二胡中英文简介.doc

二 胡（音域：D/A + 4 octave above A)二胡是中国的一种民族弓弦乐器，过去主要流行于长江中下游一带，所以又称为南胡。集中于中高音域的表现，音色接近人声，情感表现力极高，广为大众接受。1920年代，二胡始作为独奏乐器出现在舞台上。在这之前，二胡多用于民间丝竹音乐演奏或民歌、戏曲的伴奏。历史二胡是中华民族乐器家族中主要的弓弦乐器（擦弦乐器）之一。唐朝便出现胡琴一词，当时将西方、北方各民族称为胡人，胡琴为西方、北方民族传入乐器的通称。至元朝之后，明清时期，胡琴成为擦弦乐器的通称。擦弦乐器至少在唐朝便出现了，最早可能是从弹拨乐器筝发展出以竹片为弓拉奏的轧筝。宋朝出现奚琴、马尾胡琴、嵇琴等拉弦乐器，其中马尾胡琴已经以马尾制成琴弓取代竹片进行拉奏。唐宋至明清时期，随着各地方戏曲及民间表演者的需求，逐渐繁衍出许多不同形制的弓弦乐器，如京胡、梆子戏的板胡、粤剧的粤胡、坠胡、四胡等，据著名胡琴演奏家张韶的统计，至今已发展出50多种弓弦乐器。其中二胡在民间广为流传，大量运用於戏曲伴奏，音色温润动听，受到人们普遍的喜爱。五四运动时期，刘天华先生融合西方音乐理论、演奏技巧，对二胡的演奏技巧进行了大胆革新，扩展了二胡的表现力，并且创作了多首二胡独奏曲，二胡开始以独奏乐器出现在表演舞台上。1980年代中后期，出版的二胡独奏曲已有数百首之谱，并开始发展叙事曲、协奏曲等大型二胡曲。结构主要部分有琴杆（琴柱）、琴轴（轸子）、琴筒、琴托、千金（千斤）、皮膜（蟒皮）、琴码、琴弓、音垫。弦有两根，内弦定音为d、外弦为a。琴弓类似小提琴的琴弓，但不完全相同，小提琴琴弓是被固定在弓杆上的，而二胡弓以马尾毛与竹制弓杆组成，富有弹性，可以以不同的力道来控制声音的大小。阿炳二胡内弦定音为g、外弦为d。音垫：又称“噪音抑制垫”，“噪音控制垫”或“制音垫”。目前二胡还是一种不很完善的乐器，表现在音质的不稳定和过大的噪音。为了能使二胡达到演奏要求，必须稳定音质，降低噪音，所以在琴码的下侧加上一块不雅观的振动阻尼音垫。分类六角二胡 前八后圆依据制琴产地可分为三类：1. 苏州琴（二胡品牌：杰伦二胡） 2.上海琴 3.北京琴 依据琴筒型状可分为四类：1. 圆筒二胡 2.八角二胡 3.六角二胡 4.扁筒二胡 5.前八后圆 (扁筒二胡由二胡演奏家陈耀星所设计 )依据材质可分为类：1. 印度小叶紫檀二胡 2.非洲紫檀二胡 3.明清旧料二胡 4.老红木二胡 5.血檀二胡 6.黑檀二胡 演奏技法拉奏时将弓毛置于双弦中演奏时多采坐姿，左手持琴按弦，右手拉弓。将弓毛置于双弦之中拉奏，有别于世界其他地区的擦弦乐器。弓法弓弦乐器运用琴弓以表达乐曲的表情。以用弓的长度区分为全弓、长弓、短弓等，以使用部位区分为弓尖、弓根、前弓、中弓、后弓等，以运弓速度区分为快弓、慢弓、颤弓等，以弓序分为推弓、拉弓、分弓、连弓、断弓、顿弓等。基本上分为圆滑演奏效果的连奏弓跟顿弓、跳弓、飞弓、抛弓、击弓等断奏弓。指法以按弦手指的动作创造不同音色，如揉弦、颤音、打音、泛音、滑音、拨弦等。二胡演奏家参见二胡演奏家列表二胡发展里程碑1. 刘天华根据中国民间音乐特性及借镜小提琴，将二胡定弦为D、A。 2. 1963年上海之春二胡比赛，将多位二胡演奏家推向更高的舞台，大量优秀的二胡作品乐曲在全国流行。 3. 大型民乐团的诞生，大大增加对二胡专业的需求量。 4. 刘文金创作了现代二胡作品豫北叙事曲(1959年)、三门峡畅想曲(1960年)、二胡协奏曲长城随想(1982年)。 盛世弦和、CCTV民乐大赛、2008台北市民族器乐大赛和其他二胡专业比赛，对二胡专业化、学院派的人来说， 提供了很多交流机会。 二胡作品1930年代 刘天华 o 刘天华二胡十大名曲，包括： 病中吟(1915) 月夜 (1918) 空山鸟语(1918) 苦闷之讴(1926) 悲歌(1927) 良宵(1928.1.22) 闲居吟(1928.6) 光明行(1931) 独弦操(1932.1) 烛影摇红(1932) 陆修堂 怀乡行 刘北茂 小花鼓 陈振铎 田园春色 阿炳 听松(1939) 二泉映月 寒春风曲 1950年代 孙文明 弹乐(1951年) 流波曲(1952年) 曾寻 拉骆驼 曾加庆 新农村山村变了样赶集 朴东生 在草原上 刘文金： 二胡协奏曲豫北叙事曲(1959) 钟义良 春诗 1960年代 刘文金 二胡协奏曲三门峡畅想曲 (1960) 黄怀海 江河水 赛马 刘明源 河南小曲 美丽的西藏 赵振霄 鲁日融 秦腔主题随想曲 张长城曲 原野编曲 红军哥哥回来了 张颉诚曲王国潼编曲 翻身歌 1970年代 鲁日融 迷胡调 欢乐的秦川 采花 摇篮曲 曲江吟 周维 葡萄熟了 闵惠芬 阳关三叠 （改编） 洪湖人民的心愿编曲 （张敬安、欧阳谦叔音乐素材） 项祖英 梆子风 顾武祥、孟津津 喜送公粮 刘长福 草原新牧民 陈耀星 战马奔腾 1980年代 刘文金 长城随想 吴厚元 二胡协奏曲红梅随想曲 关铭 蓝花花叙事曲 陈钢曲 刘天华(当代同名）、步伟纲移植 阳光照耀在塔什库尔干 朱昌耀 江南春色 苏南小曲 欢庆锣鼓 五月春潮 陈耀星 陕北抒怀 山村小景 献给母亲的歌 o 喜盈门 追猎 桃花过渡 影 陈军 椰岛风情 舞秋 弦语 心中的阿尔金 狂野飞骏图 绿色家园 张晓峰、朱晓谷 二胡叙事曲新婚别 (1980) 何占豪、陈刚 梁山伯与祝英台 谭盾 二胡、扬琴二重奏双阙 (1984) 关迺忠 二胡协奏曲第一二胡协奏曲 (1986) 陈能济 二胡协奏曲明月几时有 (1988) 何占豪 二胡协奏曲乱世情 二胡协奏曲别亦难 杨春林 双二胡协奏曲长恨歌 何占豪 二胡协奏曲莫愁女幻想曲(1987) 阎惠昌 二胡与大型民族管弦乐队幻(1987) 1990年代 王建民 第一二胡狂想曲（1989） 天山风情 (1992) 二胡与管弦乐队姑苏行(1995) 二胡协奏曲杨贵妃的故事(1998) 草原风韵（低音二胡与交响乐队，王建民、邓建栋曲） 独个成长（1991）何占豪 蝶恋花-第四二胡协奏曲 高韶青 随想曲 随想曲第二号蒙风 卡门主题随想曲 谭盾 火祭 (1995) 郑冰 第三二胡协奏曲 - 江河水的故事 黄安伦 二胡与交响乐敦煌古谱四首 (1997) 二胡与交响乐中国狂想曲第五号 瞿春泉 霓裳曲 (浙江民间乐曲) 吴华 二胡及革胡双协奏曲天仙配幻想曲 (1995) 黄晓飞 二胡协奏曲爱河之春 (1997) 二胡协奏曲长恨歌 o 二胡协奏曲母亲 二胡与钢琴怀念 二胡协奏曲六月雪 金复载 春江水暖 庐亮辉 疆风舞韵 贵妃情 顾冠仁 二胡协奏曲夜月 许可 二胡与钢琴风韵（91年） 二胡与钢琴思念(93年) 摇篮曲（96年） 王燕樵 二胡与管弦乐队百鸟朝凤（90年） 陈怡 二胡与弦乐队胡琴组曲（98年） 外山雄三 二胡与管弦乐队桥（98年）、 松尾祐孝 胡琴协奏曲天风爱舞和庵（98年） 邓建栋 姑苏春晓 曹元德 相望 成公亮 水乡行 梁云江 二胡协奏曲江河云梦 改编作品 查尔达斯（维多里奥蒙第曲） 流浪者之歌（巴布罗萨拉萨第曲） 中花六板（江南丝竹） 罗西尼主题变奏曲（帕格尼尼曲/90年编） 浪漫曲（鲁宾斯坦/93年编） 乘着歌声的翅膀（门德尔松/93年编） 夜曲（柴可夫斯基/95年编）等。 2000年代 任真慧 行次西郊 （2008） 刘文金 二胡套曲-如来梦 (2002) 二胡、琵琶与乐队火彩衣姑娘 o 单乐章二胡协奏曲雪山魂塑 （2006） 李滨扬 单乐章 二胡协奏曲图腾(2005) - 表达中国遥远而神秘的西南山区与作曲家之间的一种心神之间的沟通 史志有 二胡组曲 、交响音画清明上河图 (2006) 刘学轩 o 二胡协奏曲（第一二胡协奏曲）（2003） 第二二胡协奏曲（2000） o 山林之秋给二胡与丝竹室内乐团 港都、春花、夜雨给二胡与民族室内乐 霸王别姬 二胡与大提琴双协奏曲 (2009) o 第三二胡协奏曲霸王别姬 二胡协奏曲 (2009) 关迺忠 o 第二二胡协奏曲追梦京华 第三二胡协奏曲 o 第四二胡协奏曲爱恨情仇 心香二胡协奏曲 (2009) 陆橒 西秦王爷 (2003) 莫凡 胡琴协奏曲京风 谭盾 胡琴协奏曲卧虎藏龙 (2003) 王建民 (二胡作曲家) o 第二二胡狂想曲（2001年8月） 第三二胡狂想曲（2003） o 第四二胡狂想曲（2009）+2009年9月20日首演 (台北中山堂中正厅), 第七届中国音乐金钟奖二胡指定乐曲 杨青 秋之韵 王之辉、景建树 黄水韵 王曙亮、梁奇 剪窗花 许可 大莫敦煌（04年）、黄沙古道（04年） 杨勇 二胡与大提琴二重奏河曲（01年） 朱毅 二胡与管弦乐队西域风情（04年） 王燕樵 二胡、大提琴、钢琴三重奏阿吐什的朝晨（01年） 郑冰 第三二胡协奏曲 严洁敏 二胡二重奏 阿拉木汗 杨勇 河曲 为二胡与大提琴 温得青 小白菜-为二胡与弦乐四重奏而作的变奏曲 Stefano Bellon （意大利） 急板 为二胡与三把胡琴 陈其刚 逝去的时光为二胡与管弦乐队 陈怡 胡琴组曲为胡琴与管线乐队 钟耀光 二胡协奏曲快雪时晴(2008) 王乙聿 弦二协奏曲 朱昌耀 台湾风情组曲二胡与乐队 （2004） o 台湾民谣四首联奏（委托创作，世界首演）（编曲：2004） o 阿里山情话二胡协奏 （2004） 陈军 胡琴组曲（胡琴与乐队）绿色家园(2008) 卢亮辉 弦乐室内乐（高胡、二胡、中胡、大提琴）弦情(2005) 周杰伦 曲 陈燮阳 改编 二胡、大提琴与乐队菊花台 相关文献教学法1. 张韶、汤良德： 二胡演奏法 2. 赵寒阳： 二胡技法与名曲演奏提示 3. 刘长福： 二胡系统进阶练习曲集(上下) 论文1. 沈星扬1991，从阿炳作品看中国音乐的艺术道路。人民音乐。 2. 董榕森1992，刘天华南胡音乐研究。第四届中国民族音乐学会论文集，pp.196-223。 3. 王铭裕1994，二胡独奏音乐之风格探讨。私立中国文化大学艺术研究所硕士论文。 4. 蔡秉衡1993，二胡音乐审美观之探讨。私立中国文化大学艺术研究所硕士论文。 5. 欧光勋1993，刘文金四首二胡作品研究。私立中国文化大学艺术研究所硕士论文。 6. 欧光勋1993，关于刘文金长城随想中传统音乐素材的讨论。北市国乐，第91期，页16-16。 7. 闵惠芬1992，博大境界中的民族神韵二胡协奏曲长城随想演奏札记。中国音乐学，1992第一期，页17-25。 8. 王国潼1985，阿炳二胡演奏风格初探(1985年中央音乐学院学报第一期)。 9. 王国潼1986，二胡发音与音色研究(1986年中央音乐学院学报第一期)。 10. 王国潼1987，我演奏二泉映月(1987年10月4日光明日报谈艺录。 11. 王国潼1993，听松与“听宋”(1993年人民音乐6 月)。 12. 王国潼1983，几种二胡规格的研制(1983年乐器第二期)，与满瑞兴合作)等。 13. 金信庸1987，阳关三叠古曲之研析。国立台湾范大学音乐研究所硕士论文。 14. 翁志文、林政源、张智星、沈洽 2004.1，第三十七届国际传统音乐学会世界年会（ICTM），2004年1月6日，中国大陆。(中文:二胡音腔的电脑分析与评比) 15. 翁志文2004.5，音腔中的测音问题研究-以二胡为例 ，2004年中华民国民族音乐学会青年学者学术研讨会，2004年05月29日。 16. 翁志文2002.10，国立台湾交响乐团乐览，2002/10，第40页。 17. 翁志文2004.10，国立台南艺术大学艺术观点，2004年10月。 18. 翁志文2004，关于音准点的测定与相关问题研究-以阿炳二泉映月为例，国立台南艺术大学、中国艺术院音乐研究所音乐文化待发。 19. 欧光勋2001，探讨二胡借舰二弦伴奏客家采茶戏中平板的各种可能两岸客家表演艺术研讨会论文集 20. 赵寒阳1999，二胡技法与名曲演奏提示，华乐出版社 21. 萧前勇1999，二胡名曲赏析，北京: 蓝天出版社 22. 蒋风之、蒋青1989，蒋风之二胡演奏艺术，人民音乐出版社 23. 宋国生1984，二胡演奏艺术，百花文艺出版社1984 年版, 第16-17 页 24. 姜元禄1980，试论刘天华二胡曲的旋律特征，南京艺术学院学报 25. 崔凤远1991，刘天华在二胡上的卓越贡献，民族民间音乐 26. 赵寒阳2000，什么是二胡的乐感，乐器 27. 胡志平1988，二胡曲汉宫秋月的美学思想及其表现技巧，黄钟 28. 金伟2002，从唐诗新婚别到二胡曲新婚别，交响: 西安音乐学院学报 29. 新民1988，左右手的基本技法-兼谈二胡发音的一些问题，黄钟1988 年第1 期: p. 49-p. 57 30. 冯明1999，二胡文化论，交响 31. 赵寒阳2001，二胡经典名曲50 首详解，北京: 海潮出版社 32. 陈兴华2004，二胡上有三种音准形式，乐器 33. 赵建培2005，二胡的音准问题，乐府新声: 沈阳音乐学院学报 34. 张寒秋2002，二胡千斤改革的回顾与展望，中国音乐 35. 杨晓莺2004，二胡的传承与发展，福建艺术 36. 丰元凯2004，二胡的挑选与保养，中国音乐教育 37. 张飞龙2001，二胡演奏中的音准控制，小演奏家 38. 于雪琴2006，二胡运弓技法浅谈，艺术百家 注释参考资料 二胡广播教学讲座(张韶编著，上海音乐出版社，1989年10月) Lee Yuan-Yuan and Shen, Sinyan 沈星扬. Chinese Musical Instruments (Chinese Music Monograph Series). 1999. Chinese Music Society of North America Press. ISBN 1-880464-03-9 Shen, Sinyan 沈星扬. Chinese Music in the 20th Century (Chinese Music Monograph Series). 2001. Chinese Music Society of North America Press. ISBN 1-880464-04-7 ErhuThe erhu (Chinese: 二胡; pinyin: rh), also called nanhu (南胡, southern fiddle), and sometimes known in the West as the Chinese violin or Chinese two-string fiddle, is a two-stringed bowed musical instrument, used as a solo instrument as well as in small ensembles and large orchestras. It is the most popular instrument in the huqin family of Chinese bowed string instruments, together with the zhonghu, gaohu, banhu, jinghu, sihu, and numerous others. Used in both traditional and contemporary pieces, it is a versatile instrument.HistoryThe erhu can be traced back to instruments introduced into China more than a thousand years ago. It is believed to have evolved from the xiqin (奚琴), which was described as a foreign, two-stringed lute in Yue Shu (樂書, yush, lit. book of music), an encyclopedic work on music written by music theorist Chen Yang in the Northern Song Dynasty. The xiqin is believed to have originated from the Xi people of Central Asia, and have come to China in the 10th century.Erhu with liu jiao qin tong (6 sided body)The first Chinese character of the name of the instrument (二, r, two) is believed to come from the fact that it has two strings. An alternate explanation states that it comes from the fact that it is the second highest huqin in pitch to the gaohu in the modern Chinese orchestra. The second character (胡, h) indicates that it is a member of the huqin family. The name huqin literally means barbarian instrument, showing that the instrument likely originated from regions to the north or west of China inhabited by non-Han peoples.Historical erhu and bowed string bowsHistoric bowed zithers of China, including the xiqin, yazheng, and yaqin, and also the Korean ajaeng, were originally played by bowing with a rosined stick, which created friction against the strings. As soon as the horsehair bow was invented, it spread very widely. This is a high pitched instrument. The Central Asian horse peoples occupied a territory that included the Silk Road, along which goods and innovations were transported rapidly for thousands of miles across Eurasia.ConstructionThe erhu consists of a long vertical stick-like neck, at the top of which are two large tuning pegs, and at the bottom is a small resonator body (sound box) which is covered with python skin on the front (playing) end. Two strings are attached from the pegs to the base, and a small loop of string (qian jin) placed around the neck and strings acting as a nut pulls the strings towards the skin, holding a small wooden bridge in place.Picture showing bow hair in between the two strings.The erhu has some unusual features. First is that its characteristic sound is produced through the vibration of the python skin by bowing. Second, there is no fingerboard; the player stops the strings by pressing their fingertips onto the strings without the strings touching the neck. Third, the horse hair bow is never separated from the strings (which were formerly of twisted silk but which today are usually made of metal); it passes between them as opposed to over them (the latter being the case with western bowed stringed instruments). Lastly, although there are two strings, they are very close to each other and the players left hand in effect plays as if on one string.The inside string (nearest to player) is generally tuned to D4 and the outside string to A4, a fifth higher. The maximum range of the instrument is three and a half octaves, from D4 up to A7, before a stopping finger reaches the part of the string in contact with the bow hair. The usual playing range is about two and a half octaves.Various dense and heavy hardwoods are used in making the erhu. According to Chinese references the woods include zi tan (紫檀 red sandalwood and other woods of the genus Pterocarpus such as padauk), lao hong mu (老红木 aged red wood), wu mu (乌木 black wood), and hong mu (红木 red wood). Particularly fine erhus are often made from pieces of old furniture. A typical erhu measures 81cm from top to bottom, the length of the bow also being 81cm.Erhu with ba jiao qin tong (8 sided body)The parts of the erhu: Qn tong (琴筒), sound box or resonator body; it is hexagonal (liu jiao, southern), octagonal (ba jiao, northern), or, less commonly, round. Qn p/She p (琴皮/蛇皮), skin, made from python. The python skin gives the erhu its characteristic sound. Qn gan (琴杆), neck. Qn tou (琴头), top or tip of neck, usually a simple curve with a piece of bone or plastic on top, but is sometimes elaborately carved with a dragons head. Qn zhou (琴轴). tuning pegs, traditional wooden, or metal machine gear pegs. Qin jin (千斤), nut, made from string, or, less commonly, a metal hook. Ni xin (内弦), inside or inner string, usually tuned to D4, nearest to player. Wai xin (外弦), outside or outer string, usually tuned to A4. Qn ma (琴码), bridge, made from wood. Gong (弓), bow, has screw device to vary bow hair tension. Gong gan (弓杆), bow stick, made from bamboo. Gong mo (弓毛), bow hair, usually white horsehair. Qn din (琴垫), pad, a piece of sponge, felt, or cloth placed between the strings and skin below the bridge to improve its sound. Qn tu (琴托) - base, a piece of wood attached to the bottom of the qn tong to provide a smooth surface on which to rest on the leg. Most erhu are mass produced in factories. The three most esteemed centres of erhu making are Beijing, Shanghai, and Suzhou. In the collectivist period after the establishment of the Peoples Republic of China, these factories were formed by merging what had been previously private workshops. Although most erhu were machine-made in production lines, the highest quality instruments were hand made by specialist craftsmen.1In the 20th century, there have been attempts to standardize and improve the erhu, with the aim of producing a louder and better sounding instrument. One major change was the use of steel strings instead of silk. The move to steel strings was made gradually. By 1950, the thinner A string had been replaced by a violin E string with the thicker D string remaining silk. By 1958, professional players were using purpose made D and A steel erhu strings as standard.2Picture showing qianjin (a loop of string, which acts as a nut)Use of python skinIn 1988, China passed its Law on the Protection of Endangered Species after ratifying the UN Convention on the International Trade in Endangered Species (CITES), making it illegal to use and trade unlicensed pythons.3 To regulate the use of python skins, Chinas State Forestry Administration introduced a certification scheme between python skin sellers in Southeast Asia and musical instrument makers in China. From January 1, 2005, new regulations also require erhus to have a certificate from the State Forestry Administration, which certify that the erhu python skin is not made with wild pythons, but from farm-raised pythons. Individuals are allowed to take up to two erhus out of China when traveling; commercial buyers need additional export certificates.Outside China, manufacturers of erhu are able to issue their own CITES licenses with approval by governments of their respective countries. Such exports are legal as they have been made from legal skin sources.Some erhus are made of recycled products.Erhu musicA notable composer for the erhu was Liu Tianhua (刘天华/劉天華; Li Tinhu) (1895-1932), a Chinese musician who studied Western music as well. He composed 47 exercises and 10 solo pieces (1918-32) which were central to the development of the erhu as a solo instrument. His works for the instrument include Yue Ye (月夜; Yu y, Moon Night) and Zhu ying Yao hong (烛影摇红; Zh yng yo hng, Shadows of Candles Flickering Red).Other solo pieces include Er Quan Ying Yue (1950, Moon Reflected on Second Spring) by A Bing, Sai Ma (Horse Race) by Huang Haihuai, Henan Xiaoqu (Henan folk tune) by Liu Mingyuan, and Sanmenxia Changxiangqu (1961, Sanmen Gorge Capriccio) by Liu Wenjin. Most solo works are commonly performed with yangqin accompaniment, although pieces such as the ten solos by Liu Tianhua and Er Quan Ying Yue originally did not have accompaniment.In addition to the solo repertoire, the erhu is also one of the main instruments in regional music ensembles such as Jiangnan sizhu, Chinese opera ensembles, and the modern large Chinese orchestra.The erhu is also used in the music of the Cirque du Soleil show O. Even fusion progressive rock groups like The Hsu-nami have incorporated the erhu into their music and it is their lead instrument. It is also incorporated in the Taiwanese black metal band ChthoniC. The Erhu is also used in the song Field Below by Regina Spektor.An Erhu instrumental album Along the River During the Qingming Festival (清明上河图;Qingming Shanghe tu) was issued at Nov 22nd 2006,Performed by a famous youth erhu artist Song Fei (宋飞; Song Fei),to express a picture draw in the Song Dynasty by Zhang Zeduan (张择端; Zhang Zeduan),the play was performed by Erhu,Jinghu,Banhu,Gaohu etc. to show the Livelihood,Trade,Festival of the Song Dynasty,the album contains 18 parts.The album represented the greatest achievement of Chinese classical music and it made the Chinas modern national landmark music works.The erhu (played by George Gao) is also featured prominently in the soundtrack for the TV series Earth: Final Conflict.In 2009s Star Trek soundtrack by Michael Giacchino, an erhu solo is featured in the soundtrack That New Car Smell.Playing technique Tuning The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. Position The erhu is played sitting down, with the sound box placed on the top of the left thigh and the neck held vertically. Right hand The bow is held with an underhand grip. The bow hair is adjusted so it is slightly loose. Tension is provided by the fingers of the right hand. The bow hair is placed in between the two strings and both sides of the bow hair are used to produce sound, the player pushes the bow away from the body when bowing the A string (the outside string), and pulls it inwards when bowing the inside D string.Aside from the usual bowing technique used for most pieces, the erhu can also be plucked, usually using the second finger of the right hand. This produces a dry, muted tone (if either of the open strings is plucked, the sound is somewhat more resonant) which is sometimes desired in contemporary pieces. Left hand The left hand alters the tone of the strings by pressing on the string at the normal harmonic points. As the instrument has no frets, the tone is slightly muddled, but resonant. Techniques include hua yin (slides), rou xian (vibrato), huan ba (changing positions), etc.Notable performersSee also: List of erhu playersTwelve member concert group at the Hub