迄今仍在广泛传承的豫剧板胡“压码式”持琴法,在我国民族拉弦乐器中,已成为一种颇具传统特色的板胡演奏持琴法。若追溯它的形成,可堪称是前辈艺人们智慧的一个缩影。然而,多年来,随着豫剧板胡琴体一些部件配置的逐步改进,使其演奏中本身所固有的一些不稳定因素渐渐消失。因此,作为“压码式”持琴法,前辈们当初所赋予它的主要使命也随之淡出。假若能将其予以相应的改进,想必会对豫剧板胡演奏艺术的进一步发展产生一定的积极影响。 So far still widely inherited the opera Banhu “code-type ” holding the piano method, in our national stringed instruments, has become quite a traditional style playing the piano law. If you trace its formation, it can be described as a microcosm of the wisdom of their predecessors. However, over the years, with the gradual improvement in the configuration of some parts of the Yu Banhu body, some of the unstable factors inherent in its performance gradually disappear. Therefore, as the “pressure code” "hold method, the predecessors gave the main mission it also faded. If we can make the corresponding improvement, it is bound to have a certain positive impact on the further development of the art of performing arts in Henan Opera.