二胡中英文简介汇总
交通补贴-简单的生活
二 胡
（音域：DA + 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。
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1 -
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。
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2 -
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》
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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》
- 4 -
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）、
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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
《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)
o
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)
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王建民 (二胡作曲家)
《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
o
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)
- 7 -
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》
- 8 -
Erhu
The erhu (Chinese: 二胡; pinyin: èrhú), also
called nanhu (南胡,
sometimes known in the West
as the violinChinese two-string fiddle,
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.
History
The 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, yuèshū, 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, èr, 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, hú)
indicates that it is a member of the huqin family.
The name huqin literally means barbarian
instrument,
originated from regions to the
north or west of China inhabited by non-Han
peoples.
Historical erhu and bowed string bows
Historic 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.
- 9 -
Construction
The 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 player's 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 81 cm from top
to bottom, the length of the bow
also being 81
cm.
Erhu with ba jiao qin tong (8
sided body)
The parts of the erhu:
Qín tong (琴筒), sound box or resonator body; it
is
- 10 -
hexagonal (liu jiao,
southern), octagonal (ba jiao, northern), or, less
commonly,
round.
Qín píShe pí (琴皮蛇皮),
skin, made from python. The python skin gives the
erhu
its characteristic sound.
Qín gan
(琴杆), neck.
Qín 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 dragon's head.
Qín zhou (琴轴).
tuning pegs, traditional wooden, or metal machine
gear pegs.
Qiān jin (千斤), nut, made from
string, or, less commonly, a metal hook.
Nèi
xián (内弦), inside or inner string, usually tuned
to D4, nearest to player.
Wai xián (外弦),
outside or outer string, usually tuned to A4.
Qín 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 máo (弓毛), bow hair,
usually white horsehair.
Qín diàn (琴垫),
pad, a piece of sponge, felt, or cloth placed
between the strings
and skin below the bridge
to improve its sound.
Qín tuō (琴托) -
base, a piece of wood attached to the bottom of
the qín 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
People's
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.
[1]
In 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.
[2]
Picture showing qianjin (a loop of
string, which acts as a nut)
Use of python
skin
- 11 -
In 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, China's
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 music
A notable
composer for the erhu was Liu Tianhua (刘天华劉天華; Liú
Tiānhuá)
(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; Yuè yè, Moon
Night) and
Zhu ying Yao hong (烛影摇红; Zhú yǐng yáo hóng,
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.
- 12 -
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
album
represented the greatest achievement of Chinese
classical music and it
made the China's 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 2009's
Star Trek soundtrack by Michael Giacchino, an erhu
solo is featured in the
soundtrack
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
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
- 13 -
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 performers
See also: List of erhu players
Twelve
member concert group at the Hubei
Provincial
Museum. Fourth from left is the
erhu
Prior
to the 20th century, most huqin instruments were
used primarily to accompany
various forms of
Chinese opera and narrative. The use of the erhu
as a solo instrument
began in the early 20th
century along with the development of guoyue
(literally
music
professional concert
stage. Active in the early 20th century were Zhou
Shaomei (周少梅,
1885-1938) and Liu Tianhua (刘天华,
1895-1932). Liu laid the foundations of modern
erhu playing with his ten unaccompanied solos
and 47 studies composed in the 1920s and
1930s. Liu Beimao (刘北茂, 1903-1981) was born in
Jiangyin, Jiangsu. His compositions
include
Xiao hua gu (1943) (Little flower drum). Jiang
Fengzhi (蔣风之) (1908-1986) and
Chen Zhenduo
(陈振铎) were students of Liu Tianhua, the piece
Hangong Qiuyue
(Autumn Moon Han Palace) was
adapted and arranged by Jiang. Hua Yanjun (A Bing)
(华
彥君-阿炳, c. 1893-1950) was a blind street
musician. Shortly before his death in 1950,
two Chinese musicologists recorded him playing
a few erhu and pipa solo pieces, the best
known being Erquan Yingyue.
With the
founding of the PRC and the expansion of the
conservatory system, the solo erhu
tradition
continued to develop. Important performers during
this time include Lu Xiutang
(陆修堂, 1911-1966),
Zhang Rui (张锐, 1920- ) Sun Wenming (孙文明,
1928-1962),
Huang Haihuai (黄海怀), Liu Mingyuan
(刘明源, 1931-1996), Tang Liangde (汤良德,
1938-2010), Zhang Shao (张韶), and Song
Guosheng(宋国生).
Liu Mingyuan (刘明源) (1931-1996)
was born in Tianjin. He was known for his
virtuosity
on many instruments of the huqin
family, in particular the banhu. His compositions
and
arrangements include Henan Xiaoqu (Henan
folk tune), and Cao Yuan Shang (On
Grassland)
for zhonghu. For many years he taught at the China
Conservatory of Music in
Beijing.
Tang
Liangde (Tong Leung Tak, 汤良德, 1938-2010) was born
in Shanghai into a famous
Shanghainese musical
family. He won the
- 14 -
continued to be the soloist for the
Chinese Film Orchestra in Beijing, his composition
and
solos can be heard throughout the Nixon to
China documentary movie. Tang was the
soloist
and performed at the Hong Kong Chinese Orchestra,
then went onto music
broadcasting and
education for the Hong Kong Government's Music
Office making
worldwide tours, and was named
Art Educator of the Year in 1991 by the Hong Kong
Artist Guild.
Wang Guotong (王国潼, b. 1939)
was born in Dalian, Liaoning. He studied with
Jiang
Fengzhi, Lan Yusong and Chen Zhenduo,
and in 1960 graduated from the Central
Conservatory of Music in Beijing. He performed
the premiere of Sanmenxia Changxiangqu
(Sanmen
Gorge Rhapsody) composed by Liu Wenjin. In 1972
Wang became the erhu
soloist, and later art
director, with the China Broadcasting Traditional
Orchestra. He
returned to the Central
Conservatory of Music in 1983 as head of the
Chinese music
department. He has written many
books and articles on erhu playing and has
performed in
many countries. Wang also worked
with the Beijing National Instruments Factory to
further develop erhu design.
Min Huifen
(閔惠芬, 1945- ) was born in Yixing, Jiangsu. Min
first became known as the
winner of the 1964
fourth Shanghai Spring national erhu competition.
She studied with Lu
Xiutang and Wang Yi, and
graduated from the Shanghai Conservatory of Music
in 1968,
and became the erhu soloist with the
Shanghai minzu yuetuan (Shanghai Folk Orchestra).
Yang Ying (杨英, b. 1959) was the featured
soloist for the Chinese National Song and
Dance Ensemble (中央歌舞团) of Beijing from
1978-1996. She was a national erhu
champion,
frequently recorded for the Chinese film and
record industry, and is listed in
famous
persons of China.
The erhu is featured along
with other traditional Chinese instruments such as
the pipa in the
contemporary Chinese
instrumental music group, Twelve Girls Band. They
perform
traditional Chinese music as well as
Western classical and popular music.
A few
groups have utilized the erhu in a rock context.
The Taiwanese black metal band
Chthonic uses
the erhu; they are the only black metal band to do
so. The New Jersey-based
progressive rock band
The Hsu-nami plays a variety of rock sub-styles
including metal,
psychedelic, prog rock, and
funk. An amplified erhu takes the place of lead
vocals. Chie
Mukai of the Japanese improv unit
Ché-SHIZU also plays the erhu.
Another group
which falls more under ElectronicaDrum & Bass is a
musical duo from
Parkdale, Toronto, Ontario,
Canada. The group, known as USS or Ubiquitous
Synergy
Seeker,
[4]
uses an erhu in a
different context. The USS sound is a mixture of
drum and bass
- 15 -
beats,
grunge-like guitar riffs and 2-step rhythms. The
erhu is one of their notable
instruments they
use in the course of their two released CDs,
《二胡教程》（一）
Erhu Tutorial Part1
1 几点说明Instructions
2 坐姿与持琴Sitting gesture
and Erhu-holding method
3 空弦练习Empty-string
exercise open string
4 分弓换弦Bow-separation
string-shift
5 左手按弦准备练习Left-hand string-
pressing preparatory exercise
6
左手单项练习Specific left-hand exercise
7
指序与换弦练习Fingering sequence and string-shift
exercise
8 小指按弦练习Little finger string-
pressing exercise
《二胡教程》（二）
Erhu
Tutorial Part2
1 发音训练Sound-making
training
2 G调第一把位指法练习G key 1st holding
position fingering exercise
3 阶段的复习Review by
stages
4 A调第一把位的指法练习A key 1st holding
position fingering exercise
5 连音Liaison
6 连弓换弦Cross-bow string-shift
7
G调第一把位模进练习G key 1st holding position exercise
8 快速分弓换弦练习Fast bow-separation and string-shift
exercise
《二胡教程》（三）
Erhu Tutorial
Part3
1 把位与换把Holding position and
position shift
2 揉弦String-kneading
3
揉弦的应用String-kneading applications
4 F调指法F key
fingering
5 C调指法C key fingering
6
打音Beating tone
7 快弓Fast bow
- 16 -
8 弱项手指的训练Reinforced fingering training
9 二胡考级曲目解析与示范
Analysis of Playing
Techniques of Music Pieces for Erhu Performers'
《田园春色》胡越演秦
Scoring Exam and Exemplary
music piece by: Hu Yue
10 《敖包相会》胡越演秦by: Hu
Yue
《二胡教程》（四）
Erhu Tutorial Part4
1 《南泥湾》胡越演秦 by: Hu Yue
2 《良霄》刘蕾演秦 by: Liu
Lei
3 《独影摇红》刘蕾演秦 by: Liu Lei
4 三连音与换音练习
赵磊演秦Triple liaison tone and tone shift exercises
by:ZhaoLei
5 综合练习二 赵磊演秦General exercise
II: by: Zhao Lei
6 八度换弦综合练习 刘蕾演秦General
exercise on octachord string-shift by:Liu Lei
7 各调五音阶练习 金良演秦Pentachord exercise of all keys
by: Jin Linang
8 《月夜》
9 各调琶音的练习Exercise
of arpeggio of all keys
10 怀乡曲Homesick Melody
11 喜送公粮Xi-Song-Gong-Liang
12 翻身歌Fan-shen
song
13 《良宵》解析 Analysis
14 《听松》解析
Analysis
15 《月夜》解析 Analysis
16 《翻身歌》解析
Analysis
- 17 -