The basic requirements of the fast bow are: clear and dynamic articulation, elasticity of the jump bow, and compact and even rhythm.
The higher level of fast bowing requires speed, strength and color changes according to the emotion and style of the piece, which is often referred to as musicality and expressiveness. The specific methods of practicing the fast bow are: 1. Use the right hand with the correct bowing method (the small arm drives the wrist, use the middle bow or the upper half of the bow to tighten the strings, and pull an even short bow), and pull the fast bow from slow to fast on the empty strings.
2. In a certain position (preferably in the low position), do not change the handle, choose a single short phrase or phrase, and use a combination of different patterns to practice. 3. Practice more complex phrases or small sections (with large intervals and handle changes), paying attention to slow to fast, the fastest speed must also keep the notes legible.
No noise. 4. Pick a good erhu music fast bow passage, and play the erhu fast bow with emotion.
5. Play the whole Erhu piece (loose, slow, fast, etc.) in order to improve the ability to synthesize different bowing techniques.
Erhu fast bow
From "Chinese Erhu Art Network" Practice fast bow can be divided into the following steps: The first step, the first practice bow with a larger degree of affixed strings to play the holding tone, can be practiced on the empty string.
The method is: put the touch point of the bow on the middle bow, and slightly rotate the right arm left to increase the pressure on the string, then suddenly start the bow and play the tone head, and then suddenly stop the bow about 10 centimeters, but the pressure on the string should always be maintained, and the sound will be "ga- ! "Then suddenly push the bow, still to play the beginning of the tone, the bow pushed back to the original position and suddenly stopped, but the pressure on the string should always be maintained, and the same sound as drawing the bow "ga- ! The same "ga- !" sound as in drawing the bow. This practice is repeated until the mastery.
This exercise should pay special attention to, (1) the string should be tight; (2) the speed of the bow should be fast; (3) the pressure of the bow hair on the string should be maintained throughout and can not be loosened, and when the bow suddenly stopped; (4) the bow should be felt to have a greater friction, the bow hair can not slip through the string; (5) the pronunciation of the head and tail to the same, play the effect of the knife cut like, and can not be a date-nut shape. The second step, the right hand does not hold the bow, empty hand practice fan movement.
When practicing, we should consciously put the "axis" of movement in the middle of the small arm, so that the elbow and hand become balanced at both ends of the uniform left and right swing. Repeat the exercise until the movement is correct and natural.
The third step is to hold the bow in the right hand and practice with an empty string. First practice the movement, and empty-handed fan movement as correct, natural, and make it pure; then practice pronunciation, to achieve full, clear tone, sixteenth note time value is accurate; and then practice every eight tones and every four tones plus an accent, practice until mastery.
The fourth step is to practice the coordination of the two hands. Choose a simple tone pattern, such as: l = D ( 15 strings) from each tone repeated eight times to start with, the left hand action should be consciously aligned with the right hand every eight tones of the accent once, played: l = D ( 15 strings) after practicing well into each tone repeated four times, the left hand should pay attention to the right hand and the right hand every four tones of the accent once aligned with the right hand, played two l = D ( 15 strings) after practicing well into each tone repeated two times, the left hand can be on the The right hand eight notes of the accent once, but also on the right hand four notes of the accent once, played as: l = D ( 15 strings) practice after becoming familiar with each note once, the left hand can be on the right hand eight notes of the accent once, and finally cancel the accent, played as: l = D ( 15 strings) and then the tone pattern gradually complex to be practiced, such as: plus fast handle, jump handle, fast string change, etc., skilled mastery of the fast bow practice piece can be entered into the The training of the fast bowed exercises can be done after you have mastered them.
Performers are prone to the following problems in fast bowing: (1) the right arm movement "axis" is not the correct position, usually the "axis" is not placed in the middle of the small arm, but still like a split bow on the shoulder, fast bowing into the right arm "stretch", and then the right arm "stretch", and then the right arm "stretch", and then the right arm "stretch", and so on. This turns the fast bow movement into a "stretching and retracting" movement of the right arm. In this way, when the speed increases, the arm becomes very tense and stiff, and the pronunciation is dull and lack of elasticity.
Therefore, in fast bowing, the first thing to do is to make sure that the "center of gravity" of the movement is correct. (2) The bow can not keep "flat all the time" operation, manifested in the fast bow playing bow head adjusting screws in a diagonal line or circle-like movement, which makes the fast bow added a lot of "cha-cha-cha, cha-cha-cha" murmur.
The correct fast bowing is to see a flat horizontal line movement of the adjusting screws on the bow head, which ensures clear and clean articulation. (3) The low string attachment makes each note of the fast bow "date-picky", which makes the fast bow's articulation muddy and lacks graininess.
A good fast bowing should be solidly attached to the strings, and each tone should be played with a solid head, like a knife cut like "gaichi! The sound of a sound, so that you can play a "big pearl, small pearls fall into the jade disk" like a moving effect. (4) Pulling and pushing the bow to pronounce the sound is not balanced, the fast bow will be similar to the "limp" type of effect.
The uneven articulation of the fast bow is different from that of the long bow and the split bow, which is mostly due to the difference in the length of the heavy arm of the bow; while the fast bow itself is very short, the difference in the length of the heavy arm is not great, and it is mainly due to the inappropriate angle of the small arm and the bow. If you play the fast bow with the big arm too inward, and the bow part is too far to the left, then the small arm and the bow form an acute angle, so that there will be a difference in the degree of string pulling and pushing the bow, and the articulation will be unbalanced.
The solution is: slightly abduct the big arm, keep the bow part in the middle bow slightly to the left, so that the small arm and the bow form a right angle, so that the pulling and pushing the bow on the strings will be able to maintain the same degree of consistency, the pronunciation of the natural balance of the. (5) The two hands do not work closely together, often the left hand lags behind, especially in the rapid change of handle or alternate fingers and other difficult left-handed skills, it is easy to slow down and with the right hand on the "point", which is also an important reason for the fast bow is not clear.
To make fast bowing clear and elastic, the right hand must first ensure that the sixteenth notes are very even, there can be no difference in the length of the time value; and then all the skills of the left hand, all in the right hand to complete the bow in a moment, press the finger of the "point" must be pronounced with the bow of the "point" alignment. The "point" of the finger press must be aligned with the "point" of the bow's articulation. In order to ensure that this is done, the action of the left hand to have a certain amount of advance, that is to say, after the previous tone, the left hand should be prepared for the next tone of the finger action, such as: in the rapid change of the handle, the wrist and the muzzle as early as in the change of the handle before the tone is issued, has begun to move.
Another point is that in fast bowing, the left hand should not have a sliding tone, and the tones should be in the shape of dots, not in the shape of lines. This improves the elasticity and clarity of the fast bow.
My experience is that by a bow and a tone, strictly An above the essentials to practice, can not be rushed, practiced to a certain point, the work to natural success.
How to practice the erhu fast bow?
Practicing the fast bow can be divided into the following steps: The first step is to practice the bow with a larger degree of sticking to the strings to play the holding tone, which can be practiced on the empty strings.
The method is: put the bow on the middle of the bow point of inspiration, the right arm slightly left to increase the pressure on the string, suddenly bow, play the beginning of the tone, the bow out of the ten centimeters or so suddenly stopped, but the pressure of the string should always be maintained. Then suddenly push the bow, still to play the tone head, the bow pushed back to the original position and suddenly stopped, the pressure on the string should be maintained at all times.
Repeat this exercise until you have mastered it. In this exercise, special attention should be paid to: (1) the bow hair should be tightly attached to the strings; (2) the bow speed should be fast; (3) the pressure of the bow hair on the strings should be maintained throughout the whole time and should not be loosened, and this is also the case when the bow stops abruptly; (4) the friction should be felt to be greater when the bow is operated. The bow hair should not slip over the strings; ⑤ the pronunciation should be the same at the beginning and at the end, and the effect should be like a knife cut, not a date-nut-shaped sound.
The second step, the right hand does not hold the bow, empty hand practice fan movement. Practice to consciously put the movement of the "axis" in the middle of the small arm, so that the elbow and hand to become balanced at both ends of the uniform left and right swing.
Repeat until the movement is correct and natural. Step three. Hold the bow in the right hand to do the empty string fast bow practice.
The action required to do with the empty hand fan movement as correct, natural, pure, pronunciation requirements to achieve the sound quality full, clear, accurate sixteenth note value; and then practice every eight tone shed every four tones plus an accent, until mastery. The fourth step, practice the two hands. Choose a simple tone pattern.
For example: 56 71 21 76 ... Although the fast bow belongs to the right hand technique, but in order to play it clearly and granularly, it is indispensable to closely cooperate with the left hand.
Therefore, the cooperation between the two hands is an important part of fast bow training. In fast bowing, the right hand is the active factor, the speed of the rhythm, the beginning of the beginning of the beginning of the head, the intensity of the change, etc., are mastered and controlled by the right hand.
The performance must be: ① sixteenth note timing is very accurate, even; ② each tone of the head to be clear, decisive; ⑤ changes in strength and weakness or rapid string changes, etc. can not affect the stability of the speed. The left hand is the passive factor, the requirement for it is to make the finger curve "point" accurately and the right hand of each tone of the head together, no matter how complex the notes, or how difficult to change the handle, jump handle, do not allow the action lagging, and the bow of the head of the wrong.
Performers in the fast bow in the play of the main deviations are as follows: 1. Right trade action "uranium" position is not correct. Usually the "axis" is not effective in the small stay in the middle part of the same on the shoulder, the fast bow movement into the right arm of the "stretch - shrink" movement. 2. The bow can not keep "flat - straight" operation, manifested in the fast bow playing bow head adjusting screws in a diagonal or rounded movement.
3. The low degree of affixing the strings, the fast bow of each tone is played as a "jujube-shaped", which will be the fast bow of the pronunciation of the ambiguous, lack of granularity. 4. Pulling and pushing the bow pronunciation is not balanced, the bow will be played like a "limp" type of effect.
The uneven articulation of the fast bow is different from that of the long bow and the split bow, and is mainly due to the inappropriate angle of the small arm and the bow. If you play the fast bow with the big arm too inward. If the bow is too far to the left, then the arm and the bow form an acute angle, so that there will be a difference in the degree of sticking to the string, and the articulation will be unbalanced.
The solution is to slightly extend the big arm, keep the bow part in the middle bow slightly to the left, so that the small arm and the bow form a right angle, so that the pulling and pushing the bow to the strings will be consistent, and the pronunciation will be naturally balanced. 5. Poor coordination between the two hands. Often the left hand action lags behind, especially in the use of fast handle change or alternate fingers and other difficult left-handed techniques, it is easy to bias the invasion and the right hand on the "point", which is also an important reason why the bow is not clear, in order to ensure that the "point" of the finger and the bow in the pronunciation of the "point" to the right. In order to ensure that the finger "point" and the bow in the pronunciation of the "point" alignment, the action of the left hand needs to have a certain amount of advance.
That is to say, after the previous tone is sounded, the left hand should prepare for the finger press of the next tone. Especially in the case of a quick change, the hand and the muzzle start to move even before the change is made. Another point is that in fast bowing, the left hand should not have a sliding tone, and the tones should be in the shape of dots, not in the shape of lines. This will improve the elasticity and clarity of the bow.
Erhu Fast Bow Essentials
Erhu bowing is very important~! The left hand technique is something that can be blitzed~! Just pull a piece of music for 1 year~! Your left hand must be very skillful already! But the right hand is not so sure! Bow handling directly affects the ebb and flow of the piece! Even if you press harder with your left hand, the sound won't get any louder! The sound won't get any louder, will it?
= a...
= A good tune is one that is pulled down with the same strength from the beginning to the end! It's not a good song if you pull it down with the same intensity from the beginning! It has no appreciation value! It's not infectious! Beginners can also pull out 1234567, but why is it hard to hear? Because she pulls the same sound as sawing wood! No wonder it sounds good! That's why the right hand is so important! A successful piece of music depends on 3 parts left hand and 7 parts right hand! The basic method of bow handling! There are many different ways! There are North and South schools! There is no need to say anything about the North-South school of bowing! There are many more! The two basic differences are the wrist! Elbow~! Shoulder~! The relationship of the ~! The first is ~! The wrist drives the small arm~! Driving the big arm~! The second is ~! The shoulder drives the big arm~! The big arm drives the small arm~! The small arm drives the wrist~! The bow should rest naturally on the barrel~! Don't use your right hand to control the bow lever upwards~! Squeeze the bow bar naturally with your right hand~! Hold it like chopsticks! Not particularly hard! But you can control the chopsticks! Hold the chopsticks! Keep the bow flat and steady! Don't be stiff! Especially the whole right hand, from the wrist to the shoulder! It's important to relax your entire right hand, from wrist to shoulder, before practicing the erhu for 10 minutes every day! It's a bit boring! But it's good for you! Don't practice fast bowing. It's useless! Slow bowing is the best way to show your skills! But you can't be too slow! If you are so slow that you can't make a sound, then practicing is useless! You need to bring down the speed of the bow on the basis that you can make the sound full and mellow.
How to improve erhu fast bowing skills
The specific methods of practicing erhu bow throwing: 1. The route of the bow when throwing: Be sure to pay attention to the bow throwing is different from the general situation of the horizontal transportation of the bow, it should be a diagonal line from the beginning to the end.
2. The bow position of the bow-throwing: most of the bow-throwing is in the left half of the bow or by the tip of the bow, but sometimes the slower bow-throwing should be placed in the middle bow. 3. Playing the bow-throwing should be split into two parts: the first part is a slightly long jumping tone with explosive power, which is started with a bow-drawing or a bow-pushing; the second part is usually two tones (individually three tones), of which the first tone should be a bow-striking, and the latter should be thrown along with the inertia (jumping), and the second part is usually two tones (individually three tones), which should be a bow-striking. inertia throw (jump).
4. For the first time, don't imitate the speed of the teacher in the video, but slow down and carefully experience the posture and skills of the bow, and then gradually speed up the bow when it meets the effect of light and even jumping sound. The specific method of practicing fast bowing: 1. With the right hand, use the correct bowing method (the small arm drives the wrist, use the middle bow or the upper half of the bow to tighten the strings, and pull an even short split bow), and pull the fast bow from slow to fast on the empty strings.
2. In a certain position (preferably in the low position), do not change handles, choose a single short phrase or phrase, using a combination of different modes to practice. 3. Practice more complex phrases or small phrases (with large intervals and handle changes), pay attention to slow to fast, the fastest speed must also keep the notes clearly distinguishable.
No noise.4. Pick a good erhu fast bow passage, and play the erhu fast bow emotionally.
5. Play the whole Erhu piece (loose plate, slow plate, fast plate, etc.) to improve the comprehensive strain of different bowing techniques.
Erhu fast bow practice methods
The specific methods of practicing fast bow are:
1. The right hand, with the correct bowing method (the small arm drives the wrist, using the middle bow or the upper half of the bow to tighten the strings, and pulling an even, short bow), pulls the empty string from slow to fast fast fast bow.
2. In a certain position (preferably in the low position), do not change handles, choose a single short phrase or phrase, and practice with different combinations of patterns.
3. Practice more complex phrases or small sections (with large intervals and handle changes), pay attention to slow to fast, the fastest speed must also keep the notes legible. No noise.
4. Pick a good erhu music fast bow passage, and play the erhu fast bow emotionally.
5. Play the whole erhu piece (with loose, slow, fast, etc.) to improve the comprehensive strain of different bowing methods.
Erhu fast bow practice methods
The specific methods of practicing the fast bow are: 1. The right hand with the correct bowing method (the small arm drives the wrist, with the middle bow or the upper half of the bow close to the string, pulling the even short bow), from slow to fast pulling the fast bow of the empty string.
2. In a certain position (preferably in the low position), do not change the handle, choose a single short phrase or phrase, and use a combination of different patterns to practice. 3. Practice more complex phrases or small sections (with large intervals and handle changes), paying attention to slow to fast, the fastest speed must also keep the notes legible.
No noise. 4. Pick a good erhu fast bow passage, and play the erhu fast bow with feeling.
5. Play a whole Erhu piece (loose plate, slow plate, fast plate, etc.) to improve the ability to synthesize different bow techniques.