对一个秦腔板胡演奏者来说，操琴风度的优雅，拉琴姿态的大气是有必要讲究的．秦腔板胡的演奏姿势一般分为“平腿式”和“架腿式”两种，这两种姿势的区别在于下肢的位置。

"Flat Legs"
Sit down with your legs naturally apart, your left foot is slightly forward, your right foot is back, and the banhu is placed slightly outside the bend of your left thigh. The advantage of this position (or the inner third of the thigh) is that the center of gravity of the whole body is lowered, the burden on the waist and legs is less, and the range of motion is large when playing. When playing enthusiastic, exciting and fast-paced music, the performers can maximize their emotions and skills, so players who use this posture are especially common.

"Legged"
The left leg rests on the right leg or the right leg rests on the left leg, and the banhu is placed between the two legs and the lower abdomen. This playing posture is highly praised by the predecessors of Qinqiang banhu players, and its playing effect also has its advantages. . The center of gravity is stable and concentrated, and the flat leg poses have their own characteristics. Of course, good writers do not choose to write. The choice of the Qin Opera Banhu playing posture is also decided by the performer himself. But no matter what position you are playing in, it is logical to call attention to the following points.

Famous Banhu pieces include "Daqiban" (arranged by He Bin), "Days of Turning Over" (composed by Zhu Jian'er), "Beautiful Girl" (arranged by Peng Xiuwen), "Qinqiang Brand Song" (arranged by Aaron Kwok) Wait