The bowing method that uses one bow to play two or more notes is called slurred, which is represented by connecting lines on the score of Erhu. The slur is usually used in lyrical, beautiful and singing melodies, requiring a round and coherent pronunciation. The combination of slurred bows is ever-changing, ranging from two notes per bow, as many as twenty or thirty notes per bow, and the time value of each note in the bow is often different. Makes the playing of the slurred very complicated.

There are four principles for playing slurping well:

1. In order to master the reasonable allocation of bow segments and play a slurred with several notes, it is necessary to divide the effective bow segments into several parts for use, only a little "surplus" is allowed, and no "overrun" is allowed to avoid bows. not enough. If it is a slur of notes with different durations, it should be allocated in units of the smallest duration.

2. A slurred bow with many notes in a bow and a long bow is also restricted by the leverage of the bow on the bow, so this factor should also be taken into account when playing this slurred bow. If bowing at the root of the bow, the pressure and speed of the bow should be slightly reduced, and the effective bow segment allocated to each note in the first half of the bow should be saved as much as possible, so as to leave more bows to meet the requirements of pulling the bow to the tip of the bow. The need for acceleration and pressure. Such as bowing at the tip of the bow, the pressure and speed should be appropriately increased to achieve a balance of sound quality. A slurred bow with few notes in the bow and a shorter bow is similar to the split bow, but the fourth principle should be followed when changing the bow. The sound quality and volume change of the slurred bow, like the longbow and the split bow, are also the result of different adjustments of the "pressure-speed ratio".

3. The bow movement should be soft and uniform. The movement of the right hand should have a certain degree of independence. It should not be restrained by the finger-changing movement of the left hand. In particular, the bow should not be used to beat the beat on the assigned unit. .

4. Generally speaking, when changing the bow in the slurred method, it is necessary to reduce the traces as much as possible, so that the singing phrases are played as if they are played with a single bow, so that the due effect of the slurred bow can be exerted. Slurpee, as the name suggests, is a coherent bowing method, but the music is infinitely variable, and sometimes there are situations where the slurpee is required to be grainy.

So, how to play the graininess of the slurping? There are basically two ways to play this very dynamic slurred bow: one is to move the bow quite coherently, and use the elastic strike of the fingers of the left hand to play the graininess. Another is to use continuous wave bowing to give grain to the notes. Of course, the graininess is not very pronounced, but more of a sustaining component. In actual performance, most of the slurred bows are not of equal length, and are often mixed with other bowing methods such as split bows, which requires the player to obtain a balanced sound quality in different bowing areas and bow sections of different lengths. To do this, it still needs to be solved by adjusting the fit, the same way as when playing a split bow.