The Influence Of Erhu Players In The Tang Dynasty

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Speaking of playing erhu, it is standing upright by the left hand, so the player is holding it with left hand on the player’s left thigh. The fingers on left hands block the strings, during the right hand and arm play the bow. By presuming the wood of the bow outward or dragging the bow hair inward with fingers on right hands, the player makes sound from one of the two strings. Bowing techniques cover long bow (chang gong), short bow (duan gong), tremolo (chan gong), and others. In modern performance, the left hand acts to various positions. Left hand techniques, which generally categorize the special sound aspect of erhu, include vibrato (rou yin), appoggiatura (da yin), glissando (hua yin), and others. The erhu does not have own notational system. Before the mid-twentieth …show more content…

The Erhu instrument is under the "huqin" family together with gaohu, zhonghu, sihu, etc. The name huqin was first commented in the Song dynasty (960-1279). Earlier on, the remark to ji qin first appeared in the Tang dynasty (618-907). Ji Kang (223-263), a well-known literati musician, was aspected as its maker. Later, the remark to xi qin, named after a northern nomadic tribe Xi, first came in Song dynasty (960-1279). These two instruments were both first described as plucked string instruments, and later as having two strings and being played by pressuring the strings with a strip of bamboo, suggesting that the earliest Chinese bowed instruments were derived from plucked stringed instruments. These various instruments were perhaps assimilated over a long historical period. Ultimately in the Yuan dynasty (1279-1368), under the Mongolian's law, both the sketch of huqin in

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