How do beginners learn the basic methods of playing erhu? Erhu is a traditional musical instrument in China. Everyone has different difficulties and understandings about the back arch. Erhu also has many methods and skills to help us practice. How do beginners learn the basic methods of playing erhu?

How do beginners learn the basic methods of playing erhu 1 To learn erhu, they must first learn to know the notation, master the most basic knowledge of music theory, love music and singing, master the intonation and stay in tune. It is very important to learn the hearing of erhu well. Erhu is different from other musical instruments in that it has key phonemes and 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 exerted by the right hand on the bow hair, can change the tension of the strings and change the sound level.

For example, no matter how well you play the erhu, you are just like a beginner. Players have better hearing than ordinary people. If there is something wrong with a note, he will immediately adjust the pitch by sliding his finger or changing the tension of string pressure, a process that most people can't feel. So pitch is extremely important. Some people don't understand music theory, but they play the erhu very well. Why is this? Such people have good hearing, intonation and temperament. This is a talented and talented musician. But unfortunately, they didn't pass the formal systematic study.

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

There are seven notes in major, which are composed of 1234567 notes. Which notes have corresponding chords, namely 1=D (1-5 chords) 1=G (5-2 chords)1= f (6

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

Basic methods for beginners to learn erhu II. Tips for erhu skill training.

For many musicians who are new to erhu, no matter what instruments they learn, there are skills and methods summarized by their predecessors for reference. However, in order to steadily improve their playing level, it is not enough to be skillful, but also to cooperate with solid daily practice. So today, the erhu tutorial teacher will tell you how to quickly improve your erhu playing skills by relying on the following points.

The basic fingering forms four hand types.

The distance between two fingers in a handle is nothing more than two degrees, two degrees, two degrees more, three degrees more. 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, four fingers are attached in a two-dimensional relationship, and the other fingers are separated in a two-dimensional relationship.

(2) One, two, one, two, three fingers are attached to form a two-dimensional relationship, and other fingers are separated into a two-dimensional relationship.

(3) Two-to-one type, one finger and two fingers are attached to form a two-dimensional relationship, and the other fingers are separated into a two-dimensional relationship.

(4) The 111234 fingers are all divided into two degrees, and the empty string forms a two-degree relationship with one finger.

Accurate fingering is reasonable fingering, which conforms to the relationship between fingers and notes, the relationship between fingers, and the law of finger movement.

(1) Playing music solo by 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 and convenient for you.

(2) Arrange fingering to minimize frequent finger exchange, and it is better to exchange adjacent fingers. The fourth degree is the original natural hand shape. Try not to change the finger that can be changed, and don't avoid the function of the little finger. You must use it where it should be used, and try to keep your hands stable and orderly.

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

(4) The aim of emphasizing fingering is to ensure intonation. Only when the intonation is good, can there be different changes in the speed, strength, height, area and position of fingering, and can we make a difference and know something when tapping or touching the strings with our fingers.

This exercise is very useful for beginners of erhu. Three sets of movements help you become flexible.

The fingering of erhu is very important for erhu performance, which is related to the accuracy of your pitch rhythm. The erhu master must press the strings accurately, flexibly and spiritually. So, how to improve the skill of pressing strings?

The first is the question of accuracy. There is no shortcut to do it. You can only practice more, find out the exact position of each note and form muscle memory. The main factor affecting this step is talent. A person with high talent, good intonation, or strong muscle memory is sure to master this step quickly.

Especially muscle memory, this is very important, because the phoneme of erhu must rely on muscle memory, and brain memory is not reliable. Only when you think of a sound in your head, your hand will move to that note without going through your brain. This is the best situation. To practice this basic skill well can only be achieved by long-term hard practice. I think it is easier to help beginners master this basic skill by changing hands with sliding fingers.

However, in addition to the mastery of pitch and phoneme, there is also a very important point that affects fingering, and that is the flexibility of fingers. Some people have memorized the position of each sound, but the actual operation will still be clumsy. They are either born with stiff fingers, or their fingers are not soft enough after hard work, or they are inflexible when they are old. In short, their fingers are not flexible enough for various reasons. So how can they improve their fingers in this situation?

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 changing strings repeatedly with the erhu. However, it is almost impossible for us to achieve such a "combination of man and piano", and our goal is to improve flexibility. So is there any way for us to enhance the flexibility of our fingers through some movements or "hand exercises" without a piano in our hands?

Actually, there is. Now I'll introduce you to three movements that can train your fingers' flexibility. Training once every morning and evening or doing it often every day can quickly improve the flexibility and flexibility of your fingers.

One: the palm of the left hand is facing up, and the other four fingers are bent with the same finger except the thumb. Please note that it must be bent with one finger. At first, there will inevitably be a linkage between the ring finger and the little finger, but it doesn't matter, most people will have it. Don't try to shake hands with your right hand at this time. As long as the curvature is naturally increased, long-term practice can naturally realize free and flexible independent movement.

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, 30 times in each group, so that the independent activity ability of the ring finger will be greatly strengthened. This 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 desktop, and the other four fingers use a fingertip to make a vertical tap on the desktop. Positive and negative sequences, jumping sequences and disordered sequences should be practiced, because the pressing of erhu strings is not a simple pressing, and there should be strength at the moment of pressing strings. The part that hits the desktop should be the same as the actual pressing position, which is the most full position of the fingertip muscles.

These three methods persist in practice, and soon the left hand becomes flexible, and the change of hand shape with the string is no longer a problem!

Erhu practice method and little finger etude

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 the index finger, middle finger, ring finger and little finger, in all subsequent exercises, only the little finger has been practiced, and the other three fingers have not been practiced, because the little finger is shorter, thinner and less energetic and flexible than the other three fingers. Therefore, strengthening the practice of little finger can not be ignored, and it is very important to master the correct training methods.

When we learned to press the fingers of 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. The little finger usually touches the strings with the fullness of the first joint 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 clap 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 metacarpal 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 exercise

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

The first finger, the second finger and the third finger are all placed on the string with the reserved fingers, and the little finger is lifted with the finger root as the axis. When lifting, the little finger is completely curled into a square, and when falling, the little finger falls on the string according to the curled route. The finger curl type requires that the little finger be completely upturned and completely lifted. The ring finger needs to be kept at the contact point stably, and its linkage with the little finger should be controlled as much as possible to exercise the independence of the two fingers.

(2) Overall finger lifting: The main purpose is to strengthen the development of flexor digitorum superficialis tendon, make it fully elongated, and increase its elasticity and independence. The remaining three fingers are kept until they are placed on the string. The little finger needs to be straightened with the finger root as the axis, fully lifted to the limit, and lowered by potential energy.

How do novices learn to play erhu? 3. The correct way to transport the bow by erhu.

First, on the basis of holding the bow correctly, relax and transfer strength smoothly.

The pronunciation principle of erhu is that the right hand controls the bow, 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 tube by the piano code. Grasping the bow correctly is the basis of mastering the bow, especially for beginners. The bow must be flat, and the root of thumb and forefinger forms an included angle to support the root of the bow. The middle finger and ring finger naturally bend and are placed between the arch shaft and the arch hair. Gently hook the arch hair with your fingertips, and gently press the outer side of the upper joint of the middle finger 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, and the wrist 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 barrel and makes 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 middle finger and the ring finger should hook the bow hair evenly to prevent the big and small.

According to the rhythm of music and the needs of performance, there are two kinds of bows: fast bow and slow bow. Bow like running water, Ma Benteng; A slow bow is like a breeze blowing through your face and whispering to Chun Yan. Fast bow pays attention to illness but not rashness, heavy but not blunt; The slow bow needs to be comfortable and gentle, and can't stand still. The essence of the difference between speed and speed is that the strength of bowing is directly proportional to speed. When hitting hard, increase the pressure and speed up the bow drawing; When playing weakly, reduce the pressure on the strings and slow down the bow speed.

However, regardless of the speed of the bow, one thing is completely common, that is, we must relax and pass smoothly. This is the basic premise to realize correct bow transportation. The reason seems simple, but the actual operation is not easy. Many beginners failed to really understand and grasp this point in the early stage and took many detours. Specifically, 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 strength, resulting in the tension and rigidity of fingers, arms and even the body.

It seems that the right arm used a lot of strength, and the power of carrying the bow was not smoothly transmitted to the strings at all, so the strings could not vibrate fully, let alone the piano barrel had a good pronunciation. I have a student whose right hand was tense for a year when he first started to learn the piano, but he couldn't produce a completely relaxed voice after a lot of effort. It was not until the bow was deformed and almost turned into 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 strength in the process of carrying the bow.

Both theory and practice show that good timbre is based on correct bow holding and accurate control of power transmission. Beginners should especially strengthen this concept, guess carefully and practice repeatedly.

Second, according to the needs of the bow method, reasonable distribution of bow segments and bow sequence.

In order to correctly transport the bow and vividly express the music, we must learn to be good at taking the overall situation into account, make overall arrangements, skillfully use the bow, and rationally 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 arch segments have different acoustic characteristics. Generally speaking, the bow tip is round and light, and the left bow is easy to hit a dense fast bow, while the right bow is more conducive to hitting a frustrated fast bow. Both the middle arch and the middle arch have strong pronunciation at the root of the arch, but it is easy to lose flexibility.

The so-called bow sequence refers to the order of bow transportation, 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 astringency, and can't be superficial and careless, 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 bows in the process of transporting bows.