Beginners are often prone to some deviations in the process of learning erhu. If these problems cannot be corrected in time, it will seriously affect the improvement of learners' performance level, and even make the learning of erhu fall short. I will write them down and draw the attention of erhu learners.

1. Erhu players are prone to the following problems in their sitting posture:

1. The midline of the body is inclined to the left, so that the center of gravity falls to the left side of the body.

2. The height of the two shoulders is very different, usually the left shoulder is high and the right shoulder is low.

3. Excessively tiptoe the left foot, or even hang the left foot completely off the ground.

4. The head is too low, so that the audience can only see the top of the player's head.

2. Erhu players are prone to the following problems in holding the bow:

1. The position of holding the bow is too close to the bow head or too close to the middle bow.

2. The bow is too deep into the bottom of the tiger's mouth, so that the bow is strangled in the tiger's mouth and cannot move flexibly.

3. When the bow is held, the fingers are too "droopy" downward, so that the bow rod is pressed against the piano barrel and rubbed, and the bow hairs leave the piano barrel and move upwards instead.

4. When playing the outer string, the middle finger and ring finger are taken out from between the bow shaft and the bow hair, and then stretched in when the inner string is played.

5. The position of the thumb is incorrect when holding the bow.

6. When holding the bow, the middle finger stretches too far between the shaft and the bow hair, making it useless both inside and outside.

7. Grip the bow too tightly, resulting in thick calluses on the base of the index finger, the inside of the first joint of the thumb, and the outside of the first joint of the middle finger. Some people mistakenly think that this is "Kung Fu", but it is actually a mistake in the method of holding the bow.

3. Erhu players are prone to the following problems in holding the piano and pressing their fingers:

1. The piano barrel is placed in the middle of the left leg by mistake, instead of the position where the base of the left leg is close to the lower abdomen.

2. The piano bar is too inclined left or right; too forward or adducted.

3. In the first position, the tiger's mouth on the left hand is too far away from a thousand jins.

4. The left arm lacks the proper support, and is clamped by the tiger's mouth and hung on the piano rod.

5. Bend your thumb down to hook the piano bar.

6. When holding the piano, keep the palm of the left hand close to the piano bar, and the fingers "lie down" and press the strings upside down.

7. Excessive bending of the finger joints, touching the strings with the tips of the fingers (even with the fingernails).

8. Reflexed finger joints, especially the first joints of the middle finger, ring finger and little finger.

9. The fingers (especially the ring finger and the little finger) do not press the string from the front of the string (from the string to the direction of the piano bar), but from the outside of the string (from the string to the body direction), so that only the outer string is pressed, The inner string is in a virtual pressing state, which often results in a wolf sound.

10. Always keep your fingers "hanging" above the phoneme when playing, and don't let it go.

11. When one finger is on the string, the fingers below it are curled in the palm.

12. When holding the piano, the upper arm is raised too much, which makes the left arm in a tense and unnatural state.

4. Erhu players are prone to the following problems in the longbow:

1. The bow does not run straight.

2. Wrist movements are incorrect when bowing.

3. The wrist moves up and down when changing bows.

4. The starting point of the bow is incorrect.

5. At the moment when the wrist is switched during the bow change, the fingers of the left hand are suddenly released, causing the bow change marks to be too large.

6. The ratio of pressure and speed in the bow is inappropriate, resulting in unsatisfactory sound quality.

7. Some performers are accustomed to using more than two thirds of the bow on the left (middle bow to the tip) of the bow, but rarely use the one third of the bow on the right (bow root), or even do not use it at all.

8. When playing, the bow hair should not stick to the strings in a flat shape, but in a round shape, so that unnecessary noise is emitted when it touches two strings.

9. The position of the thumb moves during the bow movement.

5. The main problems that players are prone to in changing strings are as follows:

1. When changing strings at a slow (medium) speed, the arm swings back and forth too much unnecessarily.

2. Turn your wrists when changing strings.

3. The bow jumps up and down when changing strings, which is caused by the up and down movement of the arm.

4. When the strings are changed, the sound quality and volume of the inner and outer strings are not balanced.

6. The main problems that players are prone to in bowing are as follows:

1. The sound of pulling and pushing the bow is unbalanced.

2. The action of pulling and pushing the bow moves up and down.

3. Excessive wrist or elbow movements when playing split bows.

4. The two hands do not cooperate well.

7. The problems that players are prone to have in slurring mainly include the following:

1. Poor segment allocation.

2. Use the bow to beat the beat in the liangong.

3. The strength of the bow is unbalanced, and it is often manifested as a "jujube core" bow.

4. The sound quality and volume of the pull and push bow are unbalanced.

5. The timing of the notes in a bow is not accurate.

8. The main problems that players are prone to have in the fast bow are as follows:

1. The right arm action "axis" is not placed in the middle of the forearm.

2. The bow is circled and cannot be kept "flat-straight".

3. The degree of sticking to the strings is low, which makes the pronunciation of the fast bow unclear and lacks granularity.

4. The pronunciation of the pull and push bow is not balanced, and the fast bow is played into a "lame" style effect.

5. The coordination of the two hands is not close, and the movement of the left hand is often delayed.

9. The main problems that players are prone to in bowing are as follows:

1. Inappropriate control or distribution of arm tension.

2. The frequency is too slow, or the tremor is uneven, so that the effect of the trembling bow becomes "a mess of loose sand".

3. The bow does not run straight enough and moves in a diagonal or circular motion.

10. The main problems that players are prone to in bowing are as follows:

1. When playing the bow, the bow jumps up, adding a murmur of "click, click" to the bow.

11. The main problems that players are prone to in throwing bows are as follows:

1. The arm moves up and down too much.

2. The movements of the fingers and the whereabouts of the bow do not cooperate well.

3. The right hand is raised too high when playing the bow.

4. When the bow takes off, the string makes noise.

5. When playing the bow, there is a noise when the bow rod hits the piano barrel.

12. The problems that players are prone to have in changing the handle are mainly as follows:

1. After changing the handle down, the boom does not move down, but remains in the position of the top handle.

2. The position of the last designation after changing the handle is not accurate.

3. When changing the handle, the concept of the position is not placed on the big arm, but on the tiger's mouth, which is easy to make the positioning of the handle inaccurate, especially when the handle is jumped by a large amount, it is even more difficult to achieve an accurate position in one step.

4. When changing the handle, the finger moves first, and then the tiger's mouth moves, which makes the affiliation of the changing handle reversed.

5. When changing from the high handle to the upper handle, the tiger's mouth does not touch a thousand pounds (the upper handle is not in place).

6. The changing handle cannot move vertically up and down, so that the piano bar shakes too much back and forth during the performance, which affects the smoothness of the changing handle.

7. The tightness of the tiger's mouth is inappropriate, or the handle is not loosened when changing the handle, so that the movement is difficult and it is difficult to change the handle.

13. The main problems that players are prone to in vibrato are as follows:

1. The movements are tense and rigid when rolling and kneading, and the coordination of various parts is not coordinated.

2. The tiger's mouth moves when vibrating, which affects the stability of vibrating.

3. The relationship between vibrato and pitch is not well grasped, or pitch is affected by vibrato.

4. The method of vibrato is poor and lacks change.

14. The problems that players are prone to have in portamento mainly include the following:

1. The sliding speed of the left hand is uneven, and there is a pause in the middle, so that the portamento is intermittent.

2. Portamento does not match the time value it should occupy.

3. The head or tail of the up-and-down glissando is played too full, and the part that should be hidden is not hidden; or the process of fading in and out is played unnaturally, making the portamento appear stupid and rigid.

4. Blind use of portamento, without choice and sublation, makes the music a sticky piece like dough.

5. The pitch of the pad finger slide is not good.

6. The pad finger glissando is not round, and the fingers have "sills" in the transition process, which makes the pad finger slide into a three-section portamento.

7. When playing back portamento, the sound head is not full, and even "eats" the sound head, which makes the back portamento into an up portamento, and does not play the role of back portamento to strengthen the sound head.

15. The problems that players are prone to have in the decorative tone are mainly the following two points:

1. The scale is not properly grasped, and the decorative small notes are often played too emphasized, so as to stand out from the melody line, which is clumsy and cumbersome.

2. When playing the melody, the first note of the melody is played too long, so as to cause the shift of the rhythm stress.

16. Players are prone to the following problems in vibrato:

1. The fingers are too tense to lift up, so the strings are weak, resulting in ambiguous pronunciation.

2. The finger strikes the strings suddenly and suddenly, unevenly.

3. The interval between the vibrato and the original is not accurate.

4. The vibrato does not reach the desired rate.

17. The main problems that players are prone to in overtones are as follows:

1. The phoneme of the harmonic point touched by the left hand is not accurate.

2. The pressure-speed ratio of the bow hair is not properly adjusted.

3. The speed of the bow is unbalanced.

18. The problems that players are prone to have in plucking the strings are mainly as follows:

1. When pulling the strings, the finger meat "eats the strings" too deeply, so that the pronunciation is slow, and the sound is often later than the beat, and the sound is hard and there is no sufficient reverberation.

2. When the left hand is in the ring finger, the volume of the three fingers is not balanced, or because the fingers are restrained by each other and lack of independence, the strings cannot be played evenly in turn.

3. When plucking the strings with the left hand and playing with the right hand, the phenomenon of unbalanced volume of the double strings is prone to occur. Often, the volume of the right hand plucking is too large, but the left hand plucking makes no sound.

4. The position of the right hand plucking string is not appropriate, which will make the vibration of the string insufficient, and the sound will be hollow and divergent.

5. The actions of the right hand plucking and the left hand pressing the fingers are not tacit, so that the points of the actions of the two hands cannot be aligned together, which will not only make the pronunciation ambiguous, but also affect the accuracy of the rhythm.

6. During plucking, the strings cannot vibrate freely because the bow hair touches the strings, resulting in hoarse pronunciation or noise.