Physical analysis of push-pull bow: when the string is empty, especially the inner string, the friction force of pulling the bow is to make the string move in a tighter direction. The bow is slightly higher. After the fingers are pressed, this small deviation is digested by finger adjustment.

Pay attention to push and pull the bow evenly, which can reduce this dispersion, absolutely eliminate the impossible, and basically can't hear it.

Pull the bow, that is, "pull the bow to open, the wrist collar". When drawing the bow, spread the palm of your hand, and the right wrist slightly deflects to the right to lead the bow. The right wrist should protrude slightly outwards in a "protruding state", and pull it out to the right with the wrist as the first action point. Be careful not to stretch the big arm out too early, so that the elbow is raised too much, causing the bad tendency of "big arm up". In addition, when the bow is drawn, the right arm cannot be moved to the right rear, so that the bow is drawn into a circular arc.

Pushing the bow, that is, "pushing the bow together, the big arm collar". When pushing the bow, close the right palm, lead the forearm, and bend the right wrist inward to push the bow to the left. To take the big arm back as the first move point, drive the forearm to the left. At this point, the wrist should be "inwardly flexed". When the big arm is finished, the forearm continues to push to the left; after the forearm is finished, the hand will push the bow a few centimeters, so that the wrist will be transformed into the "intermediate state" again, so as to start the next bow-drawing action.

Pay attention to the flexibility of the wrist. The wrist for pushing the bow is pulled inward, and the bow is pulled outward. It feels like pulling the bow back in and out. The other four fingers except the joint in the middle of the thumb are folded with the advancement of the wrist and pulled out. And straight, mainly because you understand this technique, and then every time you pull the erhu, it is best to pull the push-pull bow, and pull the empty string for 10 to 30 minutes. If you practice like this every day, then your erhu skills are very solid. Erhu Technology requires a lot of learning and practice.

Pushing the bow with external strings: the arm begins to retract, the wrist is naturally slightly bent, the middle finger, ring finger, thumb and index finger control the bow shaft, the palm is close to the bow hair, make a straight movement outward and left, do not raise the elbow, and the bow hair is tight Stick the piano barrel, keep the direction of the bow straight, the speed is stable, and the force is even until the arm is fully retracted. At this time, there is a certain distance between the palm and the bow hair.

In the two exercises, you must sing the sound in the same rhythm as the rest at each pause, cultivate the ear's response to pitch, and initially form the concept of pitch and rhythm.

Erhu playing, either pulling or pushing, what else is there to pay attention to?

Yes, there should be attention. In some parts of the music, pulling is better than pushing, and in some places, pushing is better than pulling. This is also a bowing technique.

According to people's physiological characteristics and habits, generally the hand is more powerful when pulling to the right than pushing to the left. Therefore, it is more appropriate to use the bow to draw the bow in strong beats or places that need to be emphasized. On the contrary, it is obviously better to push the bow in weak or flat places. For example, erhu accents, strong position notes (such as the first and third notes in four consecutive sixteenth notes), erhu in-situ bowing and some pad bows, etc., generally use the bowing method. The first note of the weak measure or the note of the weak beat, as well as the notes of other weak positions, as well as the last note at the end of the music, all adopt the bowing method.

However, the above is only the general situation. In actual performance, because the melody is ever-changing, it is not necessarily so rigid. You can push the bow for strong beats, and pull the bow for weak beats, just pay attention to adjusting the volume. Such as several consecutive accents, you can take a pull and push method (but to strengthen the push). For some folk minor or fast bow performances in opera music, the normal bow sequence can be disrupted, that is, push first and then pull to match the style of folk opera.

The bowing method commonly used in Jinghu performance is basically to push the bow. This is because the performer should place the Jinghu in the middle and front of the thigh, and the Jinghu should be obliquely outward, so that the right hand holding the bow should go up to the right. Fang Xie, explained from the dynamics and physiology, the gravitational induction of the human hand from top to bottom controls the inertia of the bow hair with acceleration downward, so that the bow is pushed cleanly and powerfully, which is in line with the characteristics of Peking Opera!

In the erhu solos "Farewell to the Newlyweds" and "Orchid Flower", there are several consecutive bow draws. From the analysis of the plots of these two songs, the descriptions are all about the grief and anger in the marriage change and resistance to marriage. This kind of continuous stress draws When using the bow, when the right hand quickly draws the bow several times, the high bow hair hits the qin barrel by inertia, which produces a strong rubbing against the strings, sending out a powerful feeling of grief and anger.

In short, in erhu performance, we must pay attention to the principle of strength of bowing, try to obey nature, and at the same time be flexible and changeable.