With the continuous development of erhu, more and more works have been transplanted, so how can we play these works well, and what kind of connections do we need to make? Now I will give my opinion on this issue.

First of all, we need to know what a transplanted work is. The transplanted works of Erhu are not in the Erhu library itself, and are actually performed on the Erhu by borrowing from similar instruments or music of similar style. It can be roughly divided into the following three categories.

1. Transplanted works of foreign Western musical instruments. Such as "Introduction and Roundabout", "Song of the Wanderer", "Fantasia on a Theme of Carmen" and so on.

2. Transplanted Chinese works of different instruments. Such as "Liang Zhu", "Sunshine Shines in Tashkurgan" and so on.

3. Songs that absorb Western or other elements and are not created in the Chinese composition mode. Such as "Chasing Dreams of Jinghua", "The Tathagata Dream", etc.

Looking at these pieces, it can be said that they cover most of the technical difficulties in modern erhu performance. So what are the difficulties and how to solve them? Now we list them in turn and explain them one by one.

(1) There are many arpeggios and ring targets, and the speed is relatively fast.

When encountering this problem, we must first decompose these arpeggios, find the correct one note by one note, and then proceed from one note to one bow, to two notes to one bow, and so on, until the performance requirements of this arpeggio are met. In terms of speed, it is also from slow to fast, and we must not seek fast without quality. When practicing this kind of arpeggio, it is like assembling a machine. Only when the parts are made perfect, the assembled machine will be perfect.

(2) Semitones appear frequently and fingering is abnormal.

At this time, it is particularly important to adjust the finger distance and the "inner pitch" of the self. The distance between the fingers of the left hand is the main factor that determines the pitch or not. The focus on this issue is the "three or four fingers" of the left hand (the three or four fingers on the erhu are the ring finger and the little finger). The third and fourth fingers are two naturally weak fingers. From an anatomical point of view, one finger and two fingers are two separate tendons, while the third and fourth fingers function as one tendon. This inherent defect causes the fingers to press strings. Yes, the drawbacks: the three or four fingers are not separated, the inability to lift and thus affect the width of the finger spacing, the insufficient extension of the fingers, etc. This is usually more practice with three or four fingers, so that they can move independently like one or two fingers. Many times we think that the inaccurate sound is caused by insufficient extension of the fingers, but it is actually caused by the lack of independence and adhesion of the three or four fingers. "Inner pitch" is what many teachers usually say "Is there in my heart". What is its specific meaning? Practicing the piano is a specific process of listening and playing, so how do you compare the sound you hear with what? It is to compare with the "inner pitch", just like sailing in the sea, without the guidance of the lighthouse, it is impossible to reach the designated destination. "Inner Pitch" is a beacon of real meaning. When you hear a tone, compare it with your inner pitch and make adjustments quickly. This is the auditory process of practicing the piano. Most of the folk music students are more sensitive to the top key, so when there is a pentatonic and very national style music, they will quickly reflect what it is, whether it is higher or lower, but when it exceeds this When the scope is often very difficult, what should I do? This requires that in the usual process of piano practice, 1. Often establish your own "inner pitch", and refer to some twelve-well-tempered instruments (such as piano, etc.) so that your heart can reflect the pitches of different temperaments. 2. Those who can use staves don't need simple notation, so that there is a specific pitch concept in mind.

(3) The left and right hands restrain each other, resulting in false sound.

This is the reason why I usually don't pay attention to the training of the left and right hands. You can do this kind of training first. Pick out the difficult points, don't press the strings with your left hand first, just use your right hand to pull out the rhythm, from slow to fast, wait until the right hand is tightly attached to the strings and the pronunciation is solid, then add the left hand. If the sound is still fluttering at this time, it is the problem of the left hand pressing the strings. There are no more than the following three reasons.

1. The lower finger is too heavy and inelastic

2. The lower finger is too light and weak

3. The phoneme is inaccurate and the adjustment time is too long

The common solution to these three problems is slow training. In the process of slow training, pay attention to the time difference between raising and lowering fingers and the sensitive reaction of touching strings. The famous violin educator Lin Yaoji said: "Slow is fast, we must build and not destroy." You can see how important it is to practice slowly.

In fact, no matter what work you pull, you need a solid foundation as a technical guarantee. Just like a skyscraper, no matter how beautiful its appearance is without a solid foundation, it will become a veritable dangerous building.