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The techniques of playing Erhu were still an emerging field since the early Republican period. The progress in the techniques of playing Erhu began after Tian-Hua Liu’s introduction and application of the techniques of playing violin to playing Erhu. Yu-Ting Lin plays an important role in the development of traditional Chinese music in Taiwan. More specifically, Yu-Ting Lin is extremely influential in music instruction, academic discussion, playing music, conducting, and consultation for professional orchestra. In addition, numerous experts in traditional Chinese music received Yu-Ting Lin’s instruction. The author thus synthesized Yu-Ting Lin’s left-hand and right-hand techniques of playing Erhu.
The author provided separate explanations and steps of Yu-Ting Lin’s left-hand and right-hand techniques of playing Erhu. These explanations were based on systematic synthesis along with illustrations to convey the details which may not be verbally interpretable. In addition, detailed records and explanations of the techniques were provided along with according examples of sheet music to facilitate players’ comprehension of the playing techniques and illustrations.
To study Yu-Ting Lin’s repertory, Jinsha River, the author explored and discussed its background, conducted musical analysis, and analyzed the playing techniques. The author, finally, integrated the author’s own interpretation to provide a second interpretation of Jinsha River, which does not distort the composer’s original intent.
Key words: Jinsha River, Yu-Ting Lin, erhu concerto, bass erhu, left-hand and right-hand techniques
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