In order to pronounce, our vocal cords must be able to resist high pressure from below. Someone asked, under high pressure, will the vocal cords make a sound, and will they break the vocal cords by shouting? No, as long as you keep the correct breathing and singing posture, you won't scream. As for the position and cover-up of high notes, how do you position your high notes to shout? Let's start from the bottom, go up half a note, and stop at #f2, G2, # G2, in groups of five notes. Don't shout too much at first, because your breathing and singing posture may be wrong from the beginning. You should correct it while singing. When all parties cooperate, you might as well shout more. When #g2 shouts, a2 is another way of breathing. We know that when singing high notes, we should use high pressure to press the breath up. In fact, you need to use waist qi at this time. After we shout a2 with waist gas, we shout bb2 with the same gas. Generally speaking, people who sing high notes are born with high notes, but we never use them. A girl has no vocal training and can only sing to f2. But when she suddenly meets a horrible thing, she can't help screaming, which may reach f3 above hign C, but she won't make such a high voice anyway. So don't worry, boldly shout high notes. Just shout more. If we also have a chance to scream when we meet a very unexpected thing, we must remember the shouting posture and use it to sing high notes. That's right. Singing high notes is different from singing low notes. It is to press the air into thin lines and impact the vocal cords. When the diaphragmatic force has reached its peak and cannot be pressurized, it is necessary to use lumbar force. The lobe of the lung is larger than the tip of the lung, that is, the lower part is larger than the upper part. The apex of the upper lung is restricted by ribs and cannot be expanded any more. We can spread out from the bottom rib with lobes. With waist strength, you first insert your hand into your waist (don't pay attention to abdominal muscles at this time, it will naturally work when inhaling), suck the air around your waist, feel the front and back waist swell up, then hold your breath (open your mouth), and pull your waist and ribs in hard, and your chest will stand up, and you will feel the pressure on your upper and lower jaws. This is how waist strength is used. How to sing high notes 1 Human singing instinct. Have you ever heard the sad song of a blind girl on a rainy night? Have you ever heard of happy folk songs sung by men and women? These people have no vocal training, but their singing also touched you, because they gave full play to their natural singing instinct. Everything, including breathing, vocalization and singing, can't be divorced from natural conditions, and all are born according to nature. Regrettably, we often look for some "shortcuts" and "secrets" instead of abandoning this natural condition, which is very sad. When a singer sings, the function of the throat is automatic, but the heart can control it. When singing, the movement of the throat is completely spontaneous. When a singer sings, what sound he wants to sing, the tension of vocal cords and the number of oscillations will be exactly the same as his thoughts. Of course, you have to use the strength of diaphragm, abdominal muscles, ribs, mouthpiece and so on. A newborn baby doesn't know these things at all, but he can make good use of those powers. When he cried, he cried very sadly. When he laughs, he makes a pleasant tone. This proves that people are born with the ability to use voice and expression freely. Second, shout out the high notes first. When we do any kind of sports, such as shot put, we must first have the power to lift the shot put. In order to increase the strength of hands and feet, Wushu practitioners practice carrying water first. Only when your hands and feet are strong can you not fly out when dancing broadsword. In order to pronounce, our vocal cords must be able to resist high pressure from below. Someone asked, under high pressure, will the vocal cords make a sound, and will they break the vocal cords by shouting? No, as long as you keep the correct breathing and singing posture, you won't scream. As for the position and cover-up of high notes, how do you position your high notes to shout? Let's start from the bottom, go up half a note, and stop at #f2, G2, # G2, in groups of five notes. Don't shout too much at first, because your breathing and singing posture may be wrong from the beginning. You should correct it while singing. When all parties cooperate, you might as well shout more. When #g2 shouts, a2 is another way of breathing. We know that when singing high notes, we should use high pressure to press the breath up. In fact, you need to use waist qi at this time. After we shout a2 with waist gas, we shout bb2 with the same gas. Generally speaking, people who sing high notes are born with high notes, but we never use them. A girl has no vocal training and can only sing to f2. But when she suddenly meets a horrible thing, she can't help screaming, which may reach f3 above hign C, but she won't make such a high voice anyway. So don't worry, boldly shout high notes. Just shout more. Third, breathing and posture If we also have the opportunity to scream when we encounter a very unexpected thing, we must remember the shouting posture and use it to sing high notes. That's right. Singing high notes is different from singing low notes. It is to press the air into thin lines and impact the vocal cords. When the diaphragmatic force has reached its peak and cannot be pressurized, it is necessary to use lumbar force. The lobe of the lung is larger than the tip of the lung, that is, the lower part is larger than the upper part. The apex of the upper lung is restricted by ribs and cannot be expanded any more. We can spread out from the bottom rib with lobes. With waist strength, you first insert your hand into your waist (don't pay attention to abdominal muscles at this time, it will naturally work when inhaling), suck the air around your waist, feel the front and back waist swell up, then hold your breath (open your mouth), and pull your waist and ribs in hard, and your chest will stand up, and you will feel the pressure on your upper and lower jaws. This is how waist strength is used. As mentioned earlier, F2-# G2, we need to use the contraction of abdominal muscles to increase the pressure. When you get to a2, you need waist strength. At bb2, because only a small amount of air (but high pressure air) is needed, just opening the upper lip is like yawning. We need to show our upper teeth, put the tip of our tongue flat on our teeth, and then we can sing bb2. From bb2 above to high C above, the method is the same as bb2. Here's another example of singing high notes with waist strength. Singing high notes with the strength of the waist is equivalent to inflating a long balloon. Squeeze the lower part with your hand and the upper part will swell. It's like the diaphragm has risen to the top and can't rise any more. We inflated the waist, and then the whole waist and the open ribs below contracted inward, and the chest protruded, just like holding a balloon with our hands, creating a strong upward airflow, which is exactly what we need to sing high notes. Fourth, close and cover before learning to sing, close when singing high notes! At that time, it was really "like falling in the clouds and fog." And this word is still used in China. Because I don't know the true meaning of closeness, I don't know how many tenors have been hurt and how many good voices have been ruined. My understanding of closing is: close the box below and open the box above. When we sing high notes, we need to sing with a loud voice, that is, to raise the soft cover. We open the upper lip to improve the soft cover, and at the same time we need to push the soft cover away with the strength of the waist. As for the word "cover up" used by some people in China today, I think it is better. It means that the treble should not be too white, but should be covered, just like a bowl covered with treble. I have asked many teachers to explain the approach problem, but I can't get the result. Then I went to Italy and asked a teacher. The answer is: we have never said this word in Italy. How to sing when "off" As for today, it is very wise for us to use "cover up" instead of "approach". When we sing high notes, our upper jaw lifts and the soft cover lifts (yawns). The air pressure pushes up and gathers on it, forming a dome-shaped space like a church, which is to let the gas fill this space, thus making a beautiful treble. If the top doesn't open and the air can't get up, where is the treble? So "covering up" also means that the sound is concentrated upwards. We can do another experiment to find this feeling: when we yawn, we will feel a chill feeling in the upper jaw (which we don't usually feel), that is, there is a space above, and the breath has entered. 5. The higher, the easier it is. When we practice bb2, we should say that we have broken through the difficulty of high notes and can easily sing b2, C3, # C3 and D3, because there is not much difference between singing these sounds and singing bb2. My throat is smaller when I sing bb2, because the bigger my mouth, the smaller my throat. Therefore, you don't have to be afraid of higher notes. What you need is shortness of breath to support the high notes. Shortness of breath comes from hard practice at ordinary times. The fulcrum and confrontation of intransitive verbs If we lift a pair of stone shoulders with both hands, our feet step down, and the land plays a role in lifting our feet. Our hands push up and the stone shoulders press down. Thus, there is power in all four directions, with the foot confronting the ground and the hand confronting the stone bear. Our body is equal to the air column, and the lower abdomen and vocal cords are the two fulcrums of breathing. The upward breath is blocked by the vocal cords, and there is also the problem of "force" confrontation. So, does the fulcrum of the lower abdomen change when singing? If there is a change, is it an increase or a decrease? This question is controversial. When singing, the breath keeps flowing out, the air column is getting shorter and shorter, and the lower abdomen is also inward, helping the air that oppresses the lungs to exhale at a certain flow. Under such circumstances, how can you always put the "fulcrum" in a fixed place without moving up with the use of breath? However, we should not forget that although the "fulcrum" moves upward with the exhalation of breath, we must keep the downward pressure. Imagine if we want to get something very high, but we still can't get it by reaching out, then we have to put a box under our feet. If you still can't get it, you can only add another box, so the "fulcrum" will not be improved. How is it possible to stop there?