Jinghu performance plays a role in setting off the plot, cooperating with the performance of the characters in the play, and expressing the thoughts and feelings of the characters in the play. It is also a re-creation on the basis of the original work. Obviously, studying the stylistic evolution and development of different historical periods is necessary for us to better grasp and develop Jinghu playing skills.

Jinghu's playing skills show different performance technical characteristics in different periods. At the beginning of the 20th century, the art of Peking Opera entered a period of rapid development. A group of Peking and Hu performers, such as Mei Yutian, Sun Zuochen, Chen Yanheng, and Li Peiqing, were all active in the Peking Opera music industry. Due to the simple structure of Peking Opera music at that time and the structural limitations of Jinghu itself (the strings used are silk strings, which are easy to run), the performance techniques of Jinghu are relatively simple and lack scientific. The specific manifestations are: not using the little finger, inaccurate tuning (commonly known as "yin and yang strings"), inaccurate pressing, etc. In the style of performance, the performance is characterized by small changes in playing strength and speed; single color; music expresses improvisation.

Therefore, in this style of performance, light and simple left fingering and light and powerful right bowing should be used to perform dexterously. The fingering of the left hand is fast and agile. In the bowing of the right hand, attention should be paid to the moderateness and rigidity and flexibility of the use of power. It is mainly to use the strength of the wrist. It is not suitable to use the strength of the arm. Playing characteristics, strive to achieve restrained, controlled, layered performance, and clearly reproduce the characteristics of this peaceful and elegant playing style.

In the middle and late 20th century, the development of Peking Opera entered its heyday. Yang Baozhong, He Shunxin and other older generation Jinghu performers have made a qualitative change and leap in basic technology, music structure, sound effects and the combination of music and emotional awareness through continuous exploration. The increasingly rich musical elements and musical connotations of Peking Opera have promoted the emergence of new technologies in Jinghu performance.

In his performance, in order to improve the expressive power of Jinghu, Mr. Yang Baozhong boldly borrowed the Western violin playing techniques, and improved the original technical level in many aspects such as intonation and timbre. The main performances are: accurate control of proportions, uniform and smooth melody lines, clear and sensitive fingering and the use of various bowing methods, and the pinky has been used. At the same time, he also created many novel fast bow, slurred performance techniques and accompaniment routines, which were used in the accompaniment of crossing and singing.

And Mr. He Shunxin has further changed the development direction of Jinghu performance technology. His performance boldly broke through the traditional style of the past.

First of all, in the production of Jinghu, especially the sophomore Huang Jinghu, compared with the traditional size, the piano rod is longer, the tube is larger, and the bow is longer; compared with the acoustic effect of the traditional size Jinghu, the timbre is wide, crisp and bright, the range is wide, and the treble is high. Rounded, and have started to use steel strings. This makes it possible for the Jinghu musical instrument to perform delicate changes in strength and detail.

Secondly, it is the technical breakthrough of Jinghu performance. After learning Mr. He's playing style, our first experience is that the original playing techniques and methods are not enough, and we must practice some new fingerings and bowing methods, otherwise it will be difficult to reflect Mr. He's playing style. The new performance techniques he created include: making full use of the little finger and using the little finger to play; slow and long bow playing; extensive use of the second position; exaggerating the small trembling bow to create a "triplet" type bowing .

In addition to the above points, Mr. He Shunxin also gradually increased the proportion of arm strength in bowing strength, and adopted the alternately matching playing method of arm strength and wrist strength: when drawing middle and short bows, the light wrist strength is the main force, which is gentle and intriguing. ; When the longbow is drawn, the main body is full of arm strength, opening and closing, and the momentum is magnificent. As a result, the bow of the right hand has a more distinct strength change and color change. This kind of performance technique, which uses arm strength and wrist strength alternately, is also more convenient to express the alternation of music rhythm and the changes in the details of the strength and weakness of the melody.

During the "model opera" period in the 1960s and 1970s, both the performing arts and musical arts of Peking Opera reached an unprecedented peak. Peking Opera music can be said to be the product of the exchange and fusion of Eastern and Western music cultures. This time, the exchange and integration were comprehensive and in-depth, and the Peking Opera band broke through the traditional model - the "Three Pieces" and other instruments played in unison, and used a mixed Chinese and Western orchestra to introduce Western orchestral instruments that were not originally part of the opera band into Peking Opera accompaniment. Moreover, at that time, a large number of composers and performers who had received strict and systematic training in Western music theory and technology joined the opera team and participated in the music reform of Peking Opera. Therefore, Peking Opera music completely breaks through the traditional style.

In terms of performance skills, the players of the Chinese and Western bands are required to have a very tacit understanding of psychological awareness and performance skills. At that time, they also conducted professional training for the "model opera" band, that is, Western instrument players were required to learn opera music in addition to learning opera music. In addition to the relevant knowledge, one must also learn Lajinghu in order to experience the inherent style and rhythm of Peking Opera music; our performers of the "Three Great Pieces" of Peking Opera are required to move closer to Western instruments in pitch and timbre. Since the band has added rich harmony orchestration, the high, middle and low voices are clearly layered, harmonious and unified, and the musical colors and expressions are more contrasted. A variety of complex and simple melody, dynamics, speed. As a result, the expressive power of Peking Opera music and the Jinghu musical instrument has been significantly improved, and it has gradually moved towards the rich and varied expressions and magnificent momentum of the Western symphony.

The emergence of these new playing techniques has allowed performers to gradually form their own unique playing style characteristics that belong to their era. Thus, it laid the foundation for the Jinghu musical instrument to further express the characters' personalities, express the characters' thoughts and feelings, cooperate with the characters' performances and set off the plot of the story, and also prompted the music of Beijing opera to gradually break away from the original ancient traditional style and move towards music. The modernist style with large-scale structure and philosophical music connotation has taken a solid step forward.

From the end of the 20th century to the present, Peking Opera music and even the entire Peking Opera art have reached a new peak. During this period, Jinghu performers were no longer satisfied with the simple accompaniment of repertoires. Many Jinghu performers cooperated with composers and conductors, and successively released musical works composed and adapted by Taishin for the Jinghu Concerto. Although Jinghu performance art has been developed to a considerable extent, there is still a certain gap in order to make it a solo instrument with more comprehensive techniques and more sophisticated and complex performance tasks. This requires Jinghu players not only to have profound traditional skills, but also to have a certain depth of scientific knowledge of modern music, as well as many new performance techniques and styles that must be mastered and developed by themselves. Only in this way can we ensure the new style and style that "Jinghu Music" should have.

Along with the development of Peking Opera art and the creation of Peking Opera music, Jinghu's performance techniques and skills have gradually developed through continuous summarization and evolution. From playing with simple fingering and bowing, to today's diversified and dazzling variety of playing techniques, many accomplished Jinghu performers are developing their playing techniques and skills from performers of different periods and styles. On the basis of dialectical summary and inheritance, combined with the characteristics of the era and era, the personal style characteristics are integrated into the background of the entire era at that time, forming a distinct technical personality and playing style. To truly realize this, whether it is performance practice or teaching, one should have a conscious, planned and purposeful understanding of the characteristics of the style changes in the era of Jinghu performance art, and try to master the stylistic performance skills of Jinghu performers in different periods and styles. Only in this way can I benefit a lot from the continuous pursuit of Jinghu performance art.