Practice your lung capacity, swim more, run more! Watch more music videos, look at the mouth shape of other singers when they sing, and imitate more! More singing, more practice
It is best to find a professional teacher, guidance, so as not to go astray, will not damage the vocal cords, to pay attention to singing do not use their vocal cords more, to let their voices spread far and steady, pay attention to the use of breath, otherwise it will make the vocal cords callus
Singing is an art, in order to improve the children's performance of the song ability to be given to the training of their singing skills. The training includes: singing posture, breathing, vocalization and bite and other aspects of the requirements.
I, singing posture
Correct singing posture, not only is the singer's good state of mind performance, but also relates to the use of breath, *** sound regulation and the effect of singing, in the training, the students should be allowed to develop good singing habits, so that the two eyes look at the God, jaw inward, the neck is straight and not tense, the spine is straight, the abdomen is slightly closed, the waist is stable.
Two, singing in the breathing
First of all, inhalation, when doing breathing exercises, first do a good job in the correct singing posture, keep the waist straight, chest and shoulders loose, head freely, eyes looking away, from the heart to the face of the expression are full of love, and then, "a sigh of relief" so that the chest relaxation, inhalation, the mouth slightly When inhaling, the mouth is slightly opened, the hard and soft palate is lifted, and with the action of lifting the eyebrows, it is very excited to have the waist as the main back, and the waist is loosened outward, so that the gas can naturally and smoothly "flow in" so that there is a "sense of qi" in the waist and back, and there is a sense of broadness in the chest naturally. The above actions are felt by "yawning".
But the exhalation is not allowed to be too deep, otherwise the chest and abdomen stiffness, affecting the flexibility of the voice and the accuracy of the pitch, inhalation should not be sound, on the contrary, not only affects the artistic effect of the singing, but also make the inhalation is not easy to be deep, affecting the breath of the support, so in daily life, we should develop the habit of expansion of the two ribs, the abdomen is slightly closed.
Three, vocal exercises are a comprehensive basic skills training, learning to sing must start with the most basic vocal exercises.
1, do get the breath pivot point of the exercise, the experience of suction and sound with the use of scientific humming method, experience and regulate their own singing **** Ming.
2, learn to open your mouth to sing, the upper and lower teeth loose, have a loose jaw "drop feeling" tongue loose against the lower teeth.
3, sing the octave, from low to high, vowel without breaks and sing, mouth and throat cavity at the same time from small to large open.
4, the breath is smooth with the sound of a rounded, smooth and free sound.
Four, bite, spit accurate, clear
Pronunciation exercises, in the final analysis, is to sing the song more perfect, so must pay attention to the bite, spit clear, correctly grasp the language of the echoes, clear the structure of the Chinese language law, the song tune and the bite spit combined with the practice. When practicing singing, each word in accordance with the outgoing lead to a long return to the rhyme of the biting method, read a few times, and then combined with vocal exercises, with the word with the voice, and strive to achieve the word correctly, the voice and emotion, singing the focus point of the vowel, should be as close as possible to the centralized point of the vocal area, so that the three vocal areas of the **** sounding to be articulated and flexibly adjusted.
Singing art is a combination of sound and literature art, we sing good songs, can not only talk about the sound, do not talk about feelings, and vice versa, we should be the ideological content of the song, the expression of the method, as well as the author of the lyrics, songs of the times, have a comprehensive understanding of the analysis, and then appropriate processing, the artistic image of the song accurately and completely reproduced to achieve the feelings of the sound with the sound, the sound of the feelings.
How to sing high notes
One of the human singing instincts
You have heard the dirge of the blind girl on a rainy night, right? You've also heard happy men and women singing mountain songs in duets, right? These people have never had any vocal training, and their songs are just as moving, because they utilize their natural singing instincts. Everything I said earlier about breathing, vocalization, ****ing, soprano, everything is based on natural conditions, along with all the physical conditions that come with nature. Unfortunately, we tend to discard this natural conditions, and to find some "shortcuts", "secret", that is very sad thing.
Singers in singing, the role of the larynx belongs to, but the heart can also sway it. In singing, the action of the larynx is completely spontaneous, singers sing, want to sing what sound, vocal tension and oscillation times will be completely with the mind to match. The vocalization is of course accompanied by the rapid force of the diaphragm, the abdominal muscles, the ribs, the larynx and the tongue. A newborn baby, who knows nothing of these things, can put those forces to good use. When he cries, he cries sadly; and when he laughs, he makes pleasant tones. Thus it is proved that life is inherently endowed with a natural ability to use our voices freely and with expression.
Two, shout out the high notes first
When we do any kind of exercise, such as pushing a lead ball, we must first have the strength to lift it. People who practice martial arts practice picking up water first in order to increase the strength of their hands and feet, and it is only after they have the strength of their hands and feet that they can dance with a big sword without it flying out of their hands.
Our vocal cords, to be able to resist the high pressure sent up from below, can pronounce words. Some people ask if shouting will happen when the vocal cords make sounds under high pressure, and if they will shout through the vocal cords. No. As long as you maintain the correct breathing and singing posture, you will not break your vocal cords. As for the position of the treble and the masking problem, your treble has not yet shouted out and how to determine its position?
We start by shouting down, half a tone up, #f2, g2, #g2 until, five tones into a group. Do not start to shout too much, because at first your breathing and singing posture may not be right, to sing while correcting, and so on all aspects of the match is good, may wish to shout some more. When #g2 is sung well, a2 is another way of breathing. We know that when we sing high notes, we have to press the breath up in a high-pressure way, and we actually have to use the breath of the waist at this point (see next section), and after we've shouted #a2 with the breath of the waist, we can then shout descending #b2 with the same breath.
Generally speaking, the high notes of people who sing soprano voices are innate, it's just that we don't go to use them. A girl who has never had vocal training can usually only sing up to f2, but when she suddenly encounters a horrible thing, he can't help but scream, and that scream may reach f3 in highC, but normally she wouldn't be able to produce such a high note anyway. So don't be apprehensive, be bold enough to scream at a high pitch, it pays to do it more often.
Three, breathing and posture
If we also have the opportunity to stumble upon a very surprising thing and lose our voice and scream, we must remember the posture of that shout, and then use it to sing the high notes, that's right.
Singing the high notes, unlike singing the low notes, involves pressurizing the air into a thin line that strikes the vocal cords. When the strength of the diaphragm has been used to the apex and it is not possible to pressurize it, waist strength is necessary. As mentioned earlier, the lobes of the lungs are larger than the lung tips, i.e. the bottom is larger than the top, and the top lung tips are expanded outward by the ribs. To use lumbar force, you first cross your waist with your hands (you don't need to pay attention to your abdominal muscles at this time, it will work naturally during inhalation), inhale the air around your waist, feel the front and back of your waist expanding, and then close the air in (open your mouth wide, see figure 7), force your waist and ribs inward, and lift your chest upward, and you'll feel the pressure press down on your palate.
As I said before, f2 - #g2 we use the contraction of the abdominal muscles to increase the pressure, and when we get to a2, we use the waist force, and when we get to descending b2, since only a small amount of air is needed (but with high pressure air), just open your upper lip as if you were yawning, showing a little bit of the upper teeth, and with the tip of the tongue flat on the lower teeth, you will be able to sing descending b2. From b2 down and above, to the notes above highC, the method is the same as b2 down.
Here is another example of singing high notes with the force of waist production.
Singing soprano with the force of the waist is equal to filling a long balloon with air, and then pinching the lower half with your hand, then the upper half of the training is distended, which is like the diaphragm has risen to the apex, and can't go up any further. We will be waist full of air, and then the entire waist and the following open ribs inward, chest out, as if the role of the hand pinch the balloon, resulting in a strong, rising airflow, and this is what we sing soprano to use.
Four, Close and cover
Once upon a time when I was learning to sing, when I sang a high note, I had to Close! At that time, I was really "in a fog", and this word is still used in China. Because of the confusion about the true meaning of Close, I don't know how many tenors have been harmed and how many good voices have been spoiled.
My insight into Close is that it closes the ****ing sound box below and opens the ****ing sound box above. When we sing high notes we need head **** chirping, and that raises the soft lid. We open the upper lip in order to raise the soft lid, and at the same time, we have to use our waist strength to open the soft lid. As for the term "masking" used by some people in China today, I think it is better, it means that the soprano should not be too white, but more or less masked, as if there is a bowl on the top, covering the soprano.
I have asked many teachers for help in interpreting Close, but to no avail. Then I went to Italy and asked one teacher, and the answer was: we have never heard of this word in Italy. How do you sing when you are "closed"? As for today, we use "cover" instead of "close" to explain Close, which is very wise. When we sing high notes, our palate is lifted upward, the soft lid of the mouth is raised (yawn-like), and the air pressure is pushed upward and gathered to the top, forming a domed space like a church, that is, letting the gas fill up the space, so as to produce a beautiful high note. If the top is not open, the air does not go up, where is the high note? Therefore, the use of the word "cover" also means that the sound is concentrated upwards. We can do another experiment to find this feeling: when we yawn, we will feel a cool sensation on the upper jaw (which we usually can't feel), that is, there is a space above, and the breath also goes in.
Fifth, the higher the easier
When we practiced b2, we should say that we have broken through the difficulties of the high notes, and can easily sing b2, c3, #c3, d3, because the method of singing these notes and the method of singing b2 does not live separately. When you sing b2, your throat is already smaller, because the wider you open your mouth, the smaller your throat becomes, so you don't have to be afraid of higher notes, all you need is a sharp breath to support the high notes, and a sharp breath is obtained by practicing the breath hard in the usual way.
Sixth, fulcrum and confrontation
If we lift a stone burden with both hands, our feet are stepping downward, and the land is acting as an upward buttress; our hands are pushing upward, and the burden is pressing downward. Thus there are forces in four directions, a confrontation between the feet and the ground, and a confrontation between the hands and the stone burden. Our human body is equal to the column of qi, and the belly and the vocal cords are the two fulcrums of the breath. The breath is blocked by the vocal cords, so there is also the problem of the confrontation of "force". So, does the pivot point of the lower abdomen change when you sing? If there is a change, is it upward or downward? There is a debate about this.
While singing, the breath keeps flowing outward, and the column of air is getting shorter and shorter, and at the same time, the abdomen is also brought inward to help compress the air in the lungs to produce a certain amount of flow to exhale. In this case, how can the "fulcrum" always be placed in a fixed place, and not with the use of breath upward movement? But we must not forget that although the "fulcrum" is constantly moving upward with the exhalation of the breath, we must still maintain the force of the downward pressure. Imagine, if we want to get something high up, stretching the hand still can not get, then we have to cushion a box under the feet, if still can not get, can only add another box, so that the "fulcrum" is not raised? How is it possible to stop at the bottom and not move?
I heard a soprano soloist in Singapore, who was representing Canada on a tour of various countries. But when she got to the high notes, her neck was stretched out in a way that made people uncomfortable. It turned out that she specialized in German Lied, the German school of singing advocates that the "fulcrum" is always in the abdomen. How can you sing a soprano voice and stretch the pipes so long?
We look at the principle of the pump described earlier, the piston handle is constantly pushed upward, and the piston is gradually up to maintain the pressure of the barrel, the breath from the mouth of the barrel out. If the pump is compared to the human body singing activities, that is, the diaphragm and the vocal folds of the distance is getting shorter and shorter, so the fulcrum is gradually changing position, how can the old stop in a fixed place not move?
Seven, with tools to test
With a piece of wood, the length of our shoulders than some of the width of the width than the length of our shoes slightly wider than the corners of the four corners of a hole, with two ropes through the holes, the length of the rope and our fingers hanging down at the same level (refer to Figure VIII). We stand on the plank, take a breath, then hold it closed, open our mouth wide and pull the rope hard enough to feel what is meant by confrontation. At this point, our feet increase the confrontation with the ground, but also the breath in the body and the vocal folds, so that the high notes come out more easily. We can also use Coca-Cola empty aluminum canisters (empty beer canisters), cut into aluminum pieces like the size of a postage stamp, the two pieces of aluminum together (with the hand to make the aluminum pieces slightly curved a little bit), so that there is a seam in the aluminum pieces together. Then clip a piece of old silk cloth (folded to the width of three matches) to one end of the aluminum piece, and then tie the aluminum piece together with a wire to make a whistle. You try to blow a bass, and then a treble, from this comparison you can feel the breath and posture of singing a high note
How to sing
I, breath
Saying this topic, it is a bit bewildering, because it is the worst thing to express in words. Before I sang, I practiced American voice for two years, which gave me a deep insight that the breath foundation helped me a lot. Generally speaking, people who have not studied vocal music have a very flat voice, which is pronounced in the usual speaking position (voice), and we call it a "white" voice, with no color and no filtration. Here is how I would like to express the method of practicing the American voice.
The voice should be rooted in the small of the back of the abdomen. Imagine that the voice goes through the back of the spine, to the back of the head, to the back of the mouth, and that the whole voice should be upright and backward. Please find the feeling: you bite an apple, showing the upper teeth, in a bite down at the same time, make a "hmm" sound, feel the sound in the back of the mouth and the upper part of the nasal cavity position, this is the sound of the voice of the United States of America, a *** sound point. Next, the breath sinking, abdominal expansion, slightly in the abdomen, a top, in the position just now sound, male voice throat pressure down, female voice more focus on the sound in the back of the head on the position, you will find that the sound is more than before to most of the time. Often practice against the wall to help voice, because against the wall can contact your backbone, so that you are more likely to find the feeling, and the chest cavity of the **** sound and wall **** vibration, so that you are more likely to find the feeling of the chest cavity of the **** sound. First from the "m ~ mom" practice, gradually rise, to help practice the breath of the treble; and then from high to low practice, so repeatedly, one day you will find the feeling. American voices pay attention to "translucent", often imagine that their voices are vertical, not flat; also pay attention to the "*** sound", the voice through the chest or chest above the *** sound, will be very round, full. To experience *** Ming, you can do: close your mouth, issued a "hmm" sound, a little deep feeling, "hmm" a little longer, you will feel the head and chest in the vibration, if the breath is good, this *** Ming will give your voice a lot of color. Listen carefully to some of the taller Americans speak, you will know what is called chest **** sound (foreigners chest structure is more likely to produce **** sound).
Another thing I'd like to mention is lung capacity, singers need a large lung capacity to sing, such as some very long, not change the breath of a certain melody, but do not sing after the red face, just gasping for air. Lung capacity should be exercised regularly in order to maintain. There are also certain skills that can make up for the lack of lung capacity. First of all, we need to practice breath, a good vocal method it can be very good control of the flow of sound through the voice, such as singing to "...... not afraid of you betraying me ......" this sentence, the breath of the unstable The singer may sing the sound of the word "afraid" in a blasting manner, and then put the original insufficient lung capacity of the gas to run away, if there is a long sentence behind the non-exchange of breath does not suffocate him to death only strange. And breath good singer can control the flow of these bursts of sound, singing the microphone will not appear some fluttering sound. So I suggest that you put a candle in front of your mouth when you practice your voice, and try to keep the candle from shaking when you practice your voice, right? That way your breath will stay inside you longer. Think about whether you hold your breath longer by exhaling all the way out or by holding it in and not letting it out. Of course, this also requires the singer to be relaxed and not nervous, and when you are nervous, your heart beats faster, and your breath becomes more stabilized
There's only so much I can say here, and it's all about perception. However, I want to remind you that practicing is the basis of singing pop songs, do not use the method of practicing the straight interpretation of pop songs, then it is too much to do, it will be like Yan Weiwen singing "nothing".
On the use of voice in pop songs, my point of view is that as long as the mood of the song to meet, to shout to break is not bad, but these are absolutely prohibited in the American voice, so we have to take advantage of the shortcomings, because we are not in order to sing in the American voice and the American voice, we are in order to sing a good popular voice to practice the American voice, like martial arts to practice the same as the horse stance, have you ever seen a fight crouched in a horse stance to beat it?
A friend said that this expression is difficult to understand, I have to say that the pop singer who's breath is very permeable, just according to the feeling to learn easier to comprehend, this is also an effective method. Personally, I think, female singers you listen to more "Zhang Huimei", she was born through the breath; male singers on the more speculation on the "Man Manjun", he is really rely on the breath in the singing, in addition, Jacky Cheung's breath is very good, but for teaching.
Second, high pitch
This is a favorite question of friends, in their words, because the high pitch "enough drag", huh? To add to this, there are many aspects to good singing, and you can't say that the higher the treble, the better the singing. Indeed, a good treble can give the climax of the song to add rendering power, but advise friends not to only know the value of the treble and ignore the bass, in fact, full of bass is also very infectious
Singing a high pitch, the breath must be to the abdomen, Dantian as the foundation of the Peking Chamber of Commerce, "Dantian gas" is also referred to as this! The voice position is also referred to in the Peking Opera.
Looking for the feeling 1: If you are a girl, there is suddenly a mouse on the shoes, what will you do? You would probably let out a long "ah~" sound, with a "falsetto" vocal position. After you calm down, you will "ah ~" a look, most of them can no longer "ah" up. Why? Because the moment you are startled, your belly is tensing up (think of the feeling of being startled, is it not the whole body tensing up?). Because of this foundation, coupled with a strong air flow (can be interpreted as singing breath), straight to the throat, the voice is not high. Therefore, you can understand the feeling of soaring high notes as "nervous", "invigorated", remember, everything to the abdomen as the foundation, to sing high notes is not to lift up the head to pull upward, is to feel the center of gravity down a kind of rebound force.
Find the feeling 2: ever seen a rubber hose? Want the water in the hose to soar farther how to do? Pinch the front end of the hose, a small gap, the pressure increases, the water rushes farther. In fact, soprano does not necessarily have to be very loud, some singers sing a lot of sound when singing soprano, we say that is with strength and lung capacity in singing, rather than in the use of breath and skill in singing. Think of the faucet theory and you should be able to glean something.
Find the feeling 3: There's a big rock on the ground, lift it up. As soon as you bend down, your mouth counts: "one, two, three, go ......", I think the word "go" you must have used the breath. I'm not going to say any more, feel it, what's heavy around you ...... huh? These are just some of the ways I've created to get you to feel the breath, not formal, but very effective.
We also want to tell you one thing, the ability to perform high notes with your own voice conditions, if the voice is born with a high pitch is a great advantage, such as "Sun Nan" is a typical high voice, high pitch rendition will not be so laborious. The singer's voice condition is not good, we have to rely on a lot of breath and method, but no matter whether the voice condition is good or bad, the voice is through the breath to sing, just like cigarettes to pass through the filter, the sound will be more beautiful to filter.
In addition, I also tell you a psychological method, high notes imagine that you are in the face of the vast sea singing, can not see the edge of the sea and the sky, such scenery is not worth you shouting?
Three ways to exercise lung capacity
There are many reasons why the lung capacity test value has been declining over the years, and one of the most important reasons is that there is a lack of effective methods of physical exercise and not enough time for physical exercise. There are many ways to exercise your lung capacity, three of which are briefly described below.
Method one Regularly do some chest expansion, arm vibration and other unarmed exercises.
Method two, endurance running exercises, pay attention to adhere to the regular, running and breathing with, distance appropriate, intensity should not be large.
Method three practice diving or swimming, in the water, not only the arm to keep paddling, but also to overcome the resistance of the water breathing, is a good way to exercise to improve lung capacity.
There are many other ways to improve lung capacity: playing soccer, basketball, running back and so on. It is important to note that no matter which method you choose, you need to practice consistently and often in order to be effective.
The mechanism of these exercises is: to increase the strength of the respiratory muscles, improve the elasticity of the lungs, so that the depth of breathing, deepen, improve and improve the efficiency and function of lung breathing, so as to achieve the purpose of improving the lung capacity test value. 2, *** sound and sound area
Based on the sound of the high and low changes and *** sound parts of the different applications, the formation of three sound areas: high sound area, middle sound area and low sound area
.
High voice area
Vocalization favors the head cavity *** sound, which is conducive to play the skills of the high voice area. When you sing, you feel a vibration in your forehead and cheekbones
. The sound emitted has the characteristics of falsetto. At the same time, we should pay attention to singing in the high voice area, nasopharyngeal cavity and soft palate
and other places and the movement of the muscles must not be contracted too much, so that the sound wave has no room to flow, which affects the overtone acoustics.
Mid-voice area
Vocalization in favor of uniform harmonic **** sound, is conducive to the play of the mid-voice area skills and characteristics. The middle voice area is the low and high voice area
articulation place, both the high voice area volume with the low voice area volume regulation and control of uniformity, but also to maintain the sound of the smooth and unified
one. This vocal range is a major part of vocal training. The music in the middle register is soft, loose and bright. To raise attention
is that the larynx, tongue and other muscles in singing, if the contraction is too much, but also produces a blockage of the sound flow, then both separated from the head cavity ***
sound, but also lost the support of the chest cavity *** sound, there will be a wrong sound.
1 low voice area < chest voice area>
Vocalization favors the chest **** sound, which is conducive to the singing skills of the bass area. When you sing, it is obvious that the chest cavity has a sense of vibration
movement, the voice is free, deep and have a deep feeling. It must be noted that, when singing bass, neck muscles, tongue
muscle if the contraction is too much, will lose the middle and high voice area of the **** sound, there is a dull and hoarse sound, the effect of singing
higher impact.
3, change voice area and the solution to the change of voice
I think the change of voice area everyone exists. Some people say, as long as the voice to sing to a high position, the voice change does not exist,
This argument is based on insufficient. To recognize the phenomenon of voice change is objective, from the psychological phenomenon of voice change do not
generate a sense of fear, to think of various ways to solve it, and to be creative to study it.
What is the voice change area? When singing, from the bass to the soprano, or from the soprano to the low, suddenly appeared
an uncontrollable "rupture jam" sound, suddenly feel the upper and lower voices are not unified, this unpleasant sound is
"voice change".
This unpleasant sound is "voice change".
There are many reasons for the "voice change", the main reason should be analyzed from the physiological aspect. Because the two vocal cords are not balanced in the use of sound,
one of the vocal cords is not taut, the balance of the arytenoid cartilage is lost, which produces a broken voice.
Or, the vocal cords are close together when producing a "true voice", and the vocal cords are "stretched" due to the force of the laryngeal muscles. In a falsetto voice, the vocal folds do not come together
, the laryngeal muscles are not as strong, and the vocal folds are more relaxed. These two vocal forces need to be well articulated in order to
unify the voice. If the articulation is not good, and the "*** sound volume" is not adjusted in time, there will be
a weak, torn or interrupted sound immediately. The breaks are usually produced on the high limit notes and on the notes that are close to the timbre change
. Sopranos are usually produced at E2, F2, #F2, and the "voice change zone" is usually a three semitone interval,
where the most variable note is called the "voice change point".
Because the physiology of each person's voice is different, the position of the transducer shifts.
Sopranos: Some sopranos do not have clear transitions, but dramatic sopranos have difficult transitions. The voice change is above and below #F;
Mezzo-soprano: This voice is more complex, with a wide range of tones and a wide variety of timbres. There are generally two voice change areas. One above and below F2. The
second ranges from #C up to F2. Dramatic and low mezzo-sopranos are in E2, G2, and lyrical ones are above and below E.
Tenor: most of the transitions are in #F, F2, including a part of G2, A2.
Baritone: high baritone transitions are in E, E2, F2, and low baritone transitions are in D2, #C2.
The way to solve the transitions
The Italian "American Singing Method" resolves the physiological phenomenon of voice change by using the technique of vowel mutation (i.e., closing singing)
. Add "o" and "OU" to the variation. For example, the word "mom" is an "a" vowel, and in the normal middle register the "a" sound is sung, and in the
vocalic register the "o" sound is added to change the "mao" sound, and then the "ou" sound is added to the "mou" sound after the vocal register is changed, and it becomes a "mou" vowel. After such
changes, a bright sound gradually emerges from the false sound brought about by the change of voice. When resolving a voice change, it is important to master the preparatory work of making a voice change before mentioning
it. When immediately switching from one vocal range to the next, it is immediately necessary to utilize the method of *** sounding in
mixed *** sounding in
various vocal range changes to avoid vocal range inconsistency, resulting in undesirable phenomena such as guttural and nasal sounds.
For example, when a soprano changes from the middle to the high vocal range, the point of voice change is usually on the F2 pitch. At this time, you should move forward one
two degrees on the E2-flat, stabilize the larynx on the E-flat, and correct the change of the vocal folds. And the use of vowel
variation of the technique, with a weak tone control singing, to the head cavity **** sound to regulate the main to go singing, singing to F2 when the voice will naturally break through
change of voice point, gradually appeared bright sound into the high vocal range, prompting the entire vocal range unified
Off singing is to use brighter a in the middle register, and then further bring in o to make the sound mellow, and then start using y in the voice-change area. tenor middle
The voice-zone a should be used more often, which can make the sound brighter and mellower. The baritone-mid-bass o should be used more often to make the voice thick and low. Training with a,
o,I vowels is the main way to unify the vocal range.
<2>New method of solving voice change by using the "Middle East" character sound
The national singing method uses the "Middle East" character sound to do vocal exercises, which is the fastest way to solve the problem of voice change and to expand the range of the voice. The first is to use the "Middle Eastern rut" as a vocalization exercise.
\\'Measuring the standard of vocal teaching, on the one hand, requires good teaching quality, but at the same time requires students to improve the level of singing fast.
In vocal teaching there are many contradictions, I think the most difficult to solve the problem is how to expand the range, to achieve the unity of the vocal range
one. There is an obstacle, namely, how to solve the human "voice change" resistance. The "voice change" is the human physiological changes are extremely
the complexity of the performance, is invisible, can not feel the larynx internal muscle activity disorder phenomenon. For many years, the "American singing
method" of "voice change" physiological phenomenon has been the use of vowel variation to solve the problem. Through this change, although in some vocal students voice change on the role, but there are still some students to solve the incomplete, slow expansion of the range.
I am in favor of biting the word for voice change. We have a very large number of Chinese characters, and we have to analyze the choice from the meaning and nature of the pronunciation of the characters. Then, what kind of characters are the most appropriate to solve the sound change? It is most beneficial to use nasal characters to solve "transcription" in order to expand the range of sounds
. The nasal category includes four ruts: Renchen rut, Yanqian rut, Jiangyang rut, and Zhongdong rut. These four ruts include quite a number of characters, and the best results can be obtained by focusing on the "Middle East Rut" characters. Among the words in the "Middle East Rut",
focus on the four words "empty, through, loose, thick" as the main training. These words belong to the nasal category, this kind of word itself
with a natural nasal **** sound factor, for example: "Tong" word, it is spelled by "t and ong", when singing "Tong
When singing the word "through", the beginning of the bite "t" quickly into the "ong" sound and have a prolonged get the feeling of headspace, the sound naturally into the
Head cavity **** Ming go. Because the "ong" sound itself with the head cavity of the natural *** sound factor, so that in the head cavity, ong produces
generated *** sound vibration, giving a person a wide feeling
"Middle East rut" of the word, from the physiological analysis, the laryngeal position naturally moved down, the root of the tongue is not raised, so that the oral cavity, pharyngeal cavity of the space
increase, the sound can be free flow, unimpeded, the sound change is naturally easy to solve. Thus, the "Middle Eastern Rut" is characterized by the following
: Middle Eastern tongue in the center of the throat, the throat feels loose, the mouth is half closed, and the nose is closed.
In addition to the use of the "Middle East rut" of the natural superior conditions, but also with the human body muscle pulling training.
The higher the pitch, the more the muscles pull backward and downward to push out the pharyngeal space.
Note: A is the starting point. 1 starts at A and begins to pull the muscles backward toward the waist, with the diaphragm moving elastically to the sides.5
Pulling the back muscles backward and downward on top of 1, the mental sensation is of pulling the muscles to pour out the space.1 remains at 5
. Soprano 1 pulls the muscle a little harder than alto 5.
Take A as a fixed point, note that the upward movement is sung downward, and the downward movement is stabilized.
Note: 1, 3, 5, i/ are upward scales, to place the 1 on a fixed starting point, 3, 5, i/ are upward, one tone is stronger than
One tone downward and backward force, that is, downward and backward slightly pulling muscles. The goal is to open the pharyngeal cavity and move the larynx down.
These three parts need to be adjusted appropriately. For example: C major key 5~7 to pull the muscles of the back waist, i.e. along the diaphragm as
main. 7~3 need to pull the muscles of the back, especially the back of the pharyngeal wall, backward and downward. 3~1 need to strengthen the pull of the neck muscles.
So, if you utilize the character of "Middle East Rut" to practice your voice, it will have the effect of the head being empty, the throat being loose, and the sound of the chest being open.
As long as to play to its strengths, and then according to the three requirements to go with the practice, will break through the barrier of the voice change area, so that the range of expansion
greater, the voice area unified." The purpose of the solution is to expand the range and unify the vocal range. Singing voice training is
to achieve the unity of the three vocal regions. In the singing of the song to make the voice smooth and soft and free, without showing any traces of voice change,
The whole song singing expression is complete. The unity of the three vocal regions, but also pay attention to the importance of the training of the middle vocal region, from the training of the middle vocal region
practice to get a beautiful mixture of sound, and then to the high and low vocal region gradually development. The sound is rich in musical expression, beautiful, and has a three-dimensional feel