Since the erhu has neither a fingerboard nor a fixed tone, the accuracy of the tone has always been the most important thing for players. Most people are accustomed to thinking that "inaccurate sound" is mostly caused by the position of the left hand and the unsure of the action of changing the handle. In fact, the cause of the inaccurate pitch is first of all the dullness of hearing and the lack of accurate "pitch prediction" in the performance (that is, the accurate height of the pitch is found in the "inner hearing" before pressing the pitch). A player with a keen sense of hearing will naturally feel uncomfortable or even stimulated when he hears an inaccurate tone in his performance, so he subconsciously adjusts the position of the left finger until this The pitch is so far, which fully illustrates the importance of hearing for controlling pitch.

For this reason, in the process of training pitch control, you should first pay attention to the ability to listen to sounds and distinguish the difference in pitch, master the "prediction of pitch", and then practice the methods of accurately pressing the sound and changing the handle. In the process of practicing pitch control, the player must concentrate on the auditory attention from beginning to end, otherwise it will be difficult to master the law of pitch control. In fact, the control process of intonation during performance is a process in which the player gradually forms a correct "kinematic chain" after repeated practice of the precise pressing and changing of the position through auditory correction. Although some blind performers are blind, they control the intonation very well during performance. In addition to having a keen inner hearing, the accuracy of the performance is the key to solving the intonation problem; The position and every key position are well known, and they hardly touch the wrong key in the performance, which shows the importance of high concentration and mastering the correct "kinematic chain" in the performance. Some performers entered the practice of music before they had mastered some basic performance movements because they progressed too fast at the beginning. As a result, when they are playing, their hearing cannot be very concentrated, and they often habitually stare at their fingers or bows with their eyes. These subconscious visual movements interfered with their auditory control process, resulting in inaccurate performances. It is embodied in the following aspects:

(1) The pitch of the empty strings is not accurate, and the interval relationship between the inner and outer strings is larger or smaller than a perfect fifth;

(2) The interval relationship of the tones is not accurate.

When encountering the above two problems, find a way to use a musical instrument with a fixed pitch (preferably a piano or an electronic organ) to carry out repeated pitch contrast listening and discrimination exercises in the way of "ear training". You must learn to use your hearing to identify, capture and remember the pitch of each different tone, as well as the various interval relationships in the process of sound connection, so as to train and adjust their hearing ability and cultivate a keen "inner hearing" .

(3) habitually press the tone higher or lower during the performance (relative to the open string tone).

This is mainly caused by the lack of active hearing and the lack of strict requirements on intonation during the long-term piano practice. In case of this problem, the method of "slow practice" should be used to gradually adjust the stability of the hearing and correct the inaccurate tones by consciously comparing the pitch of the open strings or using natural overtones. The best way is to practice the 7-tone scales and arpeggios of different keys more, so that it is easier to find and correct the inaccurate tones.

(4) The semitone relationship is not strict.

In the initial stage of this problem, it is mainly manifested in the natural chromatic relationship of the first key roll call. Generally, the chromatic intervals of the third, fourth and seventh and eighth steps are easy to be wider. train. When encountering this problem, it is necessary to strengthen the practice of the heptatonic scale, and control the chromatic pitch between the third and fourth scales and the seventh and eighth tones in the natural major, so that they can gradually become accustomed to the sound of strict chromatic relationship in hearing. Prepare aurally for the frequent chromatics and inflections of complex compositions.

All in all, the key to solving the pitch problem is to seriously train the player's "inner hearing", "pitch prediction" and form a correct "kinematic chain" in the process of practice, so as to cultivate the player's sense of responsibility and grasp when controlling pitch. sex. This requires a certain time process, and also depends on the player's attention to the intonation problem. The sharper the hearing and the more skilled the technique, the shorter the process of correcting the inaccuracy. When you feel uncomfortable when you hear an inaccurate sound and correct it immediately, the problem of intonation is close to being solved.