The erhu is one of the important traditional national musical instruments with its own distinctive national characteristics. There are often some mistakes in instrumental music performances, exams, and even classes. The reasons are as follows:

1. The psychological tension of the performer is the main reason for the failure of instrumental performance

The students practiced very well below. When they came to the stage, they faced a thousand or a hundred pairs of straight eyes, or faced the serious face of the invigilator, and they had stage fright and could not perform normally. This kind of mistake is often caused by worrying too much about the result, resulting in ideological pressure, which has a negative effect on the motivation and effect of performance. For these students, we should focus on cultivating their good psychological quality in the usual counseling. Tell them that to learn a musical instrument well, you must not only work hard and practice hard, but also dare to go on stage and be good at playing.

When performing, the thoughts should be integrated into the artistic conception of the music, the body and mind should be relaxed, and other things unrelated to the performance should not be considered. Also, it's good to do some mock training before going on stage or entering the exam room. Having the courage to participate in various performances, grading examinations and competitions, making the stage play a regular activity and taking it as a necessary part of the learning process, can effectively cultivate the performer's psychological quality and reduce the occurrence of mistakes.

2. Questions about the level of students' basic skills

The difficulty of playing the repertoire is higher than one's own ability and level. There are basic skills for learning all kinds of musical instruments. Basic skills often need to be practiced every day. Only with a solid foundation can we pursue a high level. Putting aside the basic skills to practice some large-scale repertoire, you will often fail. In addition, incorrect playing methods and many mistakes will directly affect the performance. The correct way of playing is obtained through countless practices by predecessors. If you ignore its existence, you will inevitably take a detour. The fingering of individual students is not fixed, one pattern at a time, even if they are quite proficient off stage, once they come on stage, they often cannot stand the test. Teachers should pay attention to basic skills training in teaching, emphasize the correct methods, and make adjustments according to the different situations of each student, so that students can learn better and increase the probability of success.

3. Problems in piano practice

The most common problem is that the practice is regarded as simple and repeated, and every time it is practiced completely over and over again, and the difficult points cannot be solved well. Difficulties should be solved first when practicing the piano. Difficulties should be practiced by means of breaking up, segmenting, practicing slowly, and practicing more. If the difficult points are well practiced, it means the success of the practice. Some students always like to practice from scratch every time. As a result, the front ones become more and more smooth, while the latter ones are still unskilled. Some students are accustomed to practicing the piano for a long time, so that the first hour has an effect, the second hour has no effect, and the third hour makes mistakes. Some students are used to practicing the piano in a very tired state after finishing their homework, which is also prone to mistakes. From this point of view, it is still very important to cultivate a good habit of practicing the piano. There must be a plan, regularity and focus in practicing the piano. Practice in the morning is more efficient than practice in the evening. Generally, each practice should be within 1 hour. If the continuous time is too long, you should rest in the middle. It is best to fix the practice time and develop a habit, so as to improve efficiency and reduce mistakes.

Fourth, the reasons for musical instruments

For musical instruments to be played, first of all, the problem of intonation must be solved. The tuning should be carefully tuned before playing. The pitch of the accompaniment should be consistent with the accompaniment instrument and rehearsed in advance. At the same time, the influence of temperature and temperature changes on the instrument should be considered. Furthermore, the musical instruments used for playing should be different in grade from those used for general piano practice. For the lighter and easier to carry musical instruments, you can also prepare an extra piece for use in case of unforeseen circumstances.

5. Poor physical and mental conditions can also easily lead to mistakes in performance

Sickness, bad mood, and excessive fatigue will affect the normal performance of instrumental music. It is generally believed that instrumental music performance should be avoided as far as possible during the period of illness or poor health. Furthermore, you should relax properly before playing, and you should not practice excessively and cause fatigue.

There are many reasons for the failure of instrumental music performance, and sometimes several aspects coexist, which requires players not only to have solid basic skills, skilled skills, and high-quality musical instruments, but also to have good psychological quality and competitive state. We must fully consider these issues in the teaching of instrumental music.

From the perspective of national instrumental music performance aesthetics, it is related to the understanding of the expressive ability and appreciation of national instrumental music performance. category. These are closely related to the expression and grasp of various types of beauty in Erhu performance (that is, the second creation), as well as the aesthetic appreciation of Erhu artistic style, genre and type characteristics. To understand these is to understand how many different types of beauty can be presented in the performance of Erhu works. What does it feel like to understand the artistic expression of these performance types? What are the positive or negative effects and effects? In this way, in performance and teaching practice, we can help students understand the characteristics and problems of performance through understanding and thinking about these performance types, rather than how the teacher teaches me to do it, and I can do it all day long. Pulling is only satisfied with pulling right and skillful, but not rising to the understanding of the various types and beauty of erhu performing arts.