Jiang Fengzhi is a famous erhu performer in my country. His representative work is Autumn Moon in the Han Palace.
Jiang Fengzhi’s playing style is elegant, profound, delicate and full of variety. The erhu music he plays can make people feel the artistic conception of the harmonious harmony of sound and rhyme, and the coexistence of reality and reality that is emphasized in Chinese music and art creation.
The life of Jiang Fengzhi: Jiang Fengzhi (April 27, 1908 - January 26, 1986), born in Yixing, Jiangsu Province, is a Chinese erhu player and former vice president of the China Conservatory of Music.
From 1915 to 1923, while studying in his hometown, he learned to play bamboo flute and erhu from village helpers.
In September 1923, he was admitted to Suzhou Agricultural School. While in school, he participated in the "Music Club" organized by students and played Jiangnan silk and bamboo and folk tunes.
In 1924, he met Chu Shizhu, a student of Liu Tianhua, and obtained the scores of two pieces of music, "Singing in Sickness" and "Moonlight Night".
In August 1927, he was admitted to the Music Department of Shanghai University of the Arts; in November, he was admitted to the National Conservatory of Music and became the first student of the conservatory. He majored in pipa and studied under Zhu Yunqing, a pipa player of the Pinghu School. , minored in piano, and also learned erhu from Wu Bochao, a student of Liu Tianhua. In September 1929, he was admitted to the Music Department of Peking University of the Arts, where he majored in violin, erhu, and pipa and piano under the tutelage of Liu Tianhua. In April 1930, he performed separately at the fourth concert held at the National Peking University Art College. There are four programs including four-hand piano, violin unison and erhu solo.
In 1931, recommended by Liu Tianhua, he served as a Chinese music tutor and professor of Erhu at the Women's College of Arts and Sciences of Peking University; in the same year, he participated in a concert to raise funds for the September 18th Incident.
In July 1933, he graduated from the Music Department of the School of Art of Peking University; in the same year, he collaborated with Ding Dang to hold a concert in Japan to introduce the art of erhu; in August, he collaborated with Zhou Shaomei to hold a Chinese music concert; 9 In August, he officially taught at Beijing Women's College of Arts and Sciences; in November, he recorded "Autumn Moon in the Han Palace" at EMI Records.
In March 1934, he held a personal Chinese music concert in Qingdao; in September, he held solo concerts at Tsinghua University and Nankai University.
In May 1935, he participated in Liu Tianhua’s posthumous concert performance; in June, he held a solo concert in Beijing; in August, he was hired as an associate professor by the Beijing Academy of Fine Arts.
In January 1936, he composed the erhu solo "Long Night".
In August 1937, he was appointed as a professor by Beijing Women's College of Arts and Sciences and Beijing Academy of Fine Arts. In the same year, he opened Erhu study classes at Yenching University and Tsinghua University.
In April 1938, he was hired as a professor by Beijing Women's Higher Normal School.
In 1945, he organized a folk music training institute in the Imperial College with Guan Pinghu and Wang Junjin; in the same year, he participated in a concert to celebrate the victory of the Anti-Japanese War at the Yas Auditorium in Beijing.
In April 1946, he taught at the Music Department of the United Nations General Assembly in Zhangjiakou, the liberated area; in the same year, he held a concert with Guan Pinghu, a guqin player, and Zhou Xiwen, a guzheng player, at the Beijing Youth Auditorium; in September, he held a concert at the National Peking University Taught at the Art College.
In 1948, he taught at Tianjin Hebei Normal University.
In 1949, he was invited by Zhou Enlai to gather with celebrities from all walks of life at the Beijing Hotel; in the same year, he participated in the First Congress of Literary and Art Congress.
In 1950, he taught at the Central Conservatory of Music and the Music Department of Beijing Normal University of the Arts; in the same year, he recorded "Autumn Moon in the Han Palace" and "Good Night", which were the first erhu records published after the founding of the People's Republic of China. .
In September 1953, he participated in the performance at the Second National Congress of Literary and Art Circles.
In June 1954, the Chinese Musicians Association held a solo and solo concert by Jiang Fengzhi, Zhou Guangren, Zhang Quan, and Lou Qiangui; in the same year, he participated in the Chinese National Folk Classical Music Touring Troupe organized by the Ministry of Culture , touring in Shanghai, Nanjing, Guangzhou, Wuhan, Xi'an, Shenyang, Beijing and other places.
In 1955, he wrote "Talking about the Erhu" for the national music special program organized by the Central People's Broadcasting Station, which was later edited into a book. During the recording of the program, the radio station recorded "Yin in Sickness" and "Yin in Idle Residence" for Jiang Fengzhi "Birds on the Empty Mountain", "Four Harmonies", "Mountains and Flowing Waters", "Three Plum Blossoms" and other works were published by the China Record Company as the album "Birds on the Empty Mountain"; in the same year, he participated in the national folk music tour and performed "Autumn Moon in the Han Palace" which was well received by welcome.
In 1956, he participated in the first national music week performance; in the same year, the Central People's Broadcasting Station recorded "Moon Night", "Three Treasures Buddha" and "Xunfeng Song"; in the same year, he was rated as a second-level professor in higher education.
In 1957, he was transferred to teach in the Music Department of Beijing Normal University of the Arts; in the same year, he participated in a performance commemorating the 25th anniversary of Liu Tianhua's death; in the same year, he participated in the compilation and publication of "Lectures on National Instrumental Music".
In 1958, "Eight Erhu Songs by Jiang Feng" was published.
In 1959, he recorded "Autumn Moon in the Han Palace", "Jade Hosta Flower" and "Xunfeng Song" at the Central People's Broadcasting Station.
In 1960, he participated in a performance to entertain the Queen of Belgium; in the same year, he recorded "Elegy", "Oll and Heron Forgot His Machine" and "Bliss in Suffering" at the Central People's Broadcasting Station.
In 1962, he participated in the Taiwan Friendship Performance organized by the Chinese People’s Political Consultative Conference; in the same year, he was invited to perform at Zhongnanhai Huairen Hall.
In May 1963, he served as a judge for the 4th "Shanghai Spring" Erhu Competition.
In September 1964, the China Conservatory of Music was established, with Jiang Fengzhi as the director of the Instrumental Music Department.
In May 1977, he participated in the 35th anniversary concert of Chairman Mao's "Speech at the Yan'an Forum on Literature and Art" and performed "Two Springs Reflect the Moon".
In October 1978, he went to Shenyang to give lectures and perform; in November, he went to Xi'an to give lectures and perform; in the same year, he recorded "Liubo Qu" at the Central People's Broadcasting Station.
In August 1979, he went to Xining to give lectures and perform, and recorded "Good Night", "Erquan Music", "Xunfeng Song", "Han Palace Autumn Moon", "Flower Joy" and "Liubo Song" at Xining People's Broadcasting Station ; In the same year, he performed with the visiting American violinist Yehudi Menuhin.
In 1980, he went to Wuhan to give lectures and perform.
In 1981, he served as vice president of the China Conservatory of Music.
In June 1982, he was hired as a consultant to the Beijing Erhu Research Association; in October, the Central People's Broadcasting Station broadcast a radio concert by Jiang Fengzhi's teachers and students.
In March 1984, he went to Jiangxi to give lectures and radio recordings.
In November 1985, he attended the opening ceremony of the Beijing Erhu Invitational Tournament.
On January 26, 1986, he died of illness at the age of seventy-eight.
Introduction to "Autumn Moon in the Han Palace": "Autumn Moon in the Han Palace" is one of the top ten famous ancient songs, but the history of the music is not long. Originally a pipa piece from the Chongming School, the theme the music wants to express is not very specific. Many related articles have vaguely stated that this song is intended to arouse people's sympathy for the misfortune of the oppressed palace ladies and has a deep artistic appeal. Some articles stated that this song meticulously depicts the infinite melancholy of a palace maid facing the bright moon on an autumn night, revealing her strong desire for love.
"Autumn Moon in the Han Palace" is likely to have a certain relationship with "Autumn in the Han Palace". "Autumn in the Han Palace" is a drama from the late Yuan Dynasty, written by Ma Zhiyuan. "Autumn in the Han Palace" tells the story of Wang Zhaojun and his wife leaving the fortress. In the early Han Dynasty, most of the founding fathers were from commoner backgrounds, while most of the concubines and maids also came from humble backgrounds. Based on this tradition, there was no insurmountable gap between the maids and concubines of the Han Dynasty. Therefore, every palace maid has a dream that one day she will have the opportunity to be favored by the emperor. However, Wang Zhaojun has lived in the palace for several years, but has never even seen the shadow of the emperor. Ge Hong's "Xijing Miscellaneous Notes" introduced a story that was widely circulated in later generations. When court painter Mao Yanshou failed to obtain a bribe from Wang Zhaojun, he put a mole on Wang Zhaojun's portrait to make Wang Zhaojun's appearance appear more ordinary. Since there were too many maids in the palace, Emperor Han Yuan only selected the maids based on the portraits submitted by painters. As a result, Wang Zhaojun, who originally had stunning beauty, was lost among the many palace maids. This is unofficial history and cannot be trusted. According to the "Book of the Later Han·Biography of the Southern Xiongnu": "Zhaojun's courtesy name is Qiang, and he is a native of Nanjun. At the beginning, during the reign of Emperor Yuan, a son of a good family was selected to join Yeting. At that time, Hu Hanxie came to the court, and the emperor gave him five maids. Zhaojun had been in the palace for several years, but he could not see the emperor. He was filled with sorrow and resentment, so he asked Ye Ting for help.
When Hu Hanxie was about to bid farewell to the assembly, the emperor summoned five daughters to express his wishes. Zhaojun was rich and beautifully decorated, and the Han Palace was bright. Gu Jingfei returned, moving around. The emperor was shocked and wanted to keep him, but it was difficult to break his promise, so he broke up with the Huns. "It can be seen from the above text that the reason why Wang Zhaojun voluntarily married the Huns was because "Zhaojun entered the palace for several years and was not allowed to see the emperor, so he accumulated sorrow and resentment." Instead of living a lonely life in the palace, let his youth As time goes by, it is better to go to a foreign land. So when I heard that Huhan Xie Chanyu, a vassal state of the Han Dynasty, came to Chang'an to pay homage to the emperor and asked himself to be his son-in-law, Wang Zhaojun decisively recommended himself. However, in the palace. Although the life of the Xiongnu is lonely, it is peaceful. The place where the Huns live is the grassland and desert. No one knows what the future will be like. Li Bai has a poem that goes: "The moon of the Qin Dynasty in the Han Dynasty illuminates the concubine; once you go up the Yuguan Road, you will go to the end of the world." No return. "Du Fu obviously sympathized with Wang Zhaojun. He wrote, "For thousands of years, the pipa has been playing nonsense, and it is clear that there is resentment in the music. "The poem. As a politician, Wang Anshi looked at this issue from another angle. He believed that Zhaojun's departure from the fortress was not a bad thing. He wrote a poem that said, "Han's kindness is shallow and his kindness is deep, and life is about knowing each other's heart." When Wang Zhaojun went out of the fortress, , whether it was full of sorrow and resentment, future generations will not know. In any case, this was not an easy life choice for her. Although this was a political marriage, Wang Zhaojun's thoughts may not be complicated. With the purpose of "unity and friendship between the Han and Huns from generation to generation", this statement is obviously an ideological interpretation of history. Later, Zhaojun gave birth to two sons after the death of Huhanxie Shanyu. After succeeding to the throne, he wanted to marry Zhaojun. After the death of his father, the son could marry his stepmother, and after the death of his brother, his younger brother could marry his sister-in-law. This was a Hu custom and was a natural thing among the Huns. However, Zhaojun found it difficult to accept, so he wrote to Emperor Cheng of the Han Dynasty. When he returned home, Emperor Cheng ordered him not to respect Han customs and follow Hu customs, but Zhaojun had no choice but to obey. However, Wu Jing of the Tang Dynasty said in "Yuefu Ancient Questions" that Zhaojun was unwilling to remarry Huhanxie Shanyu's son. , "Zhaojun died after swallowing medicine." Could it be that the "Zhaojun resentment" in history originated from such rumors? There are many themes about the resentment of palace ladies in Han Yuefu, such as "The Grudge of the Jade Palace". ", "Zhaojun's Resentment", "Zhaojun's Sorrow", etc. Later, a poem style specifically describing the harem was even formed, called "Gongci" by Zhang Hu of the Tang Dynasty: "The homeland is three thousand miles away. Twenty years in the palace. With a cry of He Manzi, tears fell in front of you. "It is an excellent work describing the palace ladies, and writes about the deep resentment of the palace ladies. The poet Wang Jian of the Tang Dynasty, and Mrs. Shu Huarui of the Five Dynasties both wrote hundreds of "Palace Ci". The palace ladies lived in the deep palace and were not allowed to be free. On the other hand, Zou Yang, a poet and poet in the Western Han Dynasty, once lamented in "The Book of Prince Shangliang in Prison": "There is no beauty or evil in women, only jealousy can be seen in the palace. "Three thousand concubines and maids, all they want to do all day long is to compete for the emperor's favor, how can they not be jealous. However, the resentment in "Autumn Moon in the Han Palace" is not Xiaojiabiyu-style, weak and fragile confidant. The palace maids in the Han Dynasty were strong and capable. Accompanying the emperor on horseback riding and hunting, there were less restrictions on palace activities than in later palaces. Therefore, they were not dull and delicate. There is an interesting folk legend about the Han Dynasty. There was a palace maid named Yuanxiao who was good at making glutinous rice balls. She missed her parents and sisters at home very much every day. Her sincerity moved the emperor. From then on, on the fifteenth day of the first lunar month, Emperor Wu of the Han Dynasty allowed every household to make glutinous rice balls and light lanterns, and allowed the empress and palace maids to leave the palace. Have fun with the people. On that day, Yuanxiao wrote the word "Yuanxiao" on his lantern, took the dumplings he made, and reunited with his family, putting aside the grudges of the distant past and listening to "Han Palace." "Autumn Moon", wouldn't it be wonderful to enjoy the fifteenth Lantern Festival?
Introduction to Erhu: Erhu (Pinyin: Erhu) began in the Tang Dynasty and was called "Xi Qin" and has a history of more than a thousand years. Erhu is a traditional Chinese bowed string instrument. Erhu is also known as "Nanhu" and "Omzi". The Erhu is one of the main bowed string instruments (stringed instruments) in the Chinese national musical instrument family. ", "Good Night", "Listening to the Pine", "Horse Racing", etc.
The origin and development of Erhu:
1. The origin of Erhu. The Tang Dynasty has a history of more than a thousand years. It originated from a minority in ancient northern my country, which was called "Xi Qin" at that time. Chen Yang, a scholar of the Song Dynasty, recorded in the "Book of Music" that "Xi Qin is the original Hu Le." ..." Cen Shen, a poet of the Tang Dynasty, recorded, "The Chinese army prepares wine for returning guests. The poem "Huqin, Pipa and Qiangdi" shows that the Huqin has begun to spread in the Tang Dynasty, and is a general name for Chinese and Western stringed and plucked instruments.
In the Song Dynasty, the Huqin was also named "Ji Qin" ".
Chen Yuanliang, a scholar at the end of the Song Dynasty, recorded this in "Shi Lin Guang Ji": Ji Qin was originally made by Ji Kang, hence the name "Ji Qin". Shen Kuo, a great scholar of the Song Dynasty, recorded in "Bu Bi Tan·Music Temperature": "In the palace banquet of Xining, Xu Yan, an actor from the Jiaofang, played Ji Qin. After drinking wine, one string was broken, and Yan was even more difficult to play. He only used one string to finish. "Qu" shows that the performance level was very high in the Northern Song Dynasty. When Xu Yan was playing "Ji Qin" for the emperor and ministers, one string broke, but he still used another string to finish the music. It can't be done without skilled skills. Later, Shen Kuo recorded in "Mengxi Bi Tan" that "the horse-tailed huqin followed the Eastern Han Dynasty, and the sound of the music was still due to the Shanyu. Don't bend your bow to shoot away the wild geese. The returning geese are not sent out now." This shows that the horse-tailed harp was already in the Northern Song Dynasty. Hu Qin.
The Yuan Dynasty's "History of the Yuan Dynasty: Ritual and Music Chronicles" further elaborates on the making principle of the Huqin: "The Huqin is made like a fire without thinking, with a dragon's head rolled up, the second string is strung with a bow, and the bow string is tied with a horse's tail." . By the Ming and Qing Dynasties, the huqin had spread all over the country and became the main instrument used to accompany folk operas and musical ensembles.
In modern times, Huqin was renamed Erhu. For more than half a century, the level of Erhu performance has entered a period of prosperity. Mr. Liu Tianhua is the founder of modernism. He drew on the playing techniques and techniques of Western musical instruments, boldly and scientifically positioned the erhu into five positions, and invented the vibrato for the erhu, thereby expanding the range of the erhu and enriching its expression. power, establishing new artistic connotation. As a result, the erhu stood out from folk accompaniment and became a unique solo instrument, which also laid the foundation for its future introduction into concert halls and music academies.
After the founding of New China, ethnic and folk music developed rapidly. In order to vigorously explore the artistic treasures of folk artists, the Erhu music of Hua Yanjun, Liu Beimao and other folk artists were compiled and recorded into records, making Erhu performances more popular. Art has sprung up and developed rapidly. In the 1950s and 1960s, a group of Erhu educators and performers represented by Zhang Rui, Zhang Shao, Wang Yi, etc. emerged. Under their influence, new Erhu performers Min Huifen and Wang Guotong were cultivated. wait. For example, Erhu composer Liu Wenjin's "Great Wall Caprice" and other works have made extraordinary use of the Erhu's performance and deliberately innovated, making the Erhu glow with new vitality and splendor. ?
2. Development.
According to the information provided by "Three Hundred Questions on the History of Chinese Culture": The Song Dynasty was the second stage of the integration and development of foreign musical instruments and Central Plains culture. During the Song, Yuan, Ming and Qing dynasties, with the development of opera and folk arts, folk musical instruments developed their own accompaniment instruments with the rise of "Goulan" and "Washe". The most important musical instrument is the Mawei Huqin (also known as Erxianqin), which originated from Mongolia and the Western Regions. It was integrated with the Jiqin and Yazheng left over from the previous dynasty to create a novel Huqin. This instrument fully marks the maturity of Chinese bowed string instruments. Later, due to the needs of local opera singing styles, the huqin gradually differentiated, and there were Banhu to match the needs of Qin Opera and Henan Opera, Jinghu and Beijing Erhu for Peking Opera and Han Opera, Zhuihu for Henan Zhuizi, Gaohu for Guangdong Cantonese Opera, and Coconut for Chaozhou Opera. Hu, the large tube used for flower drums in Hunan, the Sihu used in Mongolian rap, the cover used in Sichuan Opera, the four-stringed instrument used in Yue calligraphy in Henan, the pillow Qin used in Putian Opera in Fujian, the corbeled Qin used in Dong Opera, and the horse used in Zhuang Opera Bowed string instruments such as bone qin and two-stringed strings used in Jin Opera. Therefore, the erhu is actually one of the many bowed string instruments, and it got its name much later than the huqin. Therefore, it is inaccurate to say that "Erhu" began in the Tang Dynasty. It should be said that "Huqin" began in the Tang Dynasty. ?
The structure of the erhu:
1. Qintong. The piano barrel is an important part of the erhu. Through the push and pull movement of the bow, the strings are rubbed and the piano skin is vibrated to produce the sound. The texture and shape of the piano barrel have a direct impact on the volume and sound quality. Generally made of rosewood or mahogany. The shapes include hexagon, octagon, circle, front octagon and back circle, etc. The most commonly used one is hexagon. There is a sound window (usually a carved wood window) inlaid behind the piano tube, which not only decorates the piano tube, but also has certain benefits for pronunciation, sound transmission and sound filtering. The piano tube is the main sounding tube of the erhu. It is generally made of ebony, mahogany (red sandalwood is rare), and also made of rosewood or bamboo. In the 1970s, low-foaming (ABS) materials began to be used for molding. Its shape is mainly hexagonal, 13 cm long, and 8.8 cm in diameter at the front opening (opposite side). In some areas, they are made into circles or octagons. The waist of the tube is slightly thin, and the rear mouth of the tube is open or equipped with a sound window with various patterns of holes. The piano tube plays a role in amplifying and exaggerating the vibration of the strings.
2. Piano skin. The python skin on the front of the qintong is called qinpi or qinmembrane. It is an important device for the erhu to make sounds. Usually python skin, snake skin is the lowest erhu skin.
Snake skin has fine scales, regularly arranged lines, and high toughness, but its texture is thin. Sound quality is easily affected by climate, room temperature and other factors. Python skin has thick and smooth scales, coordinated color contrast, appropriate thickness and elasticity, is not susceptible to insect damage, and has better pronunciation and chirping. The python skin is most ideal around the anus. The python skin in this area has wide adaptability, rich and round pronunciation, and stable performance. Whether the newly bought erhu is made of snake skin or python skin, the pronunciation is often hollow and sandy, and the volume difference between the upper and lower ends is large. This is because the vibration of the piano skin is not coordinated enough. It takes a period of playing for the vibration of the piano skin to gradually become normal. It is an important pronunciation body of Erhu and the key to the vibration source. It has a direct impact on the sound quality and volume. The bigger the scales of the python skin, the better the sound.
3. Piano rod. The piano pole is the pillar and trunk of the erhu. It not only plays a supporting role in connecting the upper and lower parts, but also has a certain influence on the overall vibration and pronunciation. The materials for making piano rods are sandalwood (in smaller quantities), ebony or mahogany. Generally, ebony is used more often. Ebony is cheap, high-quality, and has certain tensile properties. It is an important pillar that supports the strings and provides string pressing operations. The total length is 81 cm and the diameter is approximately 0.55 inches (1.83 cm). The top is the headstock, the upper part is equipped with two pegs, and the lower end is inserted into the piano tube. The headstock is in the shape of a curved neck, and may also be carved into a dragon head or other shapes. Measuring whether the pronunciation of an erhu is pure or not has a lot to do with the choice of the piano rod material. Mahogany is usually regarded as top grade, ebony is also good, and other woods are inferior. When choosing, in addition to carefully identifying the material of the piano rod, you must also take into account the tight texture, fine and uniform wood rays, no knots, no scars, no obvious cracks, and a certain brightness.
4. Piano axis. There are two upper and lower piano shafts (also known as Qin Zhen), which play the role of adjusting the pitch. The upper shaft is tied to the inner strings, and the lower shaft is tied to the outer strings. There are two types of piano shafts: wooden shafts and mechanical shafts, both of which have their own pros and cons. The wooden shaft is stable after tuning and will not easily go out of tune. However, it is sometimes tight and loose, which makes tuning difficult. Mechanical shaft tuning is fast and easy, and the intonation is good. If the production quality is not completely up to standard, looseness, sliding, etc. may sometimes occur, which may easily cause the strings to go out of tune.
5. Strings. The strings are one of the sound-producing parts of the qin and one of the sound sources of the erhu. Its quality directly affects the pronunciation effect. There are two types of strings: one is metal strings, which have the characteristics of good tension, good sound quality, good intonation and high sensitivity. They are divided into aluminum strings and silver strings. Silver strings are the best; the other is silk strings. The sound it produces is softer and more delicate than metal strings, but it has poor positional force, poor intonation, and is easy to break the strings and change the tone. Mostly metal strings are used.
6. Piano bow. A piano bow (commonly known as a bow) is composed of a bow stem and bow hair. A good bow must first be long and straight; secondly, the bow hair must be white horsetail hair as the top quality, and the bow hair must be numerous and even, and must be tied to the fishtail connection. Firm; finally, pay attention to the number of knots in the bow rod, which should be few and small and of moderate thickness. The total length is 76~85 cm. The bow pole is a bracket that supports the bow hair. The length is 2.4 feet (80 cm). It is made of Jiangwei bamboo (also known as young bamboo). The two ends are baked and bent, and tied with a horsetail. The thick bamboo One end of the bow is at the end of the bow, and the ponytail is placed between the two strings to rub the strings to produce sound. The hair on the bow is mostly horsetail, but it can also be imitated by nylon silk. Some simple erhus use nylon threads instead of bow hairs, which have poor sound effects. To measure whether the bow hair is durable and wear-resistant, it mainly depends on whether the bow hair is arranged neatly and flatly, with the same length and uniform thickness. Good bow hair requires no broken ends, no tenderness, no tangles, etc.
7. Thousand catties. Qianjin, also known as Qianjin, plays a role in fixing and cutting the erhu strings. It also has a certain impact on pitch. It is made of cotton thread, silk thread, plexiglass, plastic and other materials. There are various forms, including fixed jacks, wire-wound jacks, metal jacks, etc. The more commonly used one is the wire-wound jack.
8. Qin code. The piano code is the vibrating medium between the strings and the piano skin, which plays an important role in pronunciation. The materials used include wood, bamboo, metal, paper, etc. Commonly used materials include pine knot code and maple wood code. The wood of the pine knot code is soft, the pronunciation is round and honest, the maple code is moderately soft and hard, the pronunciation is soft and the noise is low. Although the piano code is small, it is the hub that connects the piano skin and strings. Its function is to conduct the vibration of the string to the python skin. Therefore, the selection of materials, shape and placement of the piano keys on the piano skin greatly affect the sound quality of the erhu.
In order to improve the sound of the erhu, the erhu with a hoarse pronunciation is made of paper code (that is, rolled into a tight and simple shape with kraft paper or other hard paper), so that the sound becomes softer; the erhu with a dull pronunciation is made of bamboo code. The sound becomes louder, suitable for playing lively and lively tunes. The monotonous pronunciation of the erhu can be made more ringing by using a metal spring code.
9. Qin holder. The piano base is the base of the piano body, which plays a role in decorating and stabilizing the piano body. Some erhu piano supports are also equipped with adjustable bottom supports, which can be adjusted with nylon buckles, making it more convenient when playing.
10. Damper pad. Under the bridge, a small sound damping pad made of flannel or felt must be inserted between the strings and the membrane. It can solve the "wolf sound" of the erhu, eliminate the empty sound of the erhu, and make it concentrated and full. The thickness and size of the sound pad should be moderate. If it is too thick, it will affect the volume. If it is too thin, it will not work. The materials used to make the sound pad often include white sponge, woolen, cashmere, cotton, suede, velvet, etc., which are the most widely used. The most effective ones are sponge and woolen. The most effective is natural suede. Don’t underestimate it. It also has the ability to quickly change the timbre: if it is close to the piano, the timbre will be very smooth, and at the same time it will lose part of the volume; if it is far away, the timbre will be smooth. The sound will become brighter if you press the piano code. It needs to be adjusted according to the needs of the music.