What is exactly the "Shanghai erhu tone" ?

[mashu]

The title of this thread says it all : what exactly is the "Shanghai erhu tone" ? What difference with other erhus ?

Any of you knows a bit on the subject ?

[edcat7]

I'm really glad you asked that, there are a couple of threads skirting around that question. TBG has basically said Beijing erhus are noted for their woodwork whilst Shanghai erhus are noted for their snakeskin skills.

From what I've gleamed over past threads with the exception of Man Rui Xing and maybe one or two other makers Beijing erhus aren't as good as their Shanghai counterparts.

I'm now very happy with my sandalwood LLS from Souzhou. I've recently heard a video sample of a Shanghai Ming Qing aged rosewood HHR. My first thoughts are that is hasn't been broken in properly. Then I came across a past thread mentioning that HHR erhus aren't perhaps as mellow as other makers.

I guess like you I've been visiting Eason's website. I immediately fell in love with YKM's Ming Qing rosewood erhu. I assumed HHR being a former disciple of Wang Gen Xing would produce an even better sounding erhu. There are so many variables I wouldn't like to answer that....yet, until I have consistently played a HHR for as long as I have played my LLS.

Ed

[mashu]

Indeed I visit the website of Eason once in a while...

The erhus I saw on the Eason website that had "Shanghai tone" seemed to me to have a more nasal sound than others. I don't know if it comes from the bridge used, the quality of video or something else, but it feels like all of the "Shanghai tone erhus" have more or less a sound more nasal, maybe less open and round, like a bit "withdrawn". Difficult to explain but it is what I feel.

The YKM Ming Qing is very appealing to me too. I have a professional grade aged rosewood YKM. I like it quite. But the high-pitched notes don't sound so well. I know when we come closer to the bridge, notes are less deep and pure but I guess there must be quite an improvement from my professional YKM to the Ming Qing one ! Not even speaking of all other aspects...

[edcat7]

I seem to remember I recommended the "concert grade" YKM I wonder if you could part exchange your erhu for the Ming Qing YKM? Oh course after postage and other deductions it may not be worthwhile.

You reviewed a video sample of your erhu first? Then perhaps that's how it's meant to sound and perhaps it's your bowing? Sooner or later SW will read this thread and will comment.

[song]

Hi Mashu,

Sorry for the late reply. Your interpretation of the Shanghai tone is quite close to mine - more nasal and less open sounding, not to mean that the sound does not open up though. High notes on Erhus are generally tricky. It is often a combination of your bowing, finger pressure and of course the erhu. Quite often it tends to get raspy and thin on the high notes. As the erhu breaks in it will definitely improve. Otherwise, you can experiment with different bridges to see the effect. Also, you can try to move the damper lower closer to the base to see if it sounds better for you.

SW

[davidmdahl]

I second SW's comments about playing high notes on erhu. Everything gets more challenging. The spaces between the notes is less, vibrato is trickier, and bow control most critical. In my experience, this is also where a very good erhu outshines a beginner's model. It can be very frustrating to play high notes on a cheap erhu. Sometimes they don't get better with playing in. I struggled patiently with such an erhu for almost a year before moving on. It is generally a better idea to respond to challenges with more practicing, but sometimes the erhu is adequate for the lower octaves and not the higher notes. It is worth experimenting with bridges, pad, and strings, but only so much can be done if the snake skin is not good.

Best wishes,

David

[edcat7]

SW has made a good blog about the the differences between the three main erhu making regions: Beijing, Suzhou and Shanghai. Having had one by each region, MRX-Beijing, LLS-Suzhou HHR- Shanghai I broadly agree.

What have I learnt? I thought that the brashness of my MRX was down to the ebony wood (maybe) according to SW Beijing erhus are designed to be loud and powerful because the Beijing music requires it to be.

A lot more difficult is to compare my LLS and HHR, I regularly play both and I find there isn't much difference between the two. Perhaps I should record both of them and play them back with good quality headphones.

Anyway:

www.easonmusicschool.com/types-of-erhu-tones-from-different-regions/

Ed