Singing skills The interpretation of songs requires many aspects of performance. The first is of course the sound. This is a very professional knowledge, including breath, voice, oral cavity, way of articulating words, etc. In future articles, I will share what I know with you as much as possible. The second is emotion. This requires the singer to have a strong understanding of the words and melody. Many friends put all the emphasis on the sound part when singing and ignore the emotion. This will never make a good song. The reason for paying too much attention to the sound is because the singer's ability is limited. During the singing process, he always thinks about where to pay attention to his breath, where to pay attention to ventilation, and where to prepare when the high note is approaching. This is inevitable. . Therefore, if you want to sing with both voice and emotion, practicing is very important. When your voice practice matures, you will focus on your emotions when singing. There is a saying that goes well, songs are not sung with the mouth, but with the heart. If you practice your vocals to the point where you have a clear breath and perfect proficiency, you can inject emotions more freely into your singing, and your interpretation of the song will be more infectious. The third is feeling. It is emphasized here again that the feeling of music is innate, and it is as much as you have. The musical feeling that can be compensated for in the future is very small. Pop songs need the feeling of pop songs, and folk songs need the feeling of folk songs. For example, if you ask Yan Weiwen to sing "Nothing", I guarantee that a lot of people will laugh! Singers have different feelings and handle the songs in different ways. Some handle them very plainly, and some handle them excitingly. These treatments are very subtle, such as a small breath, an emphasized accent, a long drag without breath, or a sudden ending... these can only be understood. The fourth is rhythm and pitch. Have you ever seen a child over 3 years old who can play a fill-in rhythm after hearing a melody? Have you ever seen a 3-year-old child singing live? His father accompanies him on the accordion and changes the pitch at any time. Is the pitch he sings accurate? Have you ever seen an 8-year-old child who is asked to hum the sound of "1" in any tone such as "E flat" or "C sharp" at any time without hearing any sound? After humming, press Is the verification completely accurate? This is talent, and singing songs requires such a foundation. Although it is not as outstanding as them, it must not be weak. The fifth is quality. This is the difference between amateur singers and professional singers. In fact, just in terms of sound, emotion, feeling, rhythm, and pitch, many amateur singers are no worse than professional singers. The difference lies in quality. Do you know your body shape and expression when you sing? You may have a vague image of what you imagined yourself to be like when you were singing, and this image is probably the image of the original singer of the song you sang. But these are all your imagination, and the image you imagine is almost perfect. Do you know what everyone sees? Have you ever filmed one of your official performances with a camera? In fact, you can tell whether you are an amateur or a professional with your first look or words on stage. The qualities mentioned here also include knowledge of music theory, knowledge of musical instruments, knowledge of music history and knowledge of music knowledge, etc. Of course, there are many professional singers who are not comprehensive, but I personally think that if you want to be a professional singer, you should implement these , must be worthy of the word "professional". Understanding Lyrics Before learning a new song, how many times have you read the words in your head from beginning to end? How many times have you tried to figure out the writer's thoughts and the artistic conception he expressed? For a song, whether it comes with lyrics or music first, both authors carefully try to figure out the artistic conception and thoughts that the other party (the lyricist or composer) wants to express. If it comes to you, you will completely ignore their good intentions. , I don’t think it’s appropriate to just sing based on my own feelings. Some individual singers like to express themselves in this way according to their own understanding. This way is not bad (and I also like it), but I will first understand the author's intention before using it. Besides, not every song is suitable for you to play whatever you want. There are some words and music that you can't find a more suitable expression, such as the national anthem.

Singing requires investment, but investment must be at a certain level. It does not require you to put in "hard" or be overly sad or joyful. It only requires you to put in a measured amount based on understanding the meaning of the words. For example, there are some words similar to: "...How can you let me be sad...", I have seen people singing in extreme pain, which is not contagious, but feels funny. But I have also seen a friend who was really lovelorn singing this song at karaoke. His face was expressionless and he sang very calmly while singing, his voice was vicissitudes of life, and the helplessness and loneliness conveyed in the singing infected everyone present. I think this is just the right balance, and there is no need to cry. But how many people can perform this well at any time? This depends on the singer’s musical experience. Let me give you another example: When some friends imitate singers, they unconsciously exaggerate the characteristics of the stars. For example, when imitating Jacky Cheung, they will over-stress their voices to make that weird, thick voice (Jacky Cheung’s early one at that time) Characteristics, which seem to be rare now); when imitating Leslie Cheung, he will exaggerate his big-tongue-like moaning sound behind his back; when imitating Faye Wong, he will even make that weird tongue-tied sound that makes people laugh. . In fact, if you listen carefully to the original song, it's not that exaggerated. I once heard a friend who sounded very much like Jacky Cheung singing. Every time he sang Jacky Cheung's songs, he was not sure of the right tone. Later, I persuaded him to be more authentic, so that he sounded more like the original singer. In fact, sometimes the beholder knows better, and it would be helpful to ask more friends for their opinions. In addition, people with rich emotions sing better than people with dull emotions. To resonate with the emotions in the song also requires the singer to have rich life experience. The more you experience, the more you understand. Vibrato is essentially the vibration caused by the strong airflow hitting the back of the mouth and nasal cavity when performing a song with the breath, and the pressure of the breath given by the lower abdomen creates the airflow. I don't agree that pop music must use such a rigid way to produce vibrato. Some singers "make" vibrato by shaking their Adam's apple (Andy Lau) and tightening and relaxing their throats (Xinzhe Zhang). These are little tricks or a style, but in many of the climaxes they also have the vibrato of powerful airflow. So, again, breath is fundamental. When you use your breath, the impact of airflow will naturally produce vibrato. For pop songs, there are some low-key places where you don’t need to focus on the breath like singing folk songs. Sometimes it is like a whisper, sometimes like a helpless sigh, and there will be no strong airflow to support your vibrato. At this time, You need to use some small skills to modify your tail. I think the vibrato performance of pop songs does not rely entirely on the breath. Sometimes it is not a bad idea to shake the Adam's apple and control the sound in the throat, as long as the whole thing is within the atmosphere of the song. Just don't be affected. If your friends who don’t have vibrato are determined to salivate over vibrato, let’s start by imitating it – imitating an ambulance call. Funny, right? This is just a method of self-examination without a vocal teacher around, and of course it is not a regular vocal practice. Make the "Woo" glide in sequence (slightly faster) and let you feel the shaking of your Adam's apple. Slowly change the pronunciation of "Woo" into the pronunciation of "Uh huh", and then slowly change it to "Uh huh". The pronunciation becomes "you~", and then sing some songs that end with "you"... Haha, this is just a way of vibrato to feel the vibration of the Adam's apple, which is different from the breath sound. I'm sure the vocal teacher will be pissed off after seeing it! But everything needs to be done step by step and slowly figured out. You might as well give it a try. Finally, let me express my opinion again. If we take a higher view, the singing method that emphasizes vibrato was popular during this historical period. Maybe in five years' time, the singing method that emphasizes vibrato will no longer be popular. Why bother with no vibrato? Although vibrato can effectively enhance the atmosphere of a song and is deep and penetrating, I would also like to listen to some simple and pure sounds. So, just sing with your heart, maybe you will be more distinctive.