more proficient in standing practice, you will be more comfortable in sitting down and playing. Standing performance is not the purpose, it is a training method, it is to eliminate the stiffness of the local joint muscles more directly, and to master the joints from the legs to the hips, the waist to the back, the shoulders to the arms, and the wrists to the fingers more quickly. It has a special effect on piano diseases such as the inability of the bow to reach the tip of the bow, the inability to loosen the left arm when the high handle is changed, and the inability to concentrate the strength of both hands. Quickly master the technical secrets of Erhu playing. Of course, for those who are generally trapped by tension and stiffness, there will be obvious relief through self-adjustment, and some stubborn piano problems that have accumulated over time, it is best to practice under the guidance of experienced teachers, using vertical playing The unique effect of , will be faster and more accurate to grasp the essentials of performance. Vertical performance can also be used as a kind of adjustment in erhu training. Most people who aspire to learn the erhu well will feel very hard and tired after sitting and practicing the piano for many years. If they occasionally change their postures to get up and move around to practice the erhu, it will be very beneficial to the adjustment of body functions. Especially for some young violin players who are very rigid in playing the piano, if they try to play upright, they will quickly get out of the rigid state and make practicing the piano easier. Therefore, some teachers who practice erhu lessons in large and small classes will receive unexpected good results if they properly use vertical performance to train erhu.

Of course, standing and pulling the erhu, the body rotates more and the arms move more space, it does not mean that the posture of pulling the erhu can be left to one's own accord, and the basic essentials of the movement cannot be changed at will. For example, the joints of the spine should always be kept upright and vertical; the bowing path of the right hand should be basically straight; the left hand should maintain a certain angle for the movement of the piano, etc.