First, understand the connotation of the work
The so-called connotation mainly refers to the inner meaning and thoughts and feelings of the work. Understanding the connotation of the work is the basis of singing. When you get a song, don't rush to sing it, but recite the lyrics several times, so as to understand the background, specific environment and the thoughts and feelings of the protagonist and fully understand the work. The songs are long or short, which reflects the composer's strong feelings. Every note contains the composer's deep friendship, which needs the singer's heart to explore and understand. The deeper the understanding of the work, the deeper the feeling, and the purer and more perfect the expression when singing. The depth of an actor or singer's literary accomplishment will directly affect his understanding of the connotation of his works. Many people who learn to sing often sing simply from vocal skills, because they usually have a narrow contact surface, don't read novels, paintings, poems, music, or even newspapers often, and their horizons are not broad, but they are not rich. You can't sing well if you learn to sing like this. It is different to know whether you have a deep understanding of the connotation of the work, because only on the basis of understanding the work can you express your true feelings.
Second, the imagination of artistic conception
The imagination of artistic conception is to stimulate the imagination of music as much as possible. Singers should turn themselves into moving pictures in their own minds, writers, poets and protagonists of their works according to the content and musical image of songs. In other words, it's about being there when a dramatic actor enters a role. If the basic artistic conception and artistic conception of a song are conceived in detail, it will be true and vivid. If it is a painting, it needs to be sung vividly. Imagination and artistic conception will soon help us to establish a correct musical image or the image of the hero of the song, so that the work is complete and unified, the theme of the song is clear and sincere. Of course, the singer's ability to explain music is not built in a day. It is an accumulation of life, memory, emotion and all kinds of knowledge. The more this accumulation, the richer, the more active and the richer it is. Therefore, as a singer, we should always use our eyes and ears to collect and listen to pictures and sounds of all kinds of life and feel life, so as to enhance our understanding and imagination of life and characters and understand the comprehensive connotation of our works more deeply.
Third, the use and choice of sound.
When singing a work, what kind of voice is used to meet the ideological content and emotion of the work, which is worth studying and designing. As a singer, besides having a beautiful and correct voice, it is particularly important to be able to drive all kinds of voice and timbre changes, such as choosing a majestic voice when facing a March, a bright and gorgeous voice when facing a waltz, and a soft and sweet voice when facing a lullaby. There should also be a process of imagining sound here. For example, when singing lyrical and gentle songs, you can imagine the sound as voice control such as "veils fluttering in the wind" and "leaves falling gently on the ground", and when singing soft and brisk songs, you can compare the sound to "transparent dew" and "raindrops on a spring night" and so on. In short, we should be good at mobilizing the most appropriate voice in the voice "library", singing the auditory effect needed by the song content and expressing the work properly.
Fourth, grasp the style.
The style of works or music is good or bad, and the effect of singing is different. We often listen to some personal concerts. Some people have beautiful voices and superb pronunciation skills. However, the whole concert, from China folk songs to European classical art songs, sounds good in sound, strength and charm. It is always the same, which makes people forget after listening, lacking spiritual resonance and artistic aftertaste. What's more, it lacks artistic accomplishment and cultural accomplishment, confusing songs of various styles. The main reason for these phenomena is that the singer did not carefully analyze and understand the style of the times, national style, regional style and personal style of the work before singing, and did not properly express the style of the work with his own singing skills. Therefore, in order to accurately express the connotation of the work, the singer must also study the style of the work in advance (that is, the singing style). Of course, compared with other sister arts, the music style is more abstract. Music is an intangible time art, while painting, sculpture and architecture are tangible space arts, so their styles are often more obvious than music. The depth of a singer's literary accomplishment will directly affect his understanding of his works and his grasp of style, because the formation of style is mainly based on the deepest understanding. A mature singer can express the composer's creative intention and the characteristics of his work style incisively and vividly, and let the audience understand the full meaning of music at a glance.
Fifth, the embodiment of charm.
The second creation of singing is a complicated labor process, and it is also important for singers in many aspects. A good singer can not only accurately understand and convey the artistic conception of the song, but also dig out some potential things in the song through his own re-creation, even things that the composer did not expect. A work, the composer can not provide charm, it must be experienced and created by the singer himself. A high-level singer is not satisfied with the notes recorded in the music score, and will definitely work hard on the extra-sound cavity (cavity is also a charm) and use it properly. After you sing a new song, according to the characteristics of language and emotional needs, you will naturally add some other sounds to the melody of the tone, making it decorative, vibrato, slippery, oblique and so on. Singing will be more touching and natural, and it will be more tasteful and aesthetic. This is the new vitality that charm brings to the work.
Sixth, the artistic treatment of works.
With the true feelings of songs, we must have a comprehensive overall concept of songs, including speed, intensity, volume, timbre, accompaniment and so on. Of course, these ideas are not blind or arbitrary. The structure, style and mode of the song are ups and downs until the rhythm and harmony give the singer general inspiration for artistic expression. They can guide the singer's inner emotions and find the climax of the whole area and the level of the song. In singing, we should especially grasp the artistic contrast, such as the difference between narrative and singing of a song, the change of strength and weight in a song, and the most important thing is to find the high point (climax) and the low point. Generally speaking, to highlight the high point, we must lower the low point, and there must be a process of paving the way, otherwise the strength will not reach the artistic effect. When dealing with songs, the finishing touch is often some keywords and sentences. The key words should be focused on pronunciation and emotion, and we should work hard word by word, even tone by tone, practice singing repeatedly, explore carefully and find the most suitable expression. In other words, the singer must sing repeatedly according to his overall design and overcome difficulties until his handling becomes the embodiment of true feelings.
Seven, grasp of feelings
To impress the audience, we must first put ourselves in a state of singing. "True and false when true and false, true and false when false" and "true and false" are concrete techniques of artistic expression. "Fake" is an artistic skill to express "artistic truth". Only when the truth enters the fake and the truth comes out can the unity of artistic authenticity and expressive authenticity be brought into play and the powerful role of artistic appeal be brought into play. Therefore, when we sing, we must grasp the relationship between the two and properly express art. In normal times, some people are highly nervous when singing, fearing wolves before and tigers after. This singing state is absolutely not good, let alone touching the audience. Therefore, what we call grasping feelings, that is, "selfless singing", is to ask the singer to throw away all the burdens from his thoughts or voices, eliminate all the tension factors, and enter the singing in a passionate and relaxed state. You know, only when emotions are liberated can we get natural and comfortable sound effects and have more perfect emotional expression. Singing art can be "both vocal and enjoyable".
Eight, the combination of technology and art
Technology and art, that is, the voice in emotion, have always been two parts of singing. Pronunciation, articulation, articulation and emotional expression constitute the whole of singing, which are inseparable. Singing is based on the whole human body as a musical instrument to engage in singing, not just by sound, breath and resonance. Singing is a performing art that involves the whole body, including your soul. Singing should be a gripping and perfect art that combines all kinds of factors. That is to say, only by combining sound and emotion, clear pronunciation and mellow voice, and combining skills can singing reach a touching realm and produce touching artistic effects. Sound and emotion are dialectical unity and complement each other. Whether a professional singer or an amateur, in the usual training, we should strengthen the consciousness of singing as a whole, so that the singing voice and emotional expression can be carried out at the same time, so that the voice, words and feelings can be integrated into one, and the habit of singing with heart can be formed.