In recent years, with the continuous emergence of new works and the holding of professional competitions of different types and specifications in the country and even internationally, not only a group of outstanding young performers and potential young performers have been launched, but also extremely It has greatly promoted the development of erhu performance.

In many new and excellent erhu works, such as Wang Jianmin's "The First Erhu Rhapsody", Guan Naizhong's "The First Erhu Concerto", Gao Shaoqing's "Capriccio", Liu Xuexuan's "Erhu Concerto" and other compositions and "Erhu Concerto" by Guan Naizhong Fantasia on a Theme of Carmen" (transplanted by Gao Shaoqing) and "Introduction and Rondo Capriccio" (transplanted by Yu Chuan), etc., there are many difficult performance techniques (such as: continuous and fast large jump bars, the use of artificial overtones throughout the paragraph). The application of complex atonal melodies, the combination of frequent changing notes and fast chromatic movements, jumping bows and throwing bows, rapid fast bows and leaping broken bows, etc.) exceeds the technical content and use of any previous music. Frequency of.

At the same time, most of these works also use newer or more complex creation methods, and some also express multiple musical images and more complex emotional changes in one piece of music. The successive appearance of these works marked by complex skills is undoubtedly a huge challenge to every performer in terms of technical ability and control state. At the same time, it also broadens the artistic expression of the erhu from different aspects and enriches the performance of the erhu. Art and promote the innovation of erhu playing techniques.

However, in the process of its development and change, everything inevitably has different tendencies, contradictions and balances, and so is the performance of the erhu. In recent years, some performers have tended to ignore the in-depth study and research of traditional and folk music while extensively learning new repertoires and mastering new techniques. Some music school students have a soft spot for music that is highly technical or even dazzling, but they are not interested in, or even disdain for, music in traditional, ethnic and folk music styles. They tend to blindly think that these pieces are technically simple, the music is old, there is nothing to learn, and so on. It should be said that this phenomenon is a manifestation of lack of musical knowledge and is not normal. Because of these prejudices, they are often overwhelmed when they play these pieces, and as a result, the charm of the music is lost, and the beauty of the melody is also lost. This kind of performance is not only dull and unintelligible, but also has no musical appeal.

In fact, these young people are very smart, and their playing ability and music feel are also very good, and some of them have great potential. It's just because their knowledge is too narrow and the performance skills they master are relatively simple, which affects the normal development of performance talents and the overall development of performance skills, which is a pity. In July 2002, the "National Youth Art Competition - Erhu Competition" hosted by the Ministry of Culture and the "Longyin Cup International Erhu Competition" hosted by the People's Music Editorial Department in October, the performance of some contestants fully demonstrated the seriousness of the above-mentioned problems. Consequences: When playing new and transplanted pieces that are more technical, these contestants are more skillful, and some are even brilliant, and they have a great hope of winning the championship. However, when playing the designated traditional and folk music, due to the single technology and technical means, it cannot fully meet the needs of music changes. Appears powerless. In the end, this kind of "remaining unchanged" style of performance led to the eclipse of the musical effect, and also made them lose the chance to win the championship, which must be said to be very regrettable and regrettable.

Of course, we learn traditional and folk music not just to participate in competitions, nor to show our extensive musical accomplishments. But if you only master certain performance skills and are only interested in playing a certain type of music in the process of learning, how can you become a well-rounded erhu performer? To be honest, it is impossible to become an excellent performer without a solid and profound national folk music skill and background, and without rich performance experience. In this regard, the rich artistic history and wonderful performance skills of many famous erhu performers are a powerful illustration of the problem.

Objectively speaking, those newly created erhu songs with modern musical significance in recent years are the product of the times, and they are also the inevitable development of the art of erhu performance. And those transplanted pieces are a huge driving force to broaden the musical expression of the erhu and enrich and innovate the erhu playing skills. Not only should we not blindly reject these works, but we should study and master them carefully. There is no contradiction between learning, innovation and inheritance, and they should not be opposed to each other. Inheritance is for development and innovation. Learning new things and mastering new skills is also for the purpose of inheriting and carrying forward the excellent traditional and folk music performance skills more clearly. Erhu is a stringed instrument that is good at playing singing melodies and expressing delicate emotions. These characteristics and performance skills are fully reflected in many beautiful, elegant and popular traditional music and colorful folk music. It can be said that traditional and folk music is the source and flow of erhu performance and the foundation of excellent performance. The essence of erhu performance skills is concentrated in these music.

In order to better inherit and develop the erhu performance career, a person with lofty ideals and lofty aspirations should not only learn new music in time, master new performance techniques, but also study excellent traditional music and folk music carefully and meticulously , and draw more artistic nutrition from it. In addition to the well-known music such as "Erquan Reflecting the Moon" and "Jianhe River", there are many erhu and folk music that we need to study, master and study seriously. These include "Autumn Moon in the Han Palace", "Three Treasures Buddha", "Fun Feng Song" and "Dan Music", "Singing in Sickness", "Cold Spring Wind Song", etc., as well as songs such as "Jiangnan Sizhu", "Guangdong Music" ” and many pieces of folk music (including minority music) style, and also includes pieces with unique style and charm created and performed by some famous performers. These classic pieces and their playing styles are the foundation for the art of erhu performance to be based on the forest of world music. The ancients said: "If the skin does not exist, how can the hair be attached?" Only on the basis of fully learning and inheriting the tradition can we develop and innovate without departing from reality. Just imagine that if there is no national musical style and charm, and no Chinese music characteristics in the performance of Erhu, then its own vitality and fundamental value of existence will be lost. This kind of ending is something we do not want to see, and it is also despised by the world.

A key opens a lock, and the person who unlocks the bell needs to be tied. In order to comprehensively improve students' abilities in music cultivation and performance skills, every teacher should take the responsibility and guide them to learn more diverse application skills and stylistic performances while mastering general performance skills. Skill. For this reason, it is very necessary to earnestly study and master the performance rhythm and skills of traditional and national folk music. In this regard, teachers should practice and play the role of role models. Not only do they have a thorough understanding and research on these pieces in theory, but they can also convincingly demonstrate for students in actual performance. Only in this way will they be encouraged to learn the erhu performance skills more clearly and comprehensively, and gradually become outstanding musicians who have both a solid theoretical foundation and rich performance skills.