二胡，即二弦胡琴，又名“南胡”、“嗡子”，是一种中国传统拉弦乐器。二胡是中华民族乐器家族中主要的弓弦乐器之一。二胡始于唐朝，至今已有一千多年的历史，最早发源于中国古代北部地区的一个少数民族奚族，当时称为“奚琴”。到了宋代故名“嵇琴”。到了近代才更名为二胡。半个多世纪以来，二胡演奏水平已进入旺盛时期。刘天华先生是现代派的始祖，他借鉴西方乐器的演奏手法和技巧，科学地将二胡定位为五个把位，并发明了二胡揉弦，从而充扩二胡的音域范围，丰富了其表现力，确立了新的艺术内涵。由此，二胡从民间伴奏中脱颖出来，成为独特的独奏乐器。二胡的基本构造是由琴筒、琴杆、琴皮、琴轴、琴弦、琴弓、千斤和琴码等组成的。
二胡在音色方面具有厚实、圆润、柔和、优美的特点。其演奏法包括右手弓法和左手指法。右手弓法有连弓、分弓、顿弓、颤弓等。左手指法则有打音、颤指颤音、滑音、揉弦等。
Erhu, a two-string Huqin, also known as "Nanhu" and "Omzi", is a traditional Chinese stringed instrument. Erhu is one of the main bowed instruments in the family of Chinese national musical instruments. Erhu first appeared in China during the Tang Dynasty and has a history of more than a thousand years. It is originated from the Xi people, a minority ethnic group in northeast China., called "Xi Qin" at that time. In the Song Dynasty, it was named "Ji Qin". In modern times, it was even more called Erhu. For more than half a century, the level of Erhu’s performance has entered a period of prosperity. Mr Liu Tian Hua is the ancestor of modernism. He drew on the playing techniques and techniques of western instruments and scientifically positioned the erhu into five positions, and invented Rou Xian (vibrato), which expanded the range of the Erhu and enriched the performance, and also established a new artistic connotation. Thus, the Erhu emerged from the folk accompaniment and became a unique solo instrument. It is now extremely popular for both solo and orchestral performances. The basic structure of the Erhu is composed of Qín Tong (soundbox or resonator body), Qín Gan (neck), Qín Pí (skin), Qín Zhou (tuning pegs), Qín Xian (string), Qin Gong (bow), Qian Jin (nut), Qin Ma (bridge) and so on.
Erhu has the characteristics of thick, round, soft and graceful in tone. The playing technique of Erhu included right hand bowing and left fingers. Right-hand bowing techniques are Lian Gong (playing more than one note with one bow ), Fen Gong (used to break the notes into different phrases), Dun Gong, Zhan Gong (Tremolo), and so on. Left fingering techniques are Techniques include Da Yin, Zhan Yin (Trill), Hua Yin (slides), Rou Xian (vibrato) and so on.
我拉的第一首曲子是《男儿当自强》，改编自古曲《将军令》，同时也是电影《黄飞鸿》的主题曲。《男儿当自强》是我华乐团的经典之一，在每个表演必演奏的一首曲子。在拉这首曲子，我运用了连弓、分弓、顿弓、颤弓等演奏手法，将整首曲子的自强不息及豪迈的精神体现出来，如顿弓稳表现出威严庄重及稳重精神，颤弓表现激动的情绪和渲染热烈紧张的气氛等。
第二首曲子是《浪花一朵朵》，是任贤齐、阿牛、光良演唱的一首歌曲，也是电影《夏日么么茶》的主题曲。《浪花一朵朵》是一种轻松愉快的曲子，我运用了连弓及分弓的演奏手法来拉这首曲子，体现出连流畅活泼又明快喜悦的情感，如连弓表现出连贯通畅及柔美的曲调。由此可见，声音听似凄凉优美的二胡也能拉出明快喜悦、流畅活泼的曲调。
第三首曲子是周杰伦的《青花瓷》，我只拉了副歌的部分，当中我用了分弓和揉弦，将乐曲中缠绵、细腻、温婉等情感充分表达出来。如揉弦轻松柔美而秀气，适合表现像《青花瓷》那么优雅、恬静的曲子。
回想起中一之时，我参与了华乐团，开始接触了二胡。然而，到了中四却因专注学业而放弃了。从此，我便再也没有拉起二胡了。如今，因中华艺术表演我再次拿起了二胡。在拉二胡的时候，听着二胡那优美的音色，我的心有着一种奇妙的感觉，让我好不陶醉其中。拉着拉着，我仿佛回到了从前对二胡的那份喜爱，感受到了拉二胡的的乐趣。虽然有着二胡的基础，但多年没触碰二胡，这次的表演对我来说是一个大挑战。课业繁重，导致练习的时间也不多,为了表现出最好的一面，我不断地努力练习。录制过程不那么顺利，“NG”了好几轮，但我仍不放弃。在此，感谢符老师和中华艺术这门课，让我有这个机会再次拿起二胡。唯一深感到遗憾的是疫情缘故，无法有效地感受现场看表演及在现场表演的那种气氛。
The first song I played was "Nan Er Dang Zi Qiang", which was adapted from the ancient song "Jiang Jun Ling" and also the theme song of the movie "Huang Fei Hong". "Nan Er Dang Zi Qiang" is one of the classics Chinese Orchestra, a song that must be played in every performance. I used Lian Gong, Fen Gong, Dun Gong, Zhan Gong and other playing techniques to reflect the heroic spirit of the whole song. For example, the Dun Gong showed majestic and solemn spirit, Zhan Gong expresses excitement and exaggerates enthusiasm and tension.
The second song is "Lang Hua Yi Duo Duo", a song sung by Ren Xian Qi, A Niu, and Guang Liang. It is also the theme song of the movie "Xia Ri Me Me Cha". "Lang Hua Yi Duo Duo" is a relaxed and pleasant song. I used the Lian Gong and Fen Gong to play this song, which embodies the smooth, lively and cheerful emotions, such as Lian Gong showed a coherent, smooth and soft tune. It can be seen that even the sound of Erhu heard bleakly but also can play bright, joyful, smooth and lively songs.
The third song is "Qing Hua Ci" by Jay Chou. I only played the part of the chorus. While playing this song, I used Fen Gong and Rou Xian to reflect the gentleness, elegance and refinement of the song. For example, Rou Xian is relaxed, soft and delicate, suitable for expressing such elegant and quiet music as “Qing Hua Ci”.
Recalling when I was form one, I joined the Chinese Orchestra and started to get in touch with Erhu. However, when I was in Form 3, I gave up on it because I had to focus on my studies. Since then, I have never played the Erhu again. These days, I have picked up the Erhu again for Chinese Art performances.When I was playing the Erhu, listening to the graceful tone of the erhu, my heart felt wonderful, which made me so intoxicated. I seem to have returned to the love of the Erhu and felt the joy of playing it. Although I have the basics of Erhu, I have not played Erhu for many years, so this performance is a big challenge for me. The assignment is heavy and there is not much time to practice. In order to show the best side, I constantly try to practice when I have time. The recording process is not so smooth, "NG" for several rounds, but I still don't give up. Here, I would like to thank Dr Foo and the course of Chinese Art for giving me this opportunity to pick up Erhu again. The only thing I feel badly about is the epidemic, which makes me unable to watch and perform Erhu in live to my bestie.
观看你的视频后，从你来回拉的二胡中无形中体现出了一种流畅与活泼之情，在细心听着那美妙的二胡所发出的音乐，仿佛自己已陶醉其中，内心那份温婉与喜悦的情感已随着曲子体现。
回复删除同学你好，我看过你的视频后，对二胡更有进一步的认识。二胡不但丰富了其表现力，也确立了艺术内涵。二胡演奏出来的声音很有特色，我个人比较喜欢《浪花一朵朵》，曲调很轻快，拉弓持弓也有到音准，非常好听。
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