* * * Ming
* * * The vocal organs mainly include chest cavity, mouth cavity and head cavity. The thoracic cavity includes the trachea, bronchus and the whole lung below the larynx. Oral cavity includes larynx, pharyngeal cavity and oral cavity. The head cavity includes nasal cavity, maxillary sinus, frontal sinus and sphenoid sinus. In singing, the proportion of using these * * * tunes is different because of the different music vendors. Generally speaking, when singing bass, the chest * * * sound plays the biggest role, when singing alto, the oral * * * sound is used more, and when singing treble, the main role is the head cavity sound. If we can make good use of these singing cavities correctly and reasonably and coordinate with each other, then I can get a mellow, pleasant, full and beautiful singing voice.
Singing posture
Eyes are the windows of the soul, so remember to keep your eyes open when singing, and don't squint for nothing.
The mouth is a trumpet for singing. Keep it open and loose. Remember to grit your teeth.
Moreover, when singing, the jaw retracts. The correct feeling should be that a straight line is formed between the lower abdomen and the eyebrows, and the neck is connected with the back and waist, so that the breath is unimpeded.
inhale air
Inhale vertically downward through the nose and mouth, and suck the air to the bottom of the lungs. Be careful not to lift your shoulders. When air is inhaled, the lower ribs will expand. On one side of the abdomen, the diaphragm will gradually expand, so that the abdomen will expand forward and left and right sides, and the lower abdomen will be forced to contract without expansion. The back should be upright, and the spine should hardly move, but both sides can move, and it must be extended downward and left and right. At this point, the gas is pushed to the sides and back and stored there, held there, and then exhaled slowly.
Feel happy after venting resentment
When singing with air, you should still breathe in. This is very important, just like inflating a bicycle, you can't relax at once. There is also a problem of keeping breathing. To keep breathing, you must keep breathing all the time in the process of singing, control your breath to spit out slowly, save your breath and exhale evenly. This is called breath confrontation. In the process of breathing and inhaling, we should pay attention to the feeling of stiff breathing and take the initiative to relax the whole body expression. The tense part is the diaphragm and ribs, and the ribs are like a full balloon. We should let the sound sit on it and pull it down, so as not to let the balloon float, that is to say, we should pull the breath and not let it lift up, which involves the problem of a breath fulcrum.
Respiratory support point
When singing, you should have a breath support point, that is, the voice should have a foothold. This foothold is to use diaphragm and inferior rib as support points. When we cough or laugh, we can directly feel its support. People who have not been trained in breathing often blush, have thick necks, prominent veins, stiff singing, unable to go up in high notes, unable to go down in low notes and so on. These are all related to the failure to maintain the breathing support point. Instead, I mastered the breathing method and had the feeling of supporting point. Then when I flash and sing, I feel that the sound seems to fall on the breath we control, that is to say, the sound is supported by breathing, which is not only pleasing to the ear, but also free to make various changes.
qigong
1, breathe slowly and breathe slowly. This is a method that we often use in training and singing. That is, the chest naturally stands up, and the breath is slowly sucked into the lower part of the lung with the nose and mouth, the diaphragm drops, the rib muscles on both sides expand outward (that is, the waist circumference expands), and the lower abdomen contracts inward. This kind of inhalation needs natural relaxation, smoothness and gentleness, just like how we feel when we smell the flowers. The feeling of smelling the flowers makes us inhale deeply, just like doing deep breathing exercise, but don't inhale too hard, just hold your chest and upper abdomen gently, and then exhale slowly. Pay attention to keep inhaling when exhaling, and control the ribs and diaphragm, that is, control the breath to make it spit out slowly, steadily, evenly, continuously and coherently. There is a feeling that can help us understand the state of keeping the ribs and diaphragm when exhaling: it is the action of slowly blowing off the dust on the table after inhaling slowly. We need to blow long breath here, that is, we are doing long breath exercises. We often say: "Long audio video blows dust, short audio video blows wax", which is a feeling of exhaling.
2. Urgent breathing, urgent breathing, urgent breathing means that in a very short period of time, the breath is quickly and deeply sucked into the lower part of the lung through the nose and mouth, and then kept breathing, and then exhaled according to the requirements of slow breathing. We often use it in singing practice, because you have a long pause when inhaling between sentences and words, and you often inhale by "stealing gas" without being found. This is the function of fast inhalation and slow respiration. In order to cultivate the control of breathing, we can take some etudes and some phrases in songs to do word practice, and the effect is good. Caruso said that whether a singer can set foot on the road to success depends first on whether he has established a solid foundation for the manipulation and application of respiratory organs.
The vocalization of singing
1, larynx and vocal cords
Laryngeal and vocal cords are the vocal organs of singing, the core parts of singing, the fortress leading to the whole singing, and the golden key to open the treasure house of singing art. Therefore, it is very necessary to understand and clarify the position and state of laryngeal and vocal cords when singing. Generally speaking, the throat position is lower when singing than when talking (just like our throat feeling when inhaling deeply, because the throat position is slightly lower when inhaling than when resting). Many people refer to the throat position when inhaling as "horizontal position". In the transformation from word to word and from sentence to sentence when singing, the throat should always be in this position, and it can't move up and down from the horizontal position, nor can it move left and right. Of course, the stability of laryngeal position is relative stability in motion, not rigid stability. Just like a ball floating on the water is always stable on the water, if the ball is compared to the throat, then the state of the ball floating on the water is the same as that of the throat in the inhalation position. Therefore, when singing, the throat position should always be in a low and free stable position, and the throat wall is open.
2. Open your throat
Opening the voice is a very important central link in singing training, which directly affects the quality of the voice. "Opening the throat" means that the throat is stable in the correct position, the tongue flap is actively contracted upward into an arch shape, the base of the tongue is relaxed, after the lower teeth are leveled, the lower jaw is opened, the chin is relaxed, and it is naturally pulled down later. At this time, my throat opened. So how can we help beginners "open their throats"?
1) "yawning" state "yawning" state can make the mouth open naturally, relax, lift the flap and increase the space in the mouth. Therefore, when singing, don't clog your throat, open it and let the breath come out freely. The state of yawning is really a good way to open the throat, and it also ensures the singer's good singing state. In normal practice, you can also yawn with your mouth closed. When yawning with your mouth closed, your inner state is also open and upward. If we can keep this state when singing, your voice will not be "white" and "flat", but "vertical" and "round".
2) Open your throat with a smile. When we say "smile", we don't just laugh, but we mean to lift the "laughing muscles". The "smiling muscles" are lifted to open the nasopharynx and the mandible, and the smiling muscles (cheekbones) on both sides of the face are smiling. This smiling state can open your throat and give you a high note. "The state of singing is yawning and laughing", which is very incisive.
3. Good alto
Alto is the basis of singing. Without a good alto, there is nothing else. Pay attention to the practice of alto, work hard on alto, and don't rush to sing high notes. When practicing, you should start from the middle and low volume, after a considerable period of consolidation, and then gradually develop to a higher or lower range. Beginners must follow the principle of gradual progress from easy to difficult, otherwise they will not get the correct high notes at the beginning, but will destroy the vocal cords. The alto should be bright, relaxed, smooth and effortless, so as to develop upward and open the way for singing high notes. The voice of the alto should be natural and free, with beautiful timbre and flexible voice. The important sound area of each voice is the alto. The alto should take a deep breath, breathe naturally, be elastic, positive, have a strong point, and have a stable and relaxed throat. No matter how high or low the sound is, the feeling of the larynx is in one position, and the sound should be emitted, but the sound should keep the same shape and position from beginning to end. We often metaphorically say that "the sound should be put on a line like a pearl", and so on, that is to say, the sound should be coherent, unified and mellow.
4. About the voice exchange area
When you sing from the bass to a place, it will be more difficult and easy to get stuck. This is the voice changing area. At this time, you must continue singing on it in some ways. Singers should first basically master the singing method in the vocal area, and then make specific adjustments according to different people. There are several ways to practice:
1) The action of "panting" is that the singer makes a panting action when he sings a tone with inflection (while pronouncing vowels), which seems to be a "startled" physiological state, making the larynx slightly backward and the oropharyngeal cavity fully open. At the same time, the breath from behind the gums moves up gradually with the pitch when singing alto, and the mouth moves up gradually. At this time, the voice naturally entered the voice exchange area.
2) Vowel conversion technique is to let the voice cover up a little in advance when singing to the voice change area, the voice is darker, the air output is smaller, and the small tongue is raised a little. When you encounter a voice change point, one thing must be emphasized, that is, when you find the voice difficult to sing, or even feel that the voice is going to break, don't change the shape of the vocal organs, don't move around, work hard, just keep singing with the voice. In fact, the sound change point is always a "mixed sound" problem, that is, the combination of true and false sounds. Covering up some sounds is the composition of falsetto, but it can't be completely false. It must be mixed with the real sound, so that there will be no traces of sound connection and the sound will not be empty. Therefore, learning to change the transition of voice points will also learn the singing method of falsetto, and the position of falsetto is of great benefit to singing and solving the unity of voice.
How to practice vibrato
When practicing the vibrato of the tip of the tongue, the tip of the tongue is gently rolled up (light to no force), gently touched in front of the hard palate (light to feel little contact, in short, relaxed), and blown with the continuous exhaled air flow to make it vibrate by itself. After learning to blow the tip of the tongue, learn to vibrate the vocal cords at the same time. I'd rather let the tip of my tongue vibrate for a while when I first started learning. In practical language, shaking two or three times may be enough. The uvula vibrato can even make the uvula vibrate by gargling. It is conceivable that in the strong wind, the air will flow quickly on both sides of the tall chimney, and the chimney will swing. Because it is blown by airflow, it is said to be the result of Bernoulli effect. The principle of that kind of movement is different from that of flashing sound. The flash on the tip of the tongue requires people to use nerves to direct muscles to make the tip of the tongue move. Bernoulli effect makes the wings of aircraft generate lift and can fly into the sky. In other words, the streamline of the upper surface of the wing is longer than that of the lower surface. When the plane moves forward, the speed of air flowing through the upper surface is faster than that of the lower surface, so the negative pressure of air flow on the upper surface of the wing is greater than that on the lower surface, and the plane gains upward force. When two ships get too close, they will approach or collide with each other, which is also the result of that negative pressure. The vocal cords can vibrate mainly because of Bernoulli effect and elasticity, not under the command of nerve impulses. One more thing. At the beginning of practicing the tip of the tongue vibrato, the tip of the tongue gently rolls up and touches the upper jaw. At the same time, the edge of the tongue surface should also work to block all the exits in front of the mouth. The edge of the lingual surface is tightened with a certain force on the left and right palates and gums. They don't participate in vibration, but narrow the petals on the tip of the tongue and make the tip of the tongue elastic. In other words, the edges on both sides of the tongue surface are motionless. The pressure of exhaled gas will push the tip of the tongue away. If you can't blow the tip of your tongue, it may be that the tip of your tongue is too tense (silent), and it is more likely that the two sides are leaking (with the sound of H ...). If you hear a th when you blow, and then the tip of your tongue stops moving outward, it must be inelastic, that is, the two sides are too relaxed, or the tip of your tongue is too tense, or it may be that the tip of your tongue is not rolled enough. If you hear a tx, your tongue is too high and nervous. The tip of the tongue valve is adjusted to be smaller, which may be more prone to vibration. If you push the tip of your tongue up too tightly, you will hear trrr, and you will be very tired. Trjia…… ... is the driving style of drivers in Northeast China. The key is to learn to relax the vibration of rrrrr. There are two more points: 1. Add consonants with the same pronunciation as vibrato and experience the vibration of the tongue in syllables. Such as: du-/tru/. When practicing, lengthen the sound, pay attention not to the tip of the tongue, but to the experience of airflow The vibrato at the end of syllables is difficult to pronounce. You can add a vowel at will according to your personal situation and then weaken it. Don't control it, and don't try to go from blinking, tongue rolling to vibrato. Especially don't control your tongue. Think of the flag in the strong wind.
To practice vibrato, you must first know how it comes from. There are only two ways. First, two tones with small interval difference appear alternately; Second, breath control makes the same pitch reappear intermittently. The "trembling Adam's apple" is closer to the second one, but it is not breathing, but the realization of glottis opening and closing, which is extremely difficult to control. Because the opening and closing must be highly consistent every time, otherwise the pitch can't be controlled. Bass is easy to say, but when tenor is high, the vocal cords are closed, leaving a narrow gap. It is unrealistic to control it so finely, and it is often vibrato.
So you should use breath control, because at that time, your vocal cords can keep a similar state all the time, regardless, breath intermittently impacts the vocal cords, so you have time to rest the vocal cords, so it lasts longer. But this method needs good breath control, how long to stop, how long to start and how long to keep. When practicing, you can slow down, practice slowly first, then speed up and vibrato. This is what many friends pursue, hehe! Many people will feel that without Tik Tok, they are not professional enough. I don't know that vibrato is just an expression in songs. Can't you sing a good song without vibrato? Actually, it is not.
The essence of vibrato is that when singing with breath, strong airflow impacts the mouth and the back of the nasal cavity, and the lower abdomen generates airflow due to the pressure of breathing. I don't agree that pop music must produce vibrato so rigidly. Some singers "do" vibrato through the shaking of the Adam's apple, such as "Andy Lau" and "Jeff Chang Shin-Che Xinche" in their throats. These are some tricks or a style, but in many climax parts, there are also strong airflow vibrato. Therefore, breathing is the most basic. With the breath, there will naturally be the impact of airflow to produce vibrato. For pop songs, some low-key places don't need to breathe word by word like singing folk songs, sometimes like whispering, sometimes like sighing helplessly, and there won't be a strong airflow to support your vibrato. At this time, you need to use some tips to modify your ending. I don't think the vibrato of pop songs is completely prominent. Sometimes the Adam's apple shakes and the voice in the throat can be controlled, as long as the whole atmosphere of the song is not affected.
If a friend without vibrato must be drooling over vibrato, let's start with imitation-listen to Andy Lau's songs more. I feel comfortable with his vibrato. I started by imitating him.
But you can also think so. I think the singing method that emphasizes vibrato is popular in this historical period, and it may not be popular in five years. Why is there no vibrato? Although vibrato can effectively render the atmosphere of songs, it is deep and penetrating, but I also like listening.
Make your singing more beautiful-singing skills
The first part talks about singing skills, the second part talks about recording skills, and the third part talks about singing consciousness, music sense and common sense that is constantly maintained.
The first part, let's talk about singing. First of all, it should be pointed out that no matter how sophisticated your equipment and high technical level are, it can't replace flexible singing skills. If you want to impress others with your work, singing is the key.
A singing skill:
Pitch and rhythm
There are many basic forms of music, but the most important ones are pitch, rhythm, timbre, speed, dynamics, harmony and so on. The most important things here are pitch and rhythm. It can be said that pitch and rhythm are the basis of a musical work. In order to sing a song well, accurate and stable singing is the most fundamental and basic content. Without this guarantee, everything else will be inferior, and there are many reasons for poor intonation or wrong rhythm. I can sum up the following points:
(1) Lack of musical sense leads to poor intonation or rhythm. Music is an art of hearing, but art has talent and understanding. Because people have different sensitivity and ability to music, their understanding of pitch and rhythm will be different. This is an objective existence. Therefore, due to the lack of ability to distinguish between pitch and rhythm, you can't distinguish and feel your own pitch and rhythm when singing. It should be said that there is still such a situation, and there are not many 163888. You can try this method: randomly create a melody on a fixed pitch instrument to see if you can imitate humming, or play a rhythm to see if you can shoot better with your palm. This is a way to test your musical literacy. Friends who have such problems mainly listen to the original songs and carefully analyze the pitch and rhythm of the songs. You can try to listen and sing more and slowly reach a state of "inseparable songs", and the pitch and rhythm will gradually become accurate. For friends who have this problem, great patience and hard work are needed. But you will find pleasure in learning music in this process!
(2) Poor singing leads to poor intonation or rhythm.
There is a sense of distinguishing between pitch and rhythm, but without correct technical methods, the pitch is inaccurate and the rhythm is unstable. For example, when I was studying in college, one of my classmates was a vivid example: he studied piano since he was a child and his piano skills were excellent. Generally, the piano player in primary school has a better judgment of pitch rhythm than ordinary people, and he practiced his ears well at school (note: ear training is a music subject, mainly to train his ears to judge pitch), but he always sings out of tune. Why shrimp? ! This is because he is not a vocal music major, and his singing skills can't reach a good state. He was short of breath and talking at the top of his voice. Of course, the rhythm is not allowed to mess around! Therefore, it is not enough to be conscious, but also to have certain singing skills to achieve "unity of form and spirit." If so, friends should pay more attention to training their breath and vocalization, so that the pitch and rhythm can meet the standards required by their hearts!
In addition to the above two situations, such as when recording, the ear can't hear the accompaniment due to technical problems, etc., which will also affect the pitch rhythm, which will be discussed later in the next article.
(2) Singing skills.
(1) Breath and breath
Anyone who has studied physics knows that the physical cause of sound is that external factors impact the object, and the object vibrates to produce sound waves of different lengths, which causes the surrounding air to vibrate to produce sound. Therefore, the power source of singing is breathing, and the use of good breath can make the physical characteristics of vocal cords play a better role, thus singing a good and complete song. Therefore, the use of breath is one of the most important skills in singing. Several breathing methods are named in common words)
1. Sigh and inhale:
As we all know, sighing is a common phenomenon in our daily life. It's relaxed and downward. Conducive to the relaxation of inspiratory muscle groups, so as to better inhale the breath. The specific way is to sigh first and then inhale. Your mind is mainly thinking about sighing, not inhaling. When the breath is exhausted with the sigh, that is, the work of the expiratory muscle group is completed, and then the inspiratory muscle group will immediately start to work-inhale, and this cycle is automatically completed. If you want to inhale, your inspiratory muscles will always be working and cannot relax, so it is difficult for you to inhale normally. Note: when you sigh, just breathe there, and don't make any forced actions artificially. Keep sighing in the process of singing, every phrase is like this, forming a good breathing cycle. Then practice sighing and inhaling in combination with singing. Try to sigh (spit) out your breath before you are ready to sing, and then start singing when the breath is naturally inhaled.
2. Odd-smelling inhalants:
Smelling fancy inhalation method is easy to make the air suck deeply, and it is easier to understand and master without inhalation sound and unnecessary action. When smelling the flowers, people's mood is particularly pleasant because of the flowers. It is a feeling of relaxation and excitement to distinguish them with special care. Specifically, when inhaling, the upper body is completely relaxed, the waist line is very comfortable to relax, and then the chest also has a sense of relaxation. The increase of the internal space allows the breath to flow naturally. This kind of inhalation is both relaxing and moderate, which makes people very excited and makes the chest feel spacious. Singing with this feeling of inspiration has a smooth breath and a mellow voice.
You can open your mouth or close your mouth. When you shut up, you can't close it too tightly, which will affect the speed and flexibility of air intake. When simply practicing inhalation, you can use closed inhalation. When singing, it is better to open your mouth naturally and inhale through your nose at the same time. Whether you inhale with your mouth closed or your nose open at the same time, the most important thing is to experience the feeling of breath flowing into your body.
3. Accidental inhalation
Sudden inhalation is to use the rapid physiological response of people when they are surprised to achieve the purpose of rapid inhalation. This kind of inhalation is fast and deep, which can make the respiratory muscles complete the cycle of contraction and relaxation in an instant and exercise the rapid flexibility of the respiratory organs. This inhalation is also called "panting". It is better to express sadness and passion.
For some methods of breathing, refer to the papers of the Central Conservatory of Music. )
Why do you want to give this breathing such a name? It is mainly to let everyone master the requirements of singing breathing in a familiar state in life, but it should be noted that singing breathing is definitely a special kind of breathing, which cannot be completely equivalent to breathing in life. How to use breath is the highest state. Personally, I think it is the highest state to serve the artistic conception of songs and send and receive freely. Therefore, different songs have different requirements for breath, mainly as follows:
(1) Breathe quickly and spit slowly: some songs switch between phrases quickly and have small air gaps, but phrases develop very long, so you need to breathe quickly and spit slowly, such as red *, and you should be fully excited when breathing, with a positive diaphragm and even breathing. This is the most difficult situation.
The specific method is: inhale quickly, pause slightly, and exhale slowly. You can understand it this way: imagine that a long-lost friend suddenly appeared in front of you, and you gasped in surprise, almost crying and stopped in this state. After a few seconds, it seems that there is an external force pushing back the lower abdomen, and I feel that the lower abdomen slowly exhales in the confrontation with this external force. At this time, the diaphragm has played a strong supporting role. (2) Breathe slowly and spit quickly: Some songs are written very short between phrases, but the development of phrases is very small. When you sing, you have time to prepare for breathing, but when you exhale, you should be quick and don't delay. Clear and direct.
(3) Suck slowly and vomit slowly: This situation mainly appears in some slow-paced love songs. Because the speed of the song is not fast, the whole melody is written in a long time, so you can inhale slowly and sing slowly. The difficulty here is that you can't get angry casually. Although it is not too difficult to ask for breath in this situation, once you get angry, you will find that the pitch is wrong, the rhythm is wrong or the voice is not in place. The author occasionally has this problem. So in this case, the continuity and stability of breath are needed.
(4) Breathe quickly and exhale quickly: This situation is mainly in some fast-paced songs. There are even requirements for strength.
Compared with the above three, this is relatively easy.
These are several situations of singing and breathing. You can practice according to your own situation, according to your familiar songs and fragments that meet the above situation, or create some vocal music that meets the four situations, and gradually experience the experience and feelings of breathing under different situations. There are some simple ways to train breath, such as some exercises to increase vital capacity, but a large vital capacity does not necessarily mean that breath is used well. Large lung capacity should be combined with the scientific use of breath to be more powerful.
(b) Pronunciation and vowels
As we all know, the last song is the lyrics, so enunciation is also an aspect of singing technology. The general requirements of singing language are: accurate and dexterous initials, good vowel form, natural and timely rhyme, and remembering Yin and Yang. We must be clear about priorities and handle the tone and situation. The prefix must be bitten correctly, but not to death. When the prefix is bitten, it should naturally transition to the stomach in time. After pronouncing words, stop the sound and rhyme in time, and pay attention to the connection of the three, so as to make the transition natural and smooth and become a whole. In addition, pinyin should be sung accurately, such as "L" and "N", "flat tongue" and "upturned tongue", "F" and "H", "front nasal rhyme" and "back nasal rhyme" should be distinguished and the tone should be accurate.
Every word has a vowel. In fact, many times we have to practice some basic vowels and attribute the ending word to the vowel of this word when singing. For example, in the song "Admit Your Mistake", the vowel "I" that the author is good at is used very well. Attributing words to vowels is what we usually call "returning to rhyme", which is a way to simplify complicated things.
(C) *** and vibrato (also known as overtones)
Our vocal cords are the main organs of our human body, but if we only rely on the vocal cords to make sounds, our vocal cords will be very fragile. The human body is a big structure and a big cavity. If the vocal cords emit sound, the quality and brightness of the sound will be greatly enhanced by some shock wave and other parts of the body producing * * * vibration with similar frequency, which is called * * * sound.
There are many cavities in the human body, such as nasal cavity, head cavity and abdominal cavity. Generally speaking, it is better for us to use the head cavity * * *, because the head cavity * * * can produce ideal results. When we sing, we can think that our vocal organs such as vocal cords and mouths are connected with our heads, and the sound is thrown up!
Training * * * sounds can be combined with vowel method. For example, ah vowels are suitable for practicing head cavity * * * sounds, and m sounds are suitable for practicing nasal cavity * * * sounds. When you feel tiny numbness in your body parts and vocal cords, it means that you are producing * * * sounds.
As for many vibrato singing methods we usually use, it is also the role of * * *. Because of the * * * sound, other cavities cause * * vibration, but they are not completely consistent with the frequency of the vocal cords, so they will produce a slightly different pitch from the vocal cords. When two kinds of sound effects are put together, there will be slight sound fluctuation, which is vibrato.
The method of training vibrato (overtone) is also training * * * sound. * * * sounds with some breath will naturally produce vibrato (overtone).
(D) Psychological adjustment and relaxation state
Singing is a very advanced physiological and psychological activity, and having a correct physiological state is a prerequisite, but a correct psychological state is also essential. Sometimes poor psychological state will directly lead to the change of singing physiological state. Therefore, it is also important to have a good mental state when singing.
No matter when recording or singing, my friends often feel nervous and in a bad state, including myself. At this time, the adjustment of mental state is very important! First of all, we can use the method of association to associate more life scenes that are basically consistent with the content of songs in our own lives, so as to try our best to have a mental state in our lives. Secondly, you can sing some simple and short practice songs or hum songs to fully relax the vocal cords. You can also yawn, put down your throat and return to a very relaxed state. At the same time, I suggested that my nervousness can't solve any problems, and I can only get better if I relax.
Because singing is a technical activity, like other technical activities, it needs long-term repeated training to make all vocal movements return to a state of human natural science. Moreover, popular singing has always been controversial in the field of music pedagogy in China, and it is in an immature period. Therefore, we should think more, experience more, feel more, and experience some unique and proprietary skills and technologies.
About recording technology and singing consciousness, common sense and daily maintenance of musical sense cultivation will be mentioned in the next article. I also hope that everyone can make more suggestions, make more corrections and discuss more, so that all friends can improve and make progress! Thank you!
Singing skills
The most important thing in singing is not to remember the melody and lyrics of this song, but to understand the feelings and meanings of this song. . . Because singing is to express the feelings of this song in our voice and sing it to the audience. . . Think about it. If we don't know anything about this song and don't understand the lyrics, I think no matter how good the singing is, this song will be mediocre. . . .
Secondly, after listening to the songs recorded by many friends, I found a common problem, including myself, that I have made such mistakes. . It is when singing high notes, especially men like to raise the Adam's apple to a very high position. At first, people will think it is easier to sing high notes like this. Actually, this is not right. If you just blindly pursue the pitch of the treble, then the treble will appear pale and weak after singing, and it will float around. . . And when you sing a note, if you want to play a note, it will be difficult and easy to break. . . Of course, this is very harmful to my voice, and my voice will be finished after a few songs. . . . Directly from pop to rock. In fact, the vocal position of treble is behind the upper jaw, and the Adam's apple should be pressed down, so that our mouth and nasal cavity will make a * * * sound, and the treble will be more rounded. . A little stronger is that the so-called treble should stand upright, be more infectious, and the voice will not be very tired and more inclusive.