Follow me to learn the Erhu

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Citation preview

Follom me to Learn the Erhu Written by YaoWei :tt..E. 0 ,f

Table of contents ~\\'rd······························································································· ( I )

~ e:le:1J1e:11~

-

/

lcJ:J.()w!e:cige: a1>()11t tile: e:rh11··········································· ( I )

l'Jaapter One Introduction·································································· ( 6 ) .. Cnpte:r Tw() The: skill ()f tile: right hanci ............................................ ( 13)

Oapte:r Thre:e: The: skill of tile: le:ft hanci............................................ ( 25) Oapte:r F011r Etllcie:s anci m11sical rompsitions ...................:........... ( 45 ) ~ord······························································································ ( '7~)

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Foreword The rich connotation of Chinese traditional culture and deep heritage is .. ing known by more and more foreign friends . For the strong interest in Qamese culture, music lovers around the world are attracted further more by the glamour of the Chinese folk music. Many foreigners are also quite · ?crested in learning a little Chinese folk music as a channel to understand omese cultll!"e. Many foreign tourists buy Chinese national musical islllruments as the novel and unique souvenirs to take back to their own a-Prtries. The erhu is a musical instrument with a more melancholy, lyrical -S melodious sound, its sound is easy to enter people's innermost feelings, IDiitb people's emotion. Nowadays, the pressure is quite big in the modem IDCiety, this feature of the erhu can help people relieve stress. As the erhu ._ a beautiful sound, the simple structure and it is very easy to learn, ti crefore, it attracts many foreigners. I have over 30 years experience in teaching the erhu, and also have n ight several foreign friends. Most of them could not stay in China for a long time, but they wanted to fast grasp the basic skills of playing. the erhu 9 a short term to reach the level of playing the general Chinese folk music. Fu the convenience of teaching, I compiled this booklet for those foreign liends to use. The effect is very good, in two to three months, most of them llave mastered the main skills of playing the erhu and are able to perform everal pieces of Chinese folk ditty, such as "Jasmine'', "Embroidering a Parse" and so on. Now, I have rearranged it and accompanied it with some explanations of wideos. I believe that .foreign music lovers who learn to play the erhu in .:cordance with this booklet and the supporting DVD will certainly be able ID perform out their delighted Chinese folk music in the shortest possible time. Let's begin! Author: Yao Wei I

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Elementary Knowledge about the Erhu 1. The function and structure The erhu is an age-old and popular stringed instrument of China. It h~ been more than one thousand years since its invention. The tone colour of the erhu is very graceful and it has a wide range. The change between the strong and the weak is free; moreover, the sound it produces is quite like a man's voice. Thus, it is rich in capacity of expression. It can play a solo and adapt for an accompaniment or an ensemble as well. It is the most common instrument of the Chinese folk musical instruments. The structure of the erhu is composed of the head, the neck, the tuning pegs, the sound barrel, the erhu skin, the nut, the bridge, the bow and the strings (see picture 1 ). I. The bead

2. The tuning pegs 3. The out 3.

4. The bow hair

7.

S. The bow stick

6. The strings 7. The neck 8.

8. The sound barrel 9. The erhu skin 10. The bridge

(picture I )

1

2. The operation and the protection of the erho In order to protect the erhu skin, when not in use, you must loose the strings or put a stick (which should be a little longer than the diameter of the barrel) above the bridge to support the strings so as to reduce the pressure to the erhu skin, then put it into a box. Protecting the erhu is mainly to prevent it from being affected by dampness or by heat, just in case the sound barrel become unstuck and the erh u skin subside. When the bow hair is dirty, you can clean it with soapsuds, dry it in the air, then rub some rosin on it. '. The erhu is a vulnerable musical instrument to produce some noise in an arid climate. You can put a piece of sponge under ~e bridge in the space between the strings and the erhu skin to reduce the noise.

3 . Tuning the erhu and naming the strings The tuning method of a fifth is commonly adopted for the erbu. That means, there is a relation of a perfect fifth between the inner string and the outer string.

In the tuning of the erhu, the inner string is usually tuned to d' and the outer string tuned to a '· Why should the erbu be tuned in this way? First, the tension of the strings in such a pitch is moderate, and they can produce a loud and clear sound. Second, it is convenient for the erhu to join some instrumental ensembles and accompany other instruments. Naming the strings means giving both strings the sol-fa syllables.F or instance, the string name "do-sol", means the inner string is na.m ed "do", the outer string is named "sol".

2

,.

( See the following list ). Key signature

Open inner string

Open outer string sol

do I

sol

re

la

IDJ

re

la

fa

do

.

.

SI

IDJ

.

fa

SI

. What kind of strings of sol-fa syllables· can you use to play a musical

composition, a '$ong or a local opera? You should select it in accordance with the style, the lowest tone, the characteristic of the open string, and the convenience of playing.

..

.'

4. The explanation of the symbols • ( 1) The symbols for bowing. l"'I

v

.

The pull bowing right. The push bowing

moving the bow from the left to the moving the bow from the right to the

•

left. •

3

The connected bowing the notes within the legato lino should be played in a single bowstroke, and the notes outside the legato line should be played by the divided bowina. Namely, one bowstroke plays one note. T - -The bounce bowing. v - -The pause bowing. ,........ v v - -The connected pause bowing the pausing notes within the legato line should be played in a single bowstroke. ~--'The shake bowing. tL- -The throw bowing. ~ The small shake bowing.

i'

I

f \

'

from :' '

4• f ~~§! f tone, e.g.

sliding

, -

to

r

namely, to slide from

1.

f

1

W

1

Ito

from4•

J 1or

The downward slide- -sliding from a higher tone to a lower

,

f1r 1

I to

~~§ . Also, it should be weaker at the beginning and stronger at the end. - - - 'The slide of legato line; e.g. ~~tJ4 or ~@41 . tho slide should be even from the beginning to the end. The fi nger padding slide.

¥

that

j , then slide

that means sliding fron1 the

-

The natural overtone. The artificial overtone.

' .. -

The beating tone. The uper trill, e.g. ~I

+

The lower trill, e.g.

· Iii ti- -

Open string. The inner string. The outer string. Plucking the strings with the right hand. Plucking the strings with the left hand.

~

t • 1-

-

OlCIUIS

f Iimmediately.

The upward turning slide

n

The course of sliding should be

~s~ namely, to slide from

r ],

F lto~~~·~r§lorf

•

F Iis equal to f Ef r 1. I

~ :!£• fr ·+F. Iis equal t o iPJ ·

weaker at the beginning and stronger at the end.

tone, e.g.

that means sliding

original tone to a higher tone, then slide back.

sliding from a lower tone to a higher

1.

f?F l or~~ ft er I,

, - - The downward turning slide, e.g. ~I

to ~ 1

The index finger. - - The middle finger. = - -The ring finger. 11!1 The little finger. 1r- -Trill, the trill of long duration can be written into tr-.

It~

The big downward slide, e.g.

( 2 ) T he symbols for fingering.

The upward slide

r

Chapter One

Introduction 1. Posture •

The posture used for playing the erhu is generally divided into two kinds. One is called " the crossed legs posture ", the other is called " the parallel legs posture ". For " the crossed legs posture ", after you sit down in a chair, cross your left leg over your right knee ( see picture 2 ), then lay the sound barrel of the erhu on the thigh of the left leg. The merit of this posture is that the body of the erhu is comparatively steady. •

·For" the parallel legs posture ", after sitting down in a chair, both of

your legs are set levelly to each other ( see picture 3 ), then put the sound barrel of the erhu on the thigh of the left leg. This posture has three fulcrums to support your body, both your feet and your buttocks. So your body is more stable. It provides more convenient conditions tor the movement of your body, and also, when joining in an accompaniment or an ensemble, the appearance of the orchestra looks orderly. So, this type of posture is adopted more often.

( Picture 2)

6

( Picture 3 )

On playing posture, you should pay attention to posture as well as I

111g

lt is not perfect to lack either one of these two aspects.

\\'ith respect to sitting posture, regardless of whether the parallel legs • -

crossed legs are adopted, the player should sit upright and naturally,

. - relax every part of the body properly (such as the waist, the chest, the

I

i

I

gmg down. The eyes should look straight ahead, and so on.

the neck, the head, etc.). The head should be neither leaning nor Sitting upright and naturally is the base of playing, or else, playing will

k affected directly. There are some con1mon wrong postures such as the I

1 jy

bending for\vard excessively, the body lifting upward excessively,

mlicinn:g the shoulder, leaning sideways and bending back. All of these wrong

a

•ures will make the muscles of certain parts of the body tense. After a

' le. the muscles will become tired and normal breathing is also hampered. ~will bring unhealthy tendencies

to playing and a bad image on the stage.

Bearing reall y means a player's manner and expression on the stage. ~ing

.

the erJ:.iu can not be like an actor in a play emphasizing his posture

md performance on the stage, but you should pay atten tion to your proper -m•uer and expression on the stage. As a player, you should develop your emotion according to the '

• prirement of the musical compositions, and attentively throw yourself _,the artistic display. Furthermore, you should express the content of the -si•i•cal compositions by your look, making your heart consistent with your ap;ession in harmony with your playing. You should pay attention to adjusting your breathing during playing. If your breath is not natural, you will feel your breathing stopped and closed, that is out of control. I-low do ~

adjust your breathing? After sitting down in a chair, calm yourself,

cc1 11act your underbelly and raise a little breath, then breathe slowly with 1

«Xll

nose. You should take even breaths instead of breathing rapidly. You ,

7

-

should feel your breath exchanging slowly between the pit of your stom · GI and your underbelly. Proper breathing will directly affect your playing. experience of many players have proved that when you play a l bowstroke, if you breath properly, your bow will be drawn more steadil)'; when you shake the strings, proper breathing will bring a

gJ"CI'•;

concentration of force to the muscles of your finger; when you play the hip pitch section of each string, proper breathing will help you control the cooperation of both your hands easily, and make the sound clear and pure.

2. Holding the erhu and pressing the strings •

Method ~r holding the erhu:

.

( l )The body of the erhu should be stable. Lay the sound barrel of the erha on your left thigh and close to your belly. In order to make the body al the erhu stable, the neck should be perpendicular to the plane of your left leg or tilted forward a little. In this way, your left hand will be free

'

and naturally flexible, making it easier to play. A common mistake made in holdi.ng the erhu is that the neck is tilted forward excessively, so that its center of gravity becomes unstable, which limits the playing. ( 2) The shape of your left hand should be natural. The more natural the shape of your left hand, the more comfortable you will feel when playing. Therefore, when holding the erhu, your left wrist should naturally bend a little (see picture 4). Your thumb should naturally stretch flat, neither sticking up nor bending down ( see picture 5 ).

8

( The correct posture )

( The correct posture )

The knuckles

(Picture 4)

,__ The third joints

(Picture 5 )

Lay the neck of the erhu between your thumb and index finger (under

6c nut). Holding the erhu should be naturally slack, otherwise, it will make ;am left hand tense, and affect the shifting and pressing the strings etc.

1lle following are common mistakes made in holding the erhu:

--

First: bending the wrist excessively when pressing the strings, which

-~kcs the

fingers short of force and elastic ity ( see picture 6 ).

Second: bending the wrist backward excessively ( see picture 7 ). This •lkikes the muscles of the forearm and the hand tense, and particularly ~ raising the finger and vibrating the strings.

f(J JllA~,,,~

(The wrong posture)

( The wrong posture )

(Picture 6)

( Picture 7)

~ Wn;p l

•

3 ) Every part should be harmonious. When holding the erhu, you should 9

•

'.

.... •

not only pay attention to the shape of the left hand, but also to the . harmonious coordination of the upper ann, the forearm and the hand. When you play in the first position, your upper arm and the side of . . . your ribs should make an angle of 45 degrees ( see picture 2 ). Meanwhile, your upper arm should .also maintain the support to the . other parts of your hand and arm, and hold the forearm and the hand steady. The excessive dropping down and raising up of the upper arm will hamper your playing ability. The angle between your upper arm and the side of your ribs should be increased or decreased depending upon the movement of the downward shift or the upward shift. The demands on pressing the strings:

(I) ·You should use the tip of your fingers which has greater force to press the strings. Pay attention to the bending degree of each finger. The index finger bends the most, the middle fmger bends less than the former, the ring finger bends less than its former, the little finger only bends slightly ( see picture 5 ). The whole shape of the left hand should be like a loose and half-made fist. ( 2) Pressing the strings demands that the action of your fingers be active, nimble and rich in elasticity. According to the need of artistic ... expression, pressing the strings should have some ·changes, ·such as the light press, the heavy press, the slow press, the fast press, the false press and the true press. The stability of your left upper arm is helpful in making the activity of your fmgers into full play. If your left upper arm behaves in a lax and undisciplined way, your fingers will be passive. In order to be ·sure that your fingers are active, nimble and rich in elasticity, you should pay attention to the following when you practise: [ I] The wrist should remain natural. When pressing the strings, the wrist basically keeps the natural state, neither bending nor stretching. It can

concentrate the force contracted by the muscles to the movement of your fmgers. If the wrist benc,is excessively, the force of your fmgers pressing the strings will be correspondingly reduced ( see picture 6 ).

For example, when you make a fist, if your wrist is in a natural state, ~ you can clench your fist. if the wrist bends excessively, the fingers will

be short of force,and you won't be able to clench your fist. If the wrist stretches backwards excessively ( see picture 7 ). you will have difficulty in raising your fingers. If the wrist is natural, you will be able to raise your fingers comfortably. Therefore, the more natural · your wrist is, the more active and forceful the movement of your fingers can be. {2] Emphasizing the movement of the knuckles. A knuckle is the fmger joint at the root of a finger, which joins the palm ( see picture 4 ). When the fmgers touch or leave the strings, the knuckles should move mainly and other finger joints move slightly. If other finger joints move excessively, it will make the fmgers passive to touch or leave the strings. [3] It is incorrect for the fingers to be raised too high when they leave the strings, especially in playing quick rhytfunic musical compositions. If the fingers are raised excessively high, the speed of the movement will be affected. Also, you should often pare the nails of your left hand to avoid affecting the correct posture for pressing the strings.

3. Gripping the bow The common method of gripping the bow is that you should suspend die wrist of your right hand levelly, use the second joint of the thumb and die first joint of the index finger (count from the finger root to the fmgerend)

to control the bow stick. Insert the middle fmger and the ring finger between the bow stick and the bow hair to hold the bow (see picture 8).

11

I. The root of the index finger. 5.

2. The first joint of the index finger. 6.

3. The second joint the index finger. 4. The third joint the ind.ex finger. S. The second joint of the thumb.

.

6. The first joint of the thumb .

'

( Picture 8)

'

~

•

·

Holding and moving the bow actually reflects the effect of the lever principle, there are the fulcrum, the force point and the resistance point. In the effect of the lever principle, the more stable the fulcrum is, the more the . force point will be able to exert its strength and have effect to the resistance point. When gripping the bow, the thumb and the root of the index finger hold the bow stick, basically making up the fulcrum. The middle finger and the ring finger control the bow hair, basically making up the force point, and the point at which the bow hair rubs the string is the resistance point. When moving the bow, the steadier the thumb and the index finger ( the fulcrum ) control the bow, the easier the middle finger and the ring finger ( the force point ) will be able to exert their strength ; thus, more forcefully the bow hair ( the resistance point) will rub the strings. When playing the outer string, the thumb and the index finger control the bow stick, use the force of the wrist to put pressure on the outer string by the middle finger and the ring finger, making the bow hair close to the outer string to rub it. When gripping the bow, your fingers should be natural and flexible and also keep the necessary force of control, just like holding a pair of chopsticks. The thumb is the most important to the natural gripping of the bow, because if the thumb is natural and flexible, it implies the corresponding naturalness of the whole hand. 12

Chapter Two The Skill of the Right Hand The skill of the right hand, namely, the skill of moving the bow, is called bowing. The following is a brief introduction to the kinds of bowing. From the region of the bow, it can be divided into the whole bow, the half bow ( the left half bow and the right half bow ), the bow tip, the medium bow and the bow root ( shown in picture 9 ).

I

,.....

"-------... -------/"-...___ --------_.- ----------A-----·+·-____/ Th.e bow tip

The medium bow

The bow root

( Picture 9 )

From the different speeds of moving the bow, it can be divided into the slow bowing, the quick bowing and the shake bowing. From the direction of moving the bow and the relation of shifting the bow, it can be divided into the pull bowing, the push bowing, the divided bowing and the connected bowing. Besides, from the characteristics ·.of the sound production and the skill, it can be divided into the pause bowing, the bounce bowing, the throw bowing and the padding bowing. Now, I will introduce some common bowings separately.

I. The method of moving the bow ( I ) The bow must be moved levelly and straightly; the bow hair should be close to the neck of the erhu. When moving the· bow, you can not move the bow hair far from the neck of the erhu,or else, the sound will not be full. ( 2) When moving the bow, the bow hair should be level and close to the

13

sound barrel of the erhu. You should not move it sometimes upward and sometimes downward. Do not raise the wrist and the forearm too high. C3 ) The distance between the middle of the upper arm and the side of the ribs should be kept the size of a fist when using the root of the bow. However, when using the tip of the bow, the angle should be increased. Moving the bow is the organic coordination of the right shoulder joint, the upper arm, the elbow, the forearm, the wrist and the fingers. Among them, the movement of the wrist is the biggest, and the elbow is the second. The common mistake that beginners often make is that they are not good at using the force of the wrist. So, the sound they produce is dull, and they can hardly play clearly when they encounter some·quick bowings. The three joints of the shoulder, the elbow, and the wrist should be made to change their degree of movement according to the requirement of the power of the musical composition you are playing and the different kinds of bowing as well as the regions of the bow you are using, such as the slow bowing, the quick bowing, the bow tip and the bow root. For instance, when playing the stressed bowing and the very strong and dense shake bowing, the movement of the wrist should be very little and the force of the shoulder and the upperarm should be straightly passed on to the palm. Beginners always grip the bow stick too tight and put forth excessive strength. In this way, the wrist becomes stiff, and it is difficult for you to play when meeting intricate bowings or quick bowings. But you should not grip the bow stick excessively loose, for this will make you short of strength and unable to produce full sound. According to the requirements of the musical compositions, when playing strong tones, you should grip the bow stick fairly tight. When playing weak tones, you should grip the bow stick a little loose. 14

l. The long bow stroke

It is also called the whole bow or the full bow; it makes up about four-fifths of the length of the bow hair. The slow long bow stroke is often ~ in playing slower melodies or tones of longer duration. The quick long bow stroke is usually used in playing strong tones of shorter duration. Generally, playing the long bow stroke requires moving the bow steadily md levelly. ( When moving the bow, the bow hair should be near the neck of the erhu, and pressed close to the sound barrel of the erhu.) You should . balance and link up your strength to shift the bow and the strings sprightly md consistently and produce a clear and full sound. Because the range of the movement is quite big, the main support should be on the left shoulder, and the essential center of gravity should lie in the middle of the forearm, near the elbow ( see picture 10 ).

( Picture l 0 )

The movement of withdrawing and stretching the upper arm plays a greater role in moving the bow. After starting to move the bow, the elbow should be moved in the moving direction of the bow immediately. The long bow stroke is the most essential bowing in the skill of the right hand, but it is not easy to master. If you lay a good foundation in playing the long bowstroke, you will possess the favourable factor to learn OO!er bowings. 15-

/

The common mistakes in playing the long bow stroke as follows: The movement of moving the bow is inharmonious; the bow is not fully pulled and entirely pushed; moving the bow is not level and straight, as the saying goes: "An expert plays the bow in a line, a layman plays the bow in a big stretch of place."; the volume of sound is not proportional; when using the bow root, it is easy to make some noise; when using the

· bow tip, it is easy to play weakly, and shifting the bow inconsistently.

Shifting the bow: In the skill of the right hand, the main point of the Jong bow stroke is shifting the bow; the main point of the quick bowing is shifting the strings. There are two common . . methods of shifting the bow.

( 1 ) The smooth and consistent shifting of the bow: This is often used in playing fluent melodies.The crux of the method is that the wrist and the fingers should do the transitional movement well at the time of shifting the bow. Take the pulling bow for example: at the beginning of moving the bow, you should stretch the fingers and bend wrist ( see picture 11 ); in this way, you pull the bow. Just before you shift to push the bow, you must place the wrist in a transitional and natural state ( the wrist is neither bent nor stretched ), then push the bow at once by gradually bending the fingers. When pushing the bow, you should bend the fingers • and stretch the wrist (see picture 12 ); in this way, you push the bow. Just before you shift to pull the bow, you must place the wrist in a transitional and natural state, then pull the bow immediately by gradually stretching the fingers. It is called the smooth and consistent shifting of the bow, namely; to complete the transitional movement of the wrist and the fingers well and circulate to push and pull the bow in turn, it can avoid the shifting traces.

16

(Picture 12)

( Picture 11 )

( 2) Shifting the bow with a strong sound It means that at the very moment when you begin to play the bow, you should produce a short and strong sound. This effect is commonly used in the music of traditional operas. Generally, it is used in pulling the bow more

4' f' fr F r F r f

I [J

0

J J j J I Jl

'

When you play the notes in the piece· of music that have the stress marks, you should stress " the strong sound ". The method is that you should press the bow hair to the string, and at the very moment when you

begin to play the bow, the essential center of gravity springily brings the wrist to do a quick and forceful movement, then you should keep on the force of the bow to form a process of rubbing the string by spot and surface.

It can produce a springy and strong effect thereby.

( 3) The problem about tone quality When playing the long bowstroke, you should pay attention to the quality. The fine tone quality is pure, loud, full and strong; the bad tone quality is noisy, faint, fljghty and weak. To produce the sound of fine tone 17

quality, you should appropriately master the cooperation between the speed and the force of moving the bow, and make the strings vibrate fully. Otherwise, if the speed of moving the bow is slow and the pressure of the bow hair to the string is excessively strong, it will produce some noisy sound. lfthe speed of moving the bow is quick and the force of pressing the string by the bow hair is too weak, it will produce some faint and weak .sound. ln brief, the sound of bad tone quality shows that the string is not fully vibrated. So, when you practice playing the long bowstroke, you must take notice to the appropriate cooperation between the speed and the force of moving the bow.

3. Th·e quick bowing '. It is the small divided bowing with high speed, usually used in playing

semiquavers or demisemiquavers that have four notes or eight notes a beat. This kind of bowing is good for expressing the zealous, lively, leaping, tense and exciting mood, etc. It is also used in playing allegro of some traditional operas. Playing the quick bowing usually uses the medium bow. Outwardly, playing the quick bow is that the wrist swings to and fro, but in reality, the upper arm still plays a leading role. The upper arm brings the forearm to move and the essential center of gravity on the forearm brings the wrist to move. The way of exerting your strength is just as you use a gong hammer to beat a gong quickly.

In playing the quick bowing, the relation bet\veen the arm and the band is like the relation between a tree trunk and the tip of the tree. When the tree trunk is shaken, the tip of the tree is swayed with it, and the swaying degree of the tip of the tree is bigger than that of the tree trunk. From outward appearance, it looks as if it swings back and forth, taking the middle part of the forearm as an axle. In order that the essential center of gravity has enough force to bring

18

lbe wrist to move, when playing, the upper arm should be stable, and

support the forearm as well. But it shouldn't be in an undisciplined way. Meanwhile, the wrist should be nimble. In this way, when the arm brings

die wrist to swing to and fro, the wrist will have elastic force, and it can produce a clear and full sound, like beans falling into a porcelain dish.

( 1) The problem about shifting the strings Shifting the strings in the quick bowing mainly depends on the middle finger and the ring finger bending and stretching actively between the bow stick and the bow hair. Moreover, the upper arm should be as stable as· possible, for the purpose of giving full play to the activeness of the fingers' movement. Take semiquarvers for example, which has four notes in a beat and should be played by the quick bowing. There are fourteen ways of shifting the inner and the outer strings, as follows:

41t S j J J1 1l) j j I j J j j I J j J J I j j J j I J J j J I j j JO I ,._ lJ J j I jJ j j 11] J j I J j J ~ I JJ j j I j J J j I J j j J I You can practise these bars on the operi. strings one by one, or you can make them up to practise.

( 2) The problem about the direction of the bow When playing the quick bowing, some people are accustomed to push

die bow first, then pull the bow, for instance,

4JJJj JJJJ I v l'I

v l'I

Which one is more suitable? The convenience to artistic expression should be the standard. The sound produced by pulling the bow is stronger than the sound produced by pushing the bow. So, when playing the quick bowing that expresses the advancing scales or stressed sound, you should

19

bring the bow to move in an arched way. When the playing speed is quickened, the elastic force of the bow will become stronger with it; as a result, it forms the small divided bowing with bounces. The main difference between the method of playing the bounce bowing and the quick bowing is that whef, playing the bounce bowing, you swing the wrist to and fro while re arm should possess the strength of raising itself, avoiding drooping the hand and the arm unawarely. Playing the quick bowing is on the contrary. You should utilize the force that is produced by drooping the hand and the anri naturally; namely, you should use the proper weight of the hand and the arm to press the string by the bow.

5. The shake bowing ( Tremolo ): "*"is its symbol. This is a sort of bowing that has the effect of playing a plucked musical instrument; you should shake the hand and the arm quickly to produce a smashed and dense sound. So, it is also called " the smashed bowing", for instance,

4 J' I

approximately equals to

ijj~~~~~~I · It is more convenieni for this kind of bowing to play

acscendo, diminuendo or freely extended notes. The strong playing is often

ased in making the atmosphere; the weak playing is usually used to set off 1he extensive and quiet background. You should use the bow tip in the weak playing and the mediuni bow

in the strong playing. When playing the shake bowing, you should take the

wrist as an axle to make the upper arm bring the hand to swing back and

bib quickly. When swinging the hand, you should keep as stable as possible from the arm to the hand. At the same time, the part of the arm should have a proper force of intenseness, but the fingers should be relaxed appropriately to produce the clear, smashed and dense sound. If the fmgers

21

are tenser, it will produce a sound that is unclear. From the appearance, it seems to be that you swing the hand to and fro, taking the wrist as the axle. 6 . The small shake bowing " ~ " is its symbol. It is also called the padding bowing. In fact, it is a small unit of the shake bowing and usually used behind pulling the bow; .namely, at the very moment you shift from pulling the bow to pushing the bow, you should take advantage of the opportunity to give the wrist a shake, then push the bow at once. e.g.

•

• •

ta· ! J I,

its real effect is

f j, 10 J 1.

This kind of bowing }s commonly used in playing traditional operas or folk music. It can strengthen the atmosphere, emphasize, the rhythm, and adjust the bowing order. See the following etudes:

~

'@~ i

,, 1

v

11('.l

tJu I tlfJJ?

-t'i (· ;@

,,..},

I [fEftff I '

~

v

"~ : • :

cra:tr I J.2lJJi3 I EflfQ;f I

ie· ;n 1£v Drln1uv •

t

I

7. The pause bowing "'V" is its symbol. This is a sort of bowing that produces a short and

•

pausing sound. When playing the pause bowing, the wrist should have elasticity to produce a sprightly and lively sound. The pause bowing played by the divided bowing is called the divided pause bowing, e. g.

~·=1 vvvv fl iJ I vvvv fJ JS ID fJ I fJ j vvvv vvv 22

I. Tue pause bowing

flayed by the connected bowing is called the connected pause bowing, e. g.

~'i I

,., v

,.,

17

trf¥l Itf g Iit@ If LJ

f'- I WtfftrtcU!fr I.

I or

The characteristic of the connected pause

bowing is that a series of pausing notes are played in a single bowstroke. The method of playing is based on the shake bowing plus a little change of

control. You make the hand and the arm shake to the same direction. When shaking, you should pay attention to the stableness of the upper arm, and die fingers should be relaxed properly. This is the connected pause bowing.

I. The throw bowing ".11." is its symbol. This is a sort of bowing that should utilize bounces of the bow to play, e.g.

4 J, ;D v ,.,

L Namely, when pushing the bow to

...

play ~'~~J~ v'?~,~I, you should take advantage of the opportunity to lift the bow four or five inches to the upper left (see picture 13 ). Next, when pulling . die bow, you should again take advantage of the opportunity to throw the bow to the lower right ( see picture 14 ). Meanwhile,the fingers should be relaxed immediately in order to use the natural spring to produce the two notes of '

!

I· The characteristic of rhythm in playing the throw bowing is

similar to the effect of beating a snare drum, like the rhythm

~ .J

:Q

~You

can also use the same method to pull the bow first. Namely, when pulling die bow,you should take advantage of the opportunity to lift the bow four or

five inches to the upper right. Next, when pushing the bow, you should again take advantage of the opportunity to throw the bow to the lower left. In playing the erhu, this kind of bowing is usually used to express the 23

atmosphere of horses running. Commonly, you should use the bow tip to play.

'

( Picture 13 )

24

( Picture 14 )

Chapter Three The Skill of the Left Hand The skill of the left hand consists of position dividing, shifting, 1brating the strings, trill, portamento and order of the fingers.

I. Position dividing Dividing the strings into several positions is conducive to your left !l;llld to master the places of the notes on the strings. There are two methods

i dividing the positions of the erhu: the traditional position division and :tie new position division.

The traditional position can be divided into the upper position, the middle position, the lower position and the lowest position. They are shown '."O

the graphs below:

25

The traditional position division for D tune The inner string The outer string d

~1-:1:1 t:> Open string i.

I

a 1

The nut

do

I

fa

-- .__ ---

-

~ .__

The upper

sol

"'- .....

The middle

re DU

la si

do re

. m1 fa $

,. p

IP

sol la si do

.

-

0- .

- .__ - .__

-

- ,_ - ,_ - ,_ - ,_

-- .=:--

r-

.; ,_

nu fa

,_

sol

--

la

-"' The lower

,:=

• == ::= !! The next lower '

-

=---

:£.

:'!!. .. - ==- .:::::~• ~

The lowest

--

26

St

..

..- -

.

la do

:£.

-

-

,_

Open string ~ ~I> i. sol

re

• IO

. SI

1•

do

IP

re

11• 11 P 111 •

nu fa sol

.::.• • •••

la SI

do

t I I

...

I I

t •

t

.

. '•

I Tl I

I

'

I

r

J

0

The traditional position division for G tune The inner string The outer string

~

~Open string d • sol

a 1 Open string ~ re

I

la

.

SI

do re

The nut

---

The upper

"'

The middle ·


.." '$ "'

~

'"

.

I 1 1 ..

mi fa

:::.. I I I I i.

I f I I ...

-

"'1

sol

I I I I I J.

I t I I ,

27

The traditional position division for F tune The inner string The outer string !~ > Open string

d

l

a1 I

la

•

si do re

The nut

-

-

-

mt

;.

fa

"'

~

The upper

..

. ~

sol The middle

la

.'

SI•

b

The lower

mt

..

fa

It sol

~

The next lower

.

•

-

--

-"' .

28

;.

SI

la •

do re

.

m1 fa

. "' -

re

•

sol

- "' --

~

fa

-

""

do

Open string ~ . mt

sol

• b '

'

-

la

-

si

""

do

.

:b

""

"" b

re . m1

..." .•

fa

"' b " '

sol

II...I. t

I I

• • •

I I I I •

The traditional position division for C tune The inner string The outer strin& ~Open string : re

m1•

I

fa sol la

d

1

a

The nut

- --·•

-

The upper

"'

The middle < ~

re

'

:

-

i- "'

The lower

•

mi

'

fa

~

sol

i

£.

.!.

• b

I• lb

la

The next lower

•

do

11• mi 11b fa

The lowest

-

re ID1

fg

sol

£.

SJ

.

"" re

.

m1

.

•

do

la

!!.

• b ' '

..

'' . '

..

••

fa

.• •• b

sol

."

-

la

~

SI

.!.

>

si

-

"' •• -

si re

-

---- "'

•

I

- "'

....

do

' '

Open string la

I

si

:

1

I .. .

I II

'" do

b

I

I I I

I

•

'

•

' • ' I

I I I I

• b

29

The traditional position division for A tune The inner string The outer string ~

d

~Open string

l

a

"' fa

The nut sol la si do re

-

--

-

Theupper •

;.

.. -

19

The middle •

fa sol

0

• ):>

I~

la si do

-

-

nu

.

•

The lower

11 J:>

nu

-

fa

19

sol la

;.

SI

19

.

-

-

• .__

~

re

-

19

do re

m1. fa

re

sol la

nu

SI

.

IP fa 11 t

Open string' do

I

do

• ):>

:•' ):> ••• ...." ' ):> I I

~

I "

.. '):> I "

sol

re

• ••• I

la

.

m1 fa

I I f

. ...

..... I I I I

I I I I I

'

30

The traditional position division for ~B tune The inner string The outer string

1!t !:"

dl Open siring

fa

sol

-

la

.

si

..

~

re

'

1

-

I The nut

mi

--

a Open string~

-

The Uppel"

•

.---

.. .L

The middle

•

•

mi

-• ... - ....

fa

sol

~

The lower

la

•

,. b

l

si do

mi

'

I I

•

The next lower

re

lb fg II•

II b sol

...-

.

.

si do re l1lJ

fa

sol la si

do re mi fa

.:.

sol

...

la

..-

•

>

si do

re

• b

..

'b ''. ',.

'. '

.•• '" . ...' ...b I

t t

t

I

I '

J

• b

I '

In order to express the new content of the modem age, large quantities llffast advancing scales appear in some new works. You are not able to play 6e new works only by the traditional position. So the new position division 31

comes into being. In the new position division, moving the index from the place of a note to the next is set as a position, for example:

,._ tC[j I

is the first position,

4it CC fj I

is the second position.

rest can be deduced by analogy. It can be divided into fourteen posi · ( see the following graph ).

The new position division for D tune The inner string The outer string dt a1 ~ -iliL > Open string -~----,----~•

·

do

m+1--~---

ICl-HH---":,;"-- - -

'~H--..!.I!..--..

The nut

-

~-1-

==-

=

- ----- ---(2)- - ------- - -------- -(3)---------

>

'

la si

do

"" -----'-"'----t++tj re mt tH-_::=---- - .... ---------(S)-------- IC~ - ~ fa

ICl+f---':=:.--

-

"' . - .... --- ------(.4)--------

~

sol

=-- ---------(!)--------e

Open string

'(

(6) --------

-;= - ~

111>1-- ------- - '- ---- -----(7) - -------

- . - '-

tt+- - ' " - --

- -

1:1--..:.:..--- - '- ---------(8)--- ---- - . - '-

- - - - - - - -- ------- (9)· -- -- - ,- -- '---------(10) ------- ,, _ '-

--=--- -

'

- -- - - - - -- ---- - -(1 1) ------- Ll.::O.-+/

-"-'--- - -

sol la

---~--+++t+b

.

51 - - - -"'--Hl+++ lt

---~d~o'---H+H+: b re

- c.. --------(12) -- ----- K (13)--- ---- ,,~ ~~

mi fa

\. (14) - -----· K'~-11-

sol

--:--....

la \.....__..J_

'""--'--

32

-..

si

... •• ..

.'•

.. -..... -.. : i

•

-lli"io• of the new position division for D tune:

_... position division is divided into fourteen positions. 6r new position division, each time the index finger moves to one -.:al scale ( two degrees ), it is called a position. arc in the graph represents a position and every arc has the ...i•m of a fourth. 'Dir finger sequence of each position is the index finger, the middle ' 1 r, the ring finger and the little finger. !'1iL graph is the new position division for D tune, other tunes are -.logi.zed in tum. • nro ways of position division are compared with each other. In the _. position division, as it is the relation of a fourth or a fifth one position and the next position, the shifting is relatively more a playing. In the new position division, it is the relation of a second - ooc position and the next. So, the shifting is nimbler in playing. pnctice has proven that it is the most convenient to combine the 116ods together to play.

•R ~

Older to play the tunes that have a wide range or some expressive such as portamento with high degrees ), you 'need shifting. Shifting

_.,.. the place of the part between the thumb and index finger of the

-on the neck of the erhu. For instance:

"•t~'~l§lf~ElF'~J~F~j~ :;...--: ~ - ~- - - ~ '" ~tJ~+~I~~~!~tJJ'"~J§~L

•

:

In shifting, you should pay

the following demands. You should put the body of the erhu steady and basically set the neck Ill die erhu upright. Die part between the thumb and index finger of the left hand should

- • ID

33

be relaxed naturally. ( 2) In shifting, the movement of the upper arm is active, which is similar to moving the bow. You should make the upper arm hold the forearm and power the forearm as well, then the forearm should bring the part between the thumb and the index finger to move up and down. In the course of shifting, under the driving of the foreann, the wrist should be harmonious and natural instead of tense and stiff. In the practice of shifting, you can practice shifting by the same finger first, e. g.

f ~ CJ EJ I, 4 @Q I •d

then practice shifting by different fingers, e.g.

tf Q I-

or ~ M 1

After that, in shifting you can

practice sliding the fingers, then practise jumping the fingers. In a word, you should practise the easy first and the difficult ~fterwards.

3. Vibrating the strings It is called vibrating the strings by a general name for producing even changes of sound wave through the regular vibrating of the finger which is pressing the strings. It can make the playing of the erhu be just like singing and is conducive to stress the stylistic characteristic of musical compositions. It is an important means of strengthening the artistic appeal. There are two principles about vibrating the strings to change the sound wave. First is making the strings tight and loose alternately, namely, to change the tension of the strings. Second is making the strings shorter and longer alternately, that means to change the length of the strings. This is similar to the method of vibrating the strings when playing a violin. But, in fact, it is not existent in playing the erhu to purely change the length of the strings to vibrate the strings. Because the erhu has no fingerboard and the strings are suspended in midair; when pressing the strings, as long as the

34

fingers give the strings a little pressure, it must make the strings have a little change of tension. So, in reality, there are two methods of vibrating the strings in playing the erhu. The first one is that the tension of the strings is changed only. The second one is that the change of the length of the strings is combined with the change of the tension of the strings. They can be divided into four kinds of skill: the rolling vibrato, the sliding vibrato, the oppressing vibrato and the weighting vibrato. Among them, the rolling vibrato and the sliding vibrato are to change the length of the strings mainly; the oppressing vibrato and the weighting vibrato are to change the tension of the strings mainly. Describing them separately as follows.

The rolling vibrato Taking the original note as a center, to produce a kind of symmetrical change of sound wave by the pressing finger rolling up and down on the strings or kneading the strings, shown as the graph: ~~

. This kind of sound wave is soft and stable. It is

usually used in melodies which are much like singing. You should pay attention to the followibg in the practice of rolling vibrato on the strings: ( l ) From the surface of the kneading movement, it seems to be that the wrist brings the fingers to roll evenly and regularly on the strings. But, instead of the wrist, it is the upper arm that plays a leading role; namely, you should depend on active shaking up and down of the upper arm to bring the wrist and the fingers to do the corresponding movement of bending and stretching. Otherwise, if you do not shake the upper arm and depend on the wrist to sway up and down actively, it is difficult for you to knead the strings evenly and softly in this way. Moreover, the rate of kneading the strings can not be increased.

35

Therefwi;.)'PJJ.r))p,u),,t),tU~,?,?Pa>~/~~g-. «=>-. ,.c----, . This kind of sound waves sounds denser and quicker than the sound waves produced by kneading the strings. It is usually used in playing some folk musical compositions, such as " The Water of Rivers " : -

,~ I

-r j bcl -r r F F eBa uQr F Ir·

Ir

I

I

(The notes with- should be played with the oppressing vibrato. ) In playing the oppressing vibrato, you should avoid the stiffness of the wrist; relax the wrist appropriately, otherwise, you will produce a kind of sound which is like shivering with cold.

The weighting vibrato On the basis of the oppressing vibrato, using the force of the wrist to strengthen the pressure of the finger to the strings to make the stronger sound wave, is called the weighting vibrato. However, the sound wave produced by weighting the strings is usually stronger and slower than the sound wave produced by oppressing the strings. It is often used to emphasize some emotional colouring or the stylistic characteristic of a nationality. For example, when playing " The Water of Rivers ", you should use the weighting vibrato to play the notes with the symbol of" - ". Filled with grief and indignation. as denouncement. 37

DBa- 1 The above has introduced the basic methods for playing the four kinds of vibrating the strings. But, in playing, the finger rolling or kneading on the strings is usually taken as the dominant factor; you should combine the kneading with the oppressing, the weighting and the sliding to play. This combined method of playing has some merits. It possesses the characteristic of softness, stableness and singing ( the characteristic of the rolling vibrato ). It has the stronger emotional colouring as well comparing with the single use of the kneading ( the characteristic of the weighting vibrato ). Moreover, it is full of enthusiasm ( the ch.aracteristic of the oppressing vibrato ). The reason for this is that it has both the change of the length of the strings and the change of the tension of the strings. Therefore. the change of its sound wave seems to be richer and more moving. And also, in order to express the musical content better, vibrating the strings should have changes between lightness and weightiness. quickness and slowness, denseness and thinness, etc. For instance, if you want to express the wrathful feeling which demands weightiness and quickness, you should usually adopt the oppressing mainly, and the kneading as a supplementary means. Meanwhile, you should strengthen the force of moving the bow, and quicken the speed of it correspondingly. When expressing a lively and zealous atmosphere, you should usually take the kneading as the main means combined with the oppressing, and the rate of vibrating the strings should be quicker, but the force of the fingers to the strings should be properly lighte.ned ; at the same time, moving the bow should be commonly stronger and faster. When playing a melody which is smooth, graceful and like singing, commonly, you should knead the strings a little quicker with the medium 38

force, meanwhile, you should also use the medium force and speed lo mo~e the bow correspondingly. In playing the implicit tune with deep feeling, the kneading should be

relatively stronger and slower and combined with the oppressing and the weighting appropriately; but care must be taken to move the bow somewhat lightly and slowly. When expressing a quiet and extensive atmosphere, you should use the method of kneading the strings entirely. The general requirements of the coordination between the left hand and the right hand are lightness, stableness and gentleness. When playing the note which is from the weak beat ( p ) to the middle strong beat ( mf), at first, you should not vibrate the strings, then knead the strings gradually. In short, in the expression of music, the application of vibrating the strings changes in thousands of ways. But, first of all, you should master these essential methods.

4. Trill You use one finger to press the place of a note on the strings, and the next finger to beat the strings rapidly and continuously under t.he original place of the note, it is called trill; "1r" is its symbol. For example:

~·i

f

-

~

jisbasicallyplayedinto , ••

r&rrerrcrff?f 1.

Trill has the function of increasing the colour of a melody. If you make the next finger beat the strings quickly for once or twice· under the original place of the note, it can be called the beating tone; " T e.g.

'·~

f

jis played into ' ..

is the symbol,

"

u·Ior~~ If I; it has the function I

of strengthening and ornamenting the original tone. Whether playing trill or the beating tone, the movement of the finger

39

must be active and nimble to produce a tone that is clear and full of rhythmical character.

5. Slide (portamento) Slide is one of the characteristics of Chinese folk stringed instruments. It has a close relation to the tone of the Chinese national language. There

are many kinds of slide in playing the erhu. To put it briefly, from the trend of slide, it can be divided into the upward slide, the downward slide, the upward turning slide and the downward turning slide. From interval, it can be divided into the small slide and the big_slide. The small slide is mostly within a third and the big slide is commonly in a sixth or a seventh. See the form below:

4· 1. 1-f' j) I. ~ 4 j I= f t) I· 4· J~ I• 4· (~~ I. I

The upward slide J e.g.

The small slide

The downward slide

The common

slide

The upward slide

The downward slide \ e.g.

The turning slide

'\

1

r

e.g.

The big slide

The upward turning

1

e.g.

,. j

\~

1

I-

slide~ e.g. ~a

f

1

f'J

I-

4 ill 1.

The downward turning slide ~ e.g. ~ ~=

I

r ,.

,. j Et

It is not too difficult to play a slide, but the crucial importance is how

to use it appropriately according to the musical content and the stylistic characteristic. Therefore, when you begin to learn to play a slide, you must

40

understand its function in the artistic expression. Generally speaking, the small slide and the turning slide are used for the sake of confirming and ornamenting the original tone; e.g. emphasize , •

'. r

r

4• 'f

1. and on the rhythm,

I.when playing it, you should you should make the original

Istand steady. However, the big slide usually has the character of

exaggeration, e.g.

L-'\ .. ,. -)',.

~· ;

\fr E ct t

slide from~ to

t

"f \.P 1

t!: ; ~"""' ~'"

.!!.

I E-.... 'F

I kf d

r

I· It is the big

I. in playing, you should stress on the

course of slide.

The finger padding slide Its symbol is " ~ " or " r ''. It is also a common skill used in playing the erhu. Because it is more difficult than the ordinary slide, it must be introduced independently. In playing the ordinary slide, you should usually use the same finger to slide from one place of a note to another. But the finger padding slide is the effect of a slide which is played by the joint movement of two or three fingers. For instance,

4!• M I

should be

played by the joint movement of the middle finger, the ring finger and the little finger. For another instance,

4'i p'i

Ishould be played on the

outer string by the combined movement of the index finger, the middle finger &nd the ring finger. If the finger padding sl.ide is played by two fingers, commonly, its course of slide is a minor second, e. g.@ *#

~!!F I·

If the finger padding slide is played by three fingers, it is mostly a minor third, e. g.

f 'i lJ. I. ;

Judged by the sound effect, the finger padding slide sounds purer and 41

soft.er than the ordinary slide. For example:" Homesickness ",

J You should take notice of the following demands when playing the finger padding slide:

f ~ :tJ!

( I ) For instance,

:f

11

j

I, when

you use the little finger to press

j , you must make the middle finger and the ring finger

press the strings at the same time (That means rescning the fingers on the strings instead of raising them up ) ( see picgurc 15 ). ( 2) When playing

4

'11

~! I, you should make the movement of the

middle finger play a leading role, namely, the middle finger should be active to lift its root upwards ( That means straightening the middle fi.nger); meanwhile, you should make the ring finger and the little finger lean against the middle and slide upwards with the

.

straightening of the middle finger. In the cowse of sliding, you should make the little finger depart from the strings first. lhcn the ring finger leave from the strings; at last, only the middle finger remain on the strings ( see picture 16 ).

( Picture IS )

When playing 42

4 Ji! 1

i

( Piam-t: 16 )

I, equally, you should make the middle

finger play a leading role, reserve the ring finger and the little finger on the strings while the middle finger is lowered ( to bend the middle finger ), to complete the effect of sliding from '., } I to

,~

J

1.

( 3 ) You must be careful to relax the wrist naturally, and the movement of the wrist ip.ust be harmonious with the bending and the stretching of the fmgers.

6. About the reserved fingers For instance:, ..

:a9 I, when you use the little finger to press -=·

~ , the index finger .and the middle finger should be still reserved on the strings; do not raise them up. In that case, the index finger and the middle finger are called the reserved fingers. The proper application of the reserved fingers is significant for training the ability of the independent movement of the fingers and the coordination with the quick bowing.

7. About the training of finger order Finger order is the sequence and the pattern of the movement of the fingers. Based on the prerequisite of using the reserved fingers, you should also strengthen the training of the finger order, in order to make the movement of the fingers quick and nimble, especially to lay a good foundation for playing the quick bowing. There are three essential forms of finger order in playing. to the order of the neighbour fingers, e.g.

( 2) Move according to the order of the intervallic fingers, e.g.

43

,r r

;i:I - .!l = •

@•

c

I.

;i:I • = " -

;i:M • .: - a

@1 Cr !'J I. @l Fccf I.

::Q:• .: • - "

fl i

Ff r FIetc.

( 3) Move according to the form of the same finger pressing the different tones, e.g. t~

@~

- --

tf CF Ietc.

In playing, every order of the movement of the fingers is conducted in

·turn undoubtedly. However, it is proved by the essential training of the movement of the fingers that if you grip the essential regularities to exercise the fingers, they will be very useful for you to increase the ability of the independent movement and the nimbleness of the fingers. And also, interpreting physiologically, the little finger and the ring finger are lack of

.

both flexibility and strength; so, you should do the special e:itercise for them in the training of finger order.

44

Chapter Four Etudes and Musical Compositions ( 1) The etude for the long bow stroke

4•1 5 j

,.• ,.. J j

IJ

Ij

v

"

1J

IJ

IJ

IJ

IJ

IJ

IJ

IJ

IJ

IJ

IJ

IJ

IJ

I J J 1J

1J

IJ

IJ

v

II

Direction: To practise the long bow stroke on the open strings is an important means to make a good base for moving the bow.When practising, you must be strictly careful to use the whole bow, and the produced sound should be loud and clear; the force of the bow should be balanced; the shifting of the bow and the strings should be harmonious and natural.

.

(2) The etude for the longbow stroke

f 'i I j·q I J'1 .. - -

I J'Q I J] I J-J I J -J I J3J I J=) = J I ~ I

1ri 1rn 1r r 1cr 1cr in

u

ir 1

45

Direction: In practising, you must take care to distribute the bow evenly and pay attention to the semitone relation between the middle finger

4 r1

i~

and the ring finger < such as

- .

@l ~u Ior ~

I> should

be

accurate. (3) The etude for the long bow stroke (Using 1he whole bow)

4'11 i

J ~

J I~

!

I ~ J IF

f

I E f IF f I J J = •

":S - -

9

J lj, 3fl1 JjJ€Jl@~l@@l~@I (Using 1he righ1 halfbow)

4" J9 4] I E1 D I 0 EJ' I tJ G 1UfJ I -Q UI fJ fJ I ,~

nfJ fJ n fJ i7J tJ n I

I

I

@a 1SDil1jJJJjJJJ IJ ..

, .. jJJJJJjj ijl ...__... ~

®it= I

Ii? J II=

...__.

.._.. ....._

(Using 1he •

( 13 ) The etude for the original position of A tune

=

-

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( 14) The etude for the original position of A tune

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( 16) Theetudefor ~Btune

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( 18) The etude for the connected bowing

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Direction: In practising this tune, every beat should be played by the whole bow, requesting that the sound be full, the distribution of the bow be even, and the fingers of the left hand be very elastic. ( 20) The etude for the connected bowing and touching the strings

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( 22 ) The etude for the qulck bowing

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