Where should the erhu touch the string and the strength of the sound when the left finger touches the string?

Some people think that it should be on the fingertips, because the feeling is sharp; some people think that the sound should be pressed with the belly of the finger, because it is hard and the sound is thick. Because each player's finger thickness and fingertip muscle state are different, and the different emotions in the music have many changes in the timbre requirements. Therefore, in my opinion, under the premise of ensuring the agility of pressing the sound, the touch point should be appropriately "different from person to person". People with thin fingers can press the sound slightly to the belly of the finger, but if combined with the vibrato, the touch point should The arrangement of the chord points needs to be "different from song to song".

For example, the melody in 6/8 time and the slow melody in 2/4 time of "The First Erhu Rhapsody" (Wang Jianmin's song), and the slow part of "Spring Poem" (Zhong Yiliang) are played in a "tumbling" way. Or in the singing passage of "Sunshine Shines on Tashkorgan" (arranged by Chen Gang) in 7/8 time, the position of the sound should be at the fingertips. Because pressing the sound at this position can make the finger joints more relaxed, the rolling up and down movements and the feeling of force are more uniform, and the sound effect is more singing. If you are playing "Jianghe Shui" (Northeast Folk Music, transplanted by Huang Haihuai) and "One Branch of Flowers" (Folk Music, Arranged by Zhang Shiye), you need to press the sound with your fingertips and use the grip of your hand, combined with "pressing" Kneading" and "retaining the fingers" based methods are more effective. At this time, since the force of the pressing finger is relatively stable, as long as the frequency of the action is controlled evenly, the change of the sound wave will be more stable, and the sound will be relatively thicker and more honest.

As for the degree of effort and feeling of the fingers when pressing the sound, I think that when the melody of the music requires a weak force, it should be in a state of "three-point confrontation", that is, the part where the thumb and the base of the index finger touch the piano bar and the finger pressing the sound should be in contact with each other. Combined, press the sound under the dominant drive of the pressing finger (at this time, the tiger's mouth is in a natural state of slack). When it is necessary to express emotions such as excitement, tenacity, grief, anger, and pain in a heavier way of pressing and kneading, the wrist joint should be slightly "concave", and the active pressure of the pressing fingers should be combined with the anti-pressure feeling of the reserved fingers and the tiger's mouth. .

In short, no matter how hard the left finger is in the process of pressing the sound, the left shoulder, elbow, wrist joint and relevant parts of the piano should be coordinated in a natural and coordinated state, so as to achieve smooth finger-dropping, even pressing, coordinated movement, Pronunciation texture.