introductory teaching of playing erhu

introductory teaching of playing erhu. Many people prefer to play erhu, which is a traditional national musical instrument in China and has always been loved by the public. Now, many elderly friends teach themselves or learn to play erhu in senior universities. Let's take a look at the introduction teaching and related materials of playing erhu. Introduction to the teaching of playing erhu 1

To learn erhu, you must first learn to know the notation, master the most basic knowledge of music theory, love music and sing, and master the intonation well without losing tune. It is very important to learn the erhu's hearing well. Unlike other musical instruments, the erhu has key phonemes, and it has no fingerboard. Its scale reference sounds are all distinguished by hearing. The finger distance of the left finger and the strength of pressing the strings, as well as the strength applied by the right hand to the bow hair, can change the tension of the strings and change the sound level.

For example, no matter how good the erhu player is, he is just like a beginner without hearing. The player's listening ability is better than that of ordinary people. If a note is slightly wrong, he will instantly adjust the pitch by sliding his fingers or changing the tension of string pressure, which is not felt by ordinary people in the process. So pitch is extremely important. Some people don't know music theory, but they play erhu very well. Why is this? Such people have good listening, intonation and temperament. This is a talented and natural musician. But it's a pity that they didn't study through the formal system.

There are 15 strings, 52 strings, 63 strings, 37 strings and 26 strings commonly used in erhu. Among them, 15 strings and 52 strings are usually called basic tuning, and they are also widely used. It is necessary to understand the pure five-degree relationship between inner and outer hollow strings (1~5).

There are seven major tones, which are composed of 1234567 tones, and which tones have corresponding chords, namely 1=D (1-5 chords), 1=G (5-2 chords), 1=F (6-3 chords), 1=bB (3-7 chords) and 1=C (2-7 chords).

Generally, musical instruments are enlightened by 1~5 strings in D key. In the introductory practice of erhu, you can master eight intonations of the inner and outer strings, gradually practice from one bow to one tone, and then learn two octaves commonly used by changing the middle handle. After mastering the most basic theoretical knowledge of erhu, practice step by step according to the practice steps. Introduction to Erhu Teaching 2

Erhu Skills Training Tips

For many musicians who have just come into contact with Erhu, no matter what instruments they learn, there are skills and methods summarized by their predecessors for reference. But if you want to improve your playing level steadily, it is not enough to be clever, but also to cooperate with solid daily practice. So today, the Erhu tutorial teacher will tell you how to improve your playing skills quickly by relying on the following points.

Basic fingering forms four hand shapes.

One handle is adjacent to the interval of two fingers, which is nothing more than a second degree, a second degree, an increase of two degrees and a third degree. It is the basic fingering that one finger and four fingers form a pure four-degree relationship, and the basic fingering forms four hand types:

(1) One, two, three and four fingers are attached to form a small two-degree relationship, and the other fingers are separated into a large two-degree relationship.

(2) One-two-one-two-one type, two or three fingers are attached to form a second degree relationship, and the other fingers are separated into a second degree relationship.

(3) Two-one-two-one-one fingers are attached to each other in a second degree relationship, and the other fingers are separated into a second degree relationship.

(4) One-one-one-one-two-three-four fingers are all separated into a second degree relationship, and the empty string and one finger form a second degree relationship.

Accurate fingering is reasonable fingering, reasonable fingering is in line with the relationship between fingers and notes, reasonable fingering is in line with the relationship between fingers, and reasonable fingering is the rule.

(1) Playing music solo with fingering requires more analysis in training, sometimes it is unreasonable for various reasons (historical reasons), sometimes the so-called correct fingering is not the only fingering, and there may be another fingering that is more suitable for you and more convenient.

(2) Arrange fingering to minimize frequent finger exchange, and it is better to exchange adjacent fingers. The fourth degree is a natural hand shape in situ. Do not change the finger that can be changed as much as possible, and don't avoid the little finger function. You must use it where it should be used, and try to keep the hand shape in a stable order.

(3) Choose a good combination of fingers, give full play to the independent performance of each finger, and combine the traditional switch of hands with one tone to make the note link natural, smooth and clear.

(4) The purpose of emphasizing fingering is to ensure the intonation. Only when the intonation is good can we make different changes in speed, strength, height, area and position of fingering, and then we can make a difference and know something about fingering or touching strings.

This manual exercise is very useful for beginners of erhu, and three groups of movements help you to move your fingers flexibly.

The fingering of erhu is very important for erhu performance, which is related to whether your pitch and rhythm are accurate. A master of erhu must be accurate, flexible and spiritual. So, how to improve the skill of pressing strings?

First of all, the question of accuracy. There is no quick way to do this. You can only practice more, find out the exact position of each note and form muscle memory. The main factor that affects this step is talent. A person with high talent, good intonation or excellent muscle memory ability is sure to master this step quickly.

Especially muscle memory, this is very important, because the phonemes of erhu must be memorized by muscles, and memory by brain is unreliable. Only when you think of a sound in your head, your hand will move to that note without going through your brain is the best situation. To practice this basic skill, you can only practice hard for a long time. I think it is easier to help beginners master this basic skill by sliding fingers to change hands.

However, besides mastering the intonation and phoneme when changing the handle and pressing the strings, there is also a very important point, that is, the flexibility of fingers. Some people already know the position of each sound by heart, and they will still be very clumsy in actual operation. They are either born with stiff fingers, or their fingers are not soft enough after hard work, or they are too old to be flexible. In short, for various reasons, their fingers are not flexible enough.

First of all, no matter what skills you practice, the first priority is to study hard and practice hard. It is of course the best way to practice repeatedly changing strings with the erhu in your arms. However, it is almost impossible for us to achieve such a "combination of human and piano" and our goal is to improve flexibility. So is there any way to enhance the flexibility of our fingers through some movements or "hand exercises" when we have no piano in our hands?

Actually, there are. Now I will introduce you to three movements that can train your fingers' flexibility. Training them once every morning and evening or doing them often every day can improve your fingers' flexibility and flexibility quickly.

one: the palm of your left hand is facing up, and the other four fingers bend with one finger. Note that if one finger bends, it is inevitable that there will be a linkage between the ring finger and the little finger at first, but it doesn't matter, most people will have it. At this time, don't try to hold the finger with your right hand or anything. Just increase the bending degree naturally, and you can naturally achieve free and flexible independent movement after long-term practice.

Second, pinch the four fingers except the ring finger together, let the ring finger move back and forth in the gap between the little finger and the middle finger alone, and do ten groups of reciprocating movements every day for 3 times, so that the independent movement ability of the ring finger will be greatly enhanced. This one is specially for practicing the ring finger. After all, this finger is the most difficult to practice.

Third, the left palm root and thumb are placed on the table top, and the other four fingers do the vertical tapping of the table top with one finger tip. The positive and negative order, jumping order and chaotic order should be practiced, because the erhu's chord-pressing is not just pressing, and the moment when it is pressed, it should have strength, and the part that hits the table top should be the same as the actual chord-pressing part, which is the most full position of the fingertip muscles.

Keep practicing these three methods, and soon the left hand will become flexible, and the hand shape change according to the string is no longer a problem!

the practice method and little finger etude of erhu

In erhu performance, the little finger of the left hand plays the same important role as the index finger, middle finger and ring finger. We may find that in all erhu books, except for the first practice of index finger, middle finger, ring finger and little finger, in all the later exercises, only the little finger is practiced, and the other three fingers are not practiced, because the little finger is shorter, slimmer, less dynamic and flexible than the other three fingers. Therefore, it can not be ignored to strengthen the practice of little finger, and it is very important to master the correct training methods.

When we learn to press the fingers on the erhu in the early stage, because of the particularity of the little finger, we don't need to press the strings with the fingertips like the other three fingers, and the little finger usually touches the strings with the fullness of the first joint muscle of the finger

. At this time, a very important key is that because the little finger is the bottom finger of the whole palm, some teachers will tell students to slap or turn their wrists when pressing strings, especially when pressing strings quickly. In fact, this method is wrong. If you want the little finger to press the string quickly, you must use the strength of the palm joint, not the strength of the palm. Today, I will bring you several methods of practicing little finger and two better little finger etudes.

Finger-lifting exercises

(1) Finger-curling lifting: The main purpose is to strengthen the development of the flexor digitorum profundus tendon. Different from other fingers, the little finger is too small compared with other fingers, and the potential energy generated by curling up and then falling down is weak, so it is necessary to control the two actions of lifting up, curling up and falling and stretching when lifting the finger high.

The first finger, the second finger and the third finger are all placed on the string with the reserved finger, and the little finger lifts the finger with the finger root as the axis. When it is lifted, the little finger is fully curled into a square block, and when it falls, the little finger spreads out and falls on the string according to the curled route. The curled finger type requires the little finger to be fully curled up and fully lifted. The ring finger needs to be stably kept at the touch point, and its linkage with the little finger should be controlled as much as possible, so as to exercise the independence of the two fingers.

(2) Integral finger lifting: The main purpose is to strengthen the development of flexor digitorum superficialis tendon, make it fully elongated, and increase its flexibility and independence. The remaining three fingers are kept until they are placed on the string. The little finger is required to be stretched straight with the finger root as the axis, fully lifted to the limit, and dropped by potential energy. Introduction to the teaching of playing erhu 3

The correct method of carrying the bow of erhu

1. On the basis of correctly holding the bow, relax and smoothly transfer strength.

the pronunciation principle of erhu is that the bow is manipulated by the right hand, so that the bow hair rubs on the inner and outer strings of erhu to produce vibration, and then the sound is transmitted to the piano barrel by the piano code. Holding the bow correctly is the basis of skilled bow handling, especially for beginners. The bow must be laid flat, and the thumb and the root of the index finger form an included angle to support the root of the bow. The middle finger and the ring finger naturally bend and are placed between the arch rod and the arch hair. The arch hair is lightly hooked by the fingertips, and the outer side of the upper joint of the middle finger gently abuts against the arch rod.

The basic point of transporting the bow is to take the shoulder joint as the axis, and the big arm drives the small arm to transfer the force to the wrist, which first drives the bow to move horizontally. When pulling the outer string, the wrist should naturally droop, so that the bow rod falls and sticks to the piano barrel, and the bow hair naturally presses on the outer string; When pulling the inner string, the wrist is slightly lifted upward, so that the bow rod is higher than the piano barrel and forms an oblique angle with the strings, so that the natural gravity of the bow is added to the inner string. The inner string carries the bow, and the strength of the middle finger and the ring finger to hook the bow hair should be uniform to prevent the big and small.

according to the needs of music rhythm and performance, there are two kinds of bows: fast and slow. A fast bow is like flowing water and Ma Benteng; A slow bow is like a breeze blowing on your face and Chun Yan whispering. The fast bow pays attention to illness but not rashness, weight but not dullness; A slow bow needs to be comfortable and gentle, and it should not be stagnant. The essence of the difference between speed and speed is directly proportional to the strength and speed of bow transport. When playing hard, we should increase the pressure and speed up the bow; When playing weakly, it is necessary to reduce the pressure on the strings and slow down the bow speed.

However, no matter how fast or slow the bow is, one thing is completely * * * connected, that is, it is necessary to relax and transfer power smoothly. This is the basic premise to achieve correct bow transportation. The reason seems simple and the actual operation is not easy. Many beginners failed to really understand and grasp this in the early stage and took many detours. The specific performance is that the right hand is nervous when holding the bow, and only locks the strength at the point of holding the bow, ignoring the smooth transmission of the strength, resulting in the tension and rigidity of the fingers, arms and even the body.

It seems that the right arm has exerted a lot of effort, and the power of carrying the bow has not been smoothly transmitted to the strings at all, so the strings can't fully vibrate, let alone the piano barrel has a good pronunciation. I have a student who has been nervous about his right hand for a year when he started to learn the piano, but he can't pull out a thorough and relaxed voice with great effort. It was not until the bow was deformed and almost became a bow for shooting swords that I gradually realized that I no longer confined my strength to the bow itself, but paid attention to the relaxation of my right hand and the harmonious transmission of my strength in the process of carrying the bow.

Both theory and practice show that a good timbre is based on holding the bow correctly and accurately controlling the power transmission. Beginners should especially strengthen this concept, make careful guesses and practice it repeatedly.

second, according to the needs of the bow method, reasonably allocate the bow segment and bow sequence.

In order to carry the bow correctly and express the music incisively and vividly, we should also learn to be good at the overall situation, make overall arrangements, skillfully use the bow, and properly allocate the bow segments and bow sequences. The so-called bow segment is to divide the whole bow into five parts from left to right: the bow tip, the left half bow, the middle bow, the right half bow and the bow root. Different bow segments have different acoustic characteristics. Generally speaking, the bow tip is mellow and light, the left bow is easy to play dense fast bow, and the right bow is more conducive to playing the fast bow with frustration and strength. Both the middle bow and the middle bow are taken into account, and the bow root is strong in pronunciation, but it is easy to lose flexibility.

The so-called bow sequence refers to the order of carrying bows, and its essence is the reasonable collocation of bow direction, bow segment, bow pulling, bow pushing, bow connecting and bow dividing in practical application. The switching of bow sequence requires simplicity, neatness and no astringency, and it should not be superficial or sloppy, and strive to change bows naturally, with coherent pronunciation, full timbre and accurate intonation. Understanding and mastering these basic concepts and requirements is conducive to improving the overall control ability and local coordination ability of the bow in the process of transporting the bow.