Erhu

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Side view of an erhu.
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Side view of an erhu.

The erhu (Chinese: 二胡; pinyin: èrhú), 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 belongs to the huqin (Chinese: 胡琴; pinyin: húqín) family of bowed string Chinese instruments, together with the zhonghu (中胡), gaohu (高胡), banhu (板胡), jinghu (京胡), sihu (四胡), and numerous others.

Contents

[edit] 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 an encyclopedic work on music by music theorist Chen Yang called Yue Shu (book of music), written during 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)
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Erhu with liu jiao qin tong (6 sided body)

The first character of the name of the instrument, "二" (èr, meaning "two"), is believed to come from the fact that it has two strings. An alternate explanation states that èr comes from the fact that it is the second highest huqin in pitch to the gaohu (高胡) 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," showing that the instrument may have originated from regions to the north and/or west of China inhabited by non-Han peoples.

[edit] 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.

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 is also 81cm.

Erhu with ba jiao qin tong (8 sided body)
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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 hexagonal (liu jiao, southern), octagonal (ba jiao, northern), or, less commonly, round.
  • Qín pí/She 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.
Picture showing bow hair in between the two strings.
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Picture showing bow hair in between the two strings.

The erhu has some unusual features. First is that in 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 bow hair is never separated from the strings (which were formerly of twisted silk but are today usually made of metal); it passes between them as opposed to over them, as 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 on one string. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4, a fifth higher. The range of the instrument is three and a half octaves, from D4 to A7.

Picture showing qianjin (a loop of string which acts as a nut)
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Picture showing qianjin (a loop of string which acts as a nut)

[edit] Use of python skin

According to a Taipei Times article, China passed its Law on the Protection of Endangered Species in 1988 after ratifying the UN Convention on the International Trade in Endangered Species (CITES), making it illegal to use and trade unlicensed pythons.

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 travelling, 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.

[edit] Erhu music

A notable composer for the erhu was Liu Tianhua (刘天华/劉天華; Pinyin: 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 (Moon Night; 月夜; Pinyin: Yuèyè) and Zhuying Yaohong (Shadows of Candles Flickering Red; 烛影摇红; Pinyin: Zhǔyǐng Yáohóng).

Other solo pieces include Er Quan Ying Yue (1950, Moon Reflected on Second Spring or Moon's Reflection on er stream) by A Bing, Sai Ma (Horse Race) by Huang Haihuai, Henan Xiaoqu (Henan folk tune) by Liu Mingyuan, and Sanmenxia Changxiangqu (1961, Sanmen Gorge Rhapsody) 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.

[edit] 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 placed on the top of the left thigh.

  • 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. Bowing techniques include la gong (pull bow, equivalent to the "down bow" technique used on western bowed string instruments), tui gong (push bow, equivalent to the "up bow" technique). Aside from the usual bowing technique used for most pieces, the erhu can also be plucked, usually using the index finger of the right hand. This produces a dry, muted tone (if either of the open strings are plucked, the sound is somewhat more resonant) which is sometimes desired in contemporary pieces.

  • Left hand

Techniques include hua yin (slides), rou xian (vibrato), huan ba (changing positions), etc.

[edit] Notable performers

The erhu as a solo instrument began in the 20th century along with the development of guoyue (literally "national music"), a modernized form of Chinese traditional music written or adapted for the 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), Zhang Shao (张韶), and Song Guosheng.

Liu Mingyuan (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.

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).

Also see List of erhu performers

[edit] References

  • Jones, Stephen (1995). Folk Music of China. Oxford: Clarendon Press OUP.
  • Liu, Terence M. (1988). "Development of the Chinese Two-stringed Bowed Lute Erhu Following the New Culture Movement (c. 1915-1985)." Ph. D. dissertation. Kent, Ohio: Kent State University.
  • Stock, Jonathan. "A Historical Account of the Chinese Two-Stringed Fiddle Erhu." Galpin Society Journal, v. 46 (March 1993), pp. 83-113.
  • Stock, Jonathan P. J. (1996). Musical Creativity in Twentieth-Century China: Abing, His Music, and Its Changing Meanings. Eastman Studies in Music. Rochester, New York: Rochester University Press.
  • Wang, Yongde (1995). Qing shao nian xue er hu (Young person's erhu study). Shanghai Music Publishing House.

[edit] Audio sample

Listen to the China Central Chinese Orchestra perform Er Quan Ying Yue (二泉映月) with erhu soloist Song Fei (宋飞) conducted by Chen Xieyang (陈燮阳). Link: http://www.youtube.com/watch?v=Fj13KU3SAvE

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