Changing the handle is one of the common techniques of erhu playing, and it is also an extremely important item in the basic training of the erhu. It can be said that nine out of ten tunes played on the erhu are inseparable from changing bars. Therefore, the degree of rationalization, standardization and certainty of changing actions is directly related to the pitch, rhythm accuracy and musical sound image. Effect.

To put it simply, the concept of changing the handle is the exchange of the exact spatial distance between the two handle positions with the left arm in a holistic movement. The sense of position and the sense of distance between the positions should be judged by whether the lowest elbow is in place.

Regardless of whether the shifter is moving upwards (moves downwards) or moves downwards (moves upwards), the neck, shoulders, elbows, wrists, tiger's mouths, and thumbs must be fully relaxed. First, the fingers cooperate with the thumb and the tiger's mouth to follow under the elastic action of the wrist, and quickly catch up with the wrist, the tiger's mouth, and the thumb to reach another stable hand-shaped handle at the same time. The action must be completed at one time. The relationship between the fingers and the wrist; the relationship between the palm and the arm; the relationship between the arm and the piano bar (the body) must be very coordinated, natural, thorough and agile during the movement.

In the process of changing the strings, the fingers that move or slide on the strings must reduce the angle with the string surface in advance. The time is synchronized with the wrist first, and the force of pressing the front note (ie the starting note) cannot be used. Acting on the strings, and according to the needs of the music, effective slow, urgent, virtual, real, and empty changes must be made along the string surface. When the latter note (ie the target note) is reached, no matter the same finger or different finger, it will return to normal. According to the strength of the sound, the tiger's mouth should hold the piano rod steadily with the same amount of reverse force, so that the change of the handle can be successfully completed.

The whole action of changing the handle is driven by small movements in turn with large movements, and is gradually completed within the time limited by the time value of the notes. The instantaneously completed handle change not only reflects the overall consistency and continuity, but also reflects the local sense of coordination and freedom.

What needs to be highlighted is that the switch from bass to treble is easier to control and master, because hands and arms only need to relax in the direction of the strings and the strings and fall down naturally. On the contrary, switching from treble to bass requires an upward lifting force to get rid of the weight of the hands and arms, so it is more laborious. This requires increasing the elasticity of the wrist movement and increasing the upward mobility of the fingers to make the movement smooth. in place. In a nutshell, the switch to the treble is an easy drop down, and the switch to the bass is to actively and a little harder to bounce up. Every time you play, the taste is different, but it reduces the difficulty of changing the handle in both directions, so that the fingers that are moving each can smoothly reach the exact phoneme when the hand is stable at one time.

In addition, when using different forms and types of changing handles, in addition to the left-hand movements must conform to the basic principles of performance, the right-hand bowing must also be closely and tacitly coordinated. It should be noted that the handlebars used in music are ever-changing and colorful, which requires the performer to hold the artistic concept of musical sense. Work hard on the subtleties, and strive to change the effect to an ideal level.

Performance is an artistic activity that emphasizes practice. The improvement of performance ability, including the ability to change bars, depends on observation and thinking in long-term training. It is necessary to continuously and repeatedly engage in dialogue between hearing and feeling, and gradually establish reasonable and perfect cognitive standards. In the process of practicing with the pentatonic scales and various arpeggios of various keys, through unremitting efforts, you will have a more profound experience and overall understanding of the changing of the handle and other techniques related to the changing of the handle. At the same time, in the performance of various pieces of music, we should aim to achieve musical expression and style, and be good at gradually improving the purely technical performance of the primary level, and sublimating it to the height of applied skills with artistic creation value.