Hello! Please take your time and read it patiently, it’s a bit verbose--
1. Some skills training for singing popular songs
Many netizens have a headache when it comes to skill training. I hope this The post can be helpful to everyone! ? Haha
1. Breath training
Relax your body and mind, adjust your breath evenly, do not inhale too much air, and do not pay too much attention to posture and mouth and nose inhalation movements, because when the physical condition is in normal condition, the external air pressure is greater than The pressure in the body, after completing the correct inhalation action, negative pressure will be formed in the lungs, and the air will naturally enter the lungs, so that when singing, you can inhale quickly without any noise in front of the microphone.
Key points:
1. Place your shoulders in their most natural state
2. Open the chest
3. The ribs and lower back are natural
4. Pay attention to the coordination of the lower abdomen and buttocks
5. Pay attention to the rhythm of contraction and contraction of the "diaphragm" (the smooth muscle located in the "horizontal line" of the waist)
6. Pronunciation should be steady and gentle
Practice
After the above state is ready, count four beats as a section and count in your mind | one two three four while counting four, let the air instantly Inhale (the air intake should not be too full), and pronounce the "s" sound (the "light consonant" of the International Phonetic Alphabet, the vocal cords do not vibrate) on the first beat of the next section. During the pronunciation process, the body should be flexible and conscious, and the muscles should be active. Not stiff, flexible, not nervous, not slack. When pronouncing: the respiratory-related body tissues squeeze the lungs up and down. When the squeeze reaches the limit, they continue to squeeze the lungs inward from left to right and front to back in all directions. The upward airflow should be thin but steady, concentrated and powerful. Each phrase, breath and sound of the etude cannot be interrupted. The longer the time is, the better. The air in the lungs is always kept in the lower half of the lungs.
In fact, it is more commonly known as the effect of long sounds on the breath. In terms of breath training, this is also the simplest and easiest method.
2. Vocal cord training
While pronouncing "s" remains unchanged, the tip of the tongue moves slightly backward, and the vocal cords immediately vibrate, producing a sound similar to the International Phonetic Symbol "Z" (between "zi" and "ri" ), when pronunciation, focus on the vocal cords. Each note of the etude cannot be separated from the "vocal cords" and must be coordinated with the breathing method that has been practiced.
The above two questions are the ones I get a lot of feedback from here. If there is anything you don’t understand, you can continue to ask. Haha, keep up the good work!
2. Basic skills of popular singing
1. The sound must make the audience feel a clear "texture". To do this, your voice must be fully forward when singing. This kind of forwarding must also be "highly concentrated." "Texture" is reflected in the form of high "focus". The smaller the idea, the higher the quality.
2. The volume control is not reflected by zooming in and out, but by the bright and dark control of the small sound focus point mentioned above. This technical requirement The purpose is to keep the sound quality together when the singer raises the volume. When the volume is reduced, the "texture" must not be lost. Even when the breath is sang, the "texture" is still not lost. No matter how brilliant the electronic sound is, it can only change the singer's timbre, but it cannot create the "tone color".
3. The sound quality is produced by the vibration of the vocal cords, and the vibration comes from the tension of the vocal cords - resistance, so the "focus" of pronunciation must be on the vocal cords. In traditional Western singing, there is a vocal term called --- - "Let your vocal cords sing." Pavarotti said: "Sound starts from the vocal cords, and the vocal cords must vibrate immediately." That's what he meant.
4. There is also a vocal term in popular singing - "the sound must rest on the vocal cords." It is also of the same nature. If the starting point of the sound is in the mouth, the sound cannot rest on the vocal cords. That is to say, the tension of the vocal cords - if the resistance is not in place, the sound effect will be either milky or milky; otherwise the sound will not be concentrated. There is currently such a singing method in the Japanese music circle, which is said to be to express "purity" Effect. In comparison, my country's Yang Yuying and He Ying are better than Noriko Sakai and Seiko Matsuda in this aspect. The milky voice is not bad as a performance feature, but if it is completely separated from the basic vibration of the vocal cords and the support of the breath, it becomes "artificial". The five words "let the vocal cords sing" can have three contents at the same time: sound awareness should not take the "mouth" as the starting point, but should take the vocal cords as the starting point, which is a kind of consciousness (because the sound actually always comes out through the mouth) ) should always take the vocal cords as the "starting point"; the second one is physiologically speaking. When letting the vocal cords sing, "both sides of the soft palate must be lowered", as if hanging all the way to the bottom of the neck. This is a very important thing when singing. An important condition because it is the key to solving tight vocal cords and loose throat. The arch of the palate is loosened, the tongue is free, and the jaw is relaxed, so that the throat can be opened.
On the contrary, as soon as the palate arch tightens, the base of the tongue immediately presses down, causing the vocal tract to be blocked, and everything is over; the third type refers to "the sound relies on the breath" (traditional singing has this requirement, and European and American popular singing also has this characteristic) because The essence of singing method is breath-glottal resistance. Without positive glottal tension-how can resistance create resistance with breath? The adjustment of vocal cords is the core of all scientific singing methods, and popular singing is certainly no exception. It is also one of the signs that distinguishes European and American singing methods from Hong Kong, Taiwan, and Japanese singing methods. The advantage of this method is that the sound has strong "texture" and distinctive voice characteristics. It is worth learning from the Chinese music scene.
5. Another manifestation that the voice must be fully sung is articulation. Although the articulation of popular singing is based on natural speech, there are still differences in degree. It should be said that the articulation when singing is much more exaggerated than speaking, just like the articulation when reciting lines in a play is more exaggerated than when speaking normally. The articulation of popular singing requires the tongue to be tightened horizontally from left to right when making sounds. The purpose of this emphasis is to make the sound more forward and clearer. The tongue seems to be always in the position of "get", "let" and "like" in English. . The articulation of popular singing is not as particular as the "spout" and "bite" in Chinese national singing. It is also not like traditional Western vocalization, which requires the mouth to be opened like a yawning position to pronounce words. It should always be that the back of the mouth is not larger than the front of the mouth. Therefore, when singing, you must not consciously open the back of the mouth, and do not lift the soft palate. The popular singing method does not require opening the mouth wide, as long as the front of the mouth is "trumpet-shaped", which does not affect the forward sound. (The shape of a cat’s mouth when meowing vividly illustrates the mouth shape requirements of singing)
There has been such a situation: a female singer usually sings with a very soft voice, but the volume is very loud during performances; A female singer usually has a loud volume, but her volume is very low when she performs on stage. Why? It turns out that although the former has a small volume, it has "quality" and the sound is very forward; the latter has a large volume but is not concentrated, resulting in a blurred texture. And because of "rearward" - the back of the mouth is larger than the front; although the sound is loud, it cannot come out, which means it is not loud. So is it true that popular singing cannot use the awareness of "leaning back"? The answer is that in most cases, popular singing should be at the forefront in terms of consciousness and effect. Temporary "backward" expedients are only allowed under certain conditions. This means that some singers habitually protrude their chin forward when singing, causing obstruction of the vocal tract. In order to correct the position of the chin, the voice is allowed to "retract" temporarily. The purpose is to encourage the chin to retreat. If this can indeed help correct the problem of protruding chin, but once the error is corrected, you still need to sing according to the "forward" requirements of popular singing. The famous Bulgarian vocal teacher Brembanov once asserted that the secret of singing is "leaning forward, and leaning forward again." Why so much emphasis on moving forward? In the world of traditional Western vocal music, there has been a long-standing debate between "forward" and "backward". The reason is that the content of "*** sound" often easily causes people to misunderstand - letting their ears hear vibrations. This instinctive habit will make the singer unconsciously place the sound at the back of the mouth. Part ---- the place closest to the eardrum, causing the sound to be perceived as loud but not heard by others. This may also happen in popular singing. Most singers ignore the objective reality that the singer's self-perception and the listener's actual feeling are two different things. The self-perception on high notes is even completely opposite to the actual effect. If a singer cannot establish such a concept - never forget to listen to his own voice with his own ears - that is, clearly understand the actual effect of his own voice in the ears of the audience, he will never be able to sing. Good song. Some singers feel very good about themselves, but in reality they are completely the opposite. Some singers sing very well, but they always feel inferior and think that they cannot sing well. In this case, this issue will be discussed in the "Misunderstandings in Singing" below. "Sing out" is the original meaning of "leaning in", but the sound effects of leaning forward in traditional vocal music and leaning forward in popular singing are completely different. Popular singing is the "white voice" in traditional Western singing. It can even be said that The "whiter" the requirements are, the better.
6. Sense of Qi: Sense of Qi is not only a kind of consciousness, but also an "effect". Using the upper and lower abdomen to fight against each other in the above breathing is a means to build support. This does not mean that when singing, The two ribs can maintain an open posture even if there is breath support. "Qi Sense" is precisely the evaluation of this method. Take the church bell as an example: if you strike the bell before it is hung up, the sound will be short and unpleasant; if you strike it playfully after it is hung up, the sound will produce an echo that can be transmitted ten miles away. The sense of breath can make the singing always have a reverberating "reverberation", and the auditory effect is obviously different. The singer's self-perception is that he clearly feels an "echo" in his chest.
The above points are specific requirements that must be paid attention to in the practical application of popular singing. Although popular singing is multi-format and multi-level, these requirements are consistent. However, the specific requirements for singers at different levels may differ. If we use these sixteen characters as the criterion: ability to be high or low, strong or weak, strong or soft, bright or dark, the requirements for high levels: all sixteen characters are in place; for the middle level, part of them is in place; for the low level It's not about being in place. This refers to skill requirements. Some singers do not have a first-class sense of music, but their skills are first-class and can still be ranked among the first-class.
As singers with first-class musicality, even if their skills are insufficient, it will not affect their possibility of becoming first-class singers, because musicality is the most important thing in popular singing after all. Because of this, the only way out for people with insufficient musicality is to make up for it through skills. The intensity contrast, color contrast, and explosive power of high notes created by skills can at least achieve a "beautiful" effect even if it cannot achieve the "moving" effect. "The effect. It is undeniable that there is a fact: some people with a poor sense of music can "stimulate" a real sense of music through "making". This is called making the fake come true.
After all, there are only a few people who have a first-class sense of music, and there are many people who are eager to "create a sense of music." Basic skills cultivate "ability", and "ability" is the basis of skills. Learning basic skills will undoubtedly require a certain labor price, but there will definitely be gains. Any singing mode, when experience is elevated to theory, you will find that they have their own pronunciation "routines", which are also called "states" in vocal music terminology. Western traditional singing requires a long time and energy to establish this "state". In the end, it may not always be the case that "you will reap beans if you sow beans, and you will reap melons if you sow melons." There are also many who end up with nothing to gain. The basic skills of popular singing are relatively simpler than those of traditional Western singing, just like ballet and modern dance: ballet requires pointe support, but modern dance does not, but it requires "skills" in the waist and legs. . The specific requirement of "pointe" in ballet and the requirement of singing with the "bottom of the throat" in traditional Western singing are also very difficult, and the training is naturally "time-consuming". Popular singing rules do not require this. If you remove this special requirement and think that popular singing does not require basic skills, it would be a rash conclusion. Any singing mode requires basic skills as long as there are technical requirements. It is just a matter of establishing different "states" according to different aesthetic effects.
3. Training steps for popular singing
Breathing: Stand upright with your torso, lift your chest in a relaxed manner, do not bend your legs, and relax your facial muscles. Do not consciously inhale a large breath. Directly use the movements of your lower abdomen to count "1" (not counting in your mind, but speaking out with your mouth). After counting, your lower abdomen will immediately return to its original shape. Then retract the lower abdomen and count "2", then return to the original state, and repeat the count to "10" or "20" to make the lower abdomen flexible and elastic. Repeatedly retract and restore the abdomen to form an automatic "ventilation" in the lower abdomen. Because when the lower abdomen is restored, the breath has been automatically inhaled. The advantage of practicing inhalation as a subconscious movement lies in the flexibility of the "breath port". Another advantage is that there is no inhalation sound; the rhythm of counting 1, 2, 3, 4, and 5 can be Slow and fast. The lower abdominal muscles will be very "sore" in the beginning, which is normal.
After quickly practicing Qi and getting used to it, you can count continuously to 123 or 12345 or 12345678910, and then gradually from 1 to 10, or from 1 to 30; you can count up to 50 digits. The lower abdominal muscles are always contracted. This is the basis of exercise "hold".
In the second step, you can use musical scales to practice Qi. First use the third degree of downward movement 3 2 1 (Miledo); then the fifth degree of downward movement 5 4 3 2 1; or even the eighth degree of downward movement 7 6 5 4 3 2 1. It depends on the support ability of the lower abdominal muscles. Once you have adapted to the downward movement, you can practice the ascending and descending scale of thirds 1 2 3 2 1 or the ascending and descending fifths 1 2 3 4 5 4 3 2 1 or even the ascending and descending ninths 1 2 3 4 5 6 7i2i7 6 5 4 3 2 1. All within your capabilities. The key is to exercise to tighten the support room in your lower abdomen. When practicing descending scales, you only need to retract your lower abdomen once. Practicing ascending and descending requires strengthening the strength of the lower abdominal muscles to "push" upward when ascending, and only needs to maintain it when descending. Of course, practicing the octave ascending requires a larger "pull-up" force of the lower abdomen. The overall feeling is like lifting your center of gravity upwards. Remember that this exercise is not to tighten the abdomen, but to open the chest. The auxiliary action is to tighten the buttocks. This basic skill is similar to practicing dance. The basic skills are exactly the same. What vowels are best to use when practicing scales? It is best to use Hm, because Hm requires contraction of the vocal cords, which can prepare for the next step of vocal training, which is the first step.
When the habit of "ventilating" is established, the focus of training must be on opening the two ribs, that is, while tightening the abdomen to pronounce, consciously "expand" the two ribs, just like Opening the bellows of an accordion is the most difficult part of breathing training. The bone frame of the ribs is more supportive than the abdominal muscles, and the support ability of the lower abdomen alone is limited.
The last step to complete breath control is to bulge the upper abdomen. When doing this action, it must lead to the expansion around the waistline. At this time, the diaphragm really plays the role of "water gate".
The above three stages of breath training can be understood as three stages as a whole. It can also be divided into three independent breathing methods, because popular singing methods are layered and require strong breath control for some songs with a wide range and particularly high intensity contrast. But for songs that have a narrow range and do not require strong momentum, even the first stage of breathing is enough.
Due to the vocal term "maintaining breath", it often causes illusions and misunderstandings as "breathing out", causing the breath to become rigid, which in turn destroys the smoothness of singing. So it may be more appropriate to use the term "momentum" (symbolizing a dynamic breath).
As for why not talk about inhalation? The reason is simple, because singing is performed in the "exhalation" state. Inhalation is human instinct, and people will die if they don't inhale. Therefore, if you put too much energy into studying core inhalation, you will often end up doing more harm than good. Many wrong breathing methods come from the emphasis on "inhalation". You never have to worry about running out of air in your body. All singing arts have one thing in common - the breath is not about "breathing in more" but "breathing in deeply". Using the lower abdomen as the "power point" and the two ribs as the "fulcrum" is already very "deep"! The lower abdomen is also the Dantian.
The "maintenance" of momentum is based on an idea and is by no means maintained on a constant trunk posture. This idea can be understood as continuously "adding air" or "lifting air". No matter how the upper and lower abdominal muscles are constantly moving during singing, they will feel elastic and not stiff.
Although singing is the art of breathing, this only illustrates the importance of breathing in singing. It must not be understood that the correct breathing method is the correct singing method, regardless of the singing mode or the vocal method. Correctness is far more important than the breathing method. The above-mentioned introductory training on momentum can only be said to be a kind of "preparation" for singing. Only when the adjustment of the vocal method is fully mastered by the singer can the function of momentum be fully reflected. The initial stage of breath training is preparation for singing.
The breathing mentioned above is not a kind of Qigong training. The "Qi feeling" required in singing is completely different in nature from the "Qi feeling" of Qigong. "Sense of Qi" is not only the self-awareness of the singer, but also the specific effect that the audience can feel. The vocal term - "the voice relies on the breath" refers to a specific "effect" that is the self-awareness of the singer. I felt an "echo" feeling in my chest. From the perspective of the listener, the sound heard clearly has a "reverberation" effect. "Qi" is felt through sound.
The general starting point for vocal training is to start with the vocal cords. The starting point of traditional Western singing is to "put down the larynx" first. Popular singing generally does not need to go through this "special" stage. The starting point of popular singing is to "make the vocal cords vibrate immediately." The fundamental difference in sound effects between it and traditional vocal music is that the "basic sound" of traditional Western singing is covered up by the "*** sound", while the "basic sound" of popular singing is The true nature of the "basic tone" is completely "exposed". Although the traditional singing method is based on the natural basis of speaking, everyone's speaking habits are not the same. Some people speak thickly, some are frivolous, and some don't even use "real voice". So what is the meaning of the "speaking" state required by popular singing? It should refer to the "lowest pitch" position when speaking normally. It feels like the mouth is under the throat when speaking. This is not the same as "lowering the larynx" required by traditional singing. The larynx of the latter's pronunciation is much lower than the "let down" larynx of popular singing. Many people who have studied vocal music may know the "bubble sound". But the purpose of making bubble sounds is to relax the vocal cords. In fact, the purpose is exactly the opposite. "Bubble sounds" are the best starting point for activating the vocal cords. (Its sound effect also happens to be very similar to the sound of a motorcycle starting.) As an introductory method to popular singing, "bubble sound" is undoubtedly an ideal choice. Because it is the lowest pitch. But how does this "bubbly sound" "transition" to singing? Before approaching this issue, you must first understand the most essential vocal feature in popular singing-contraction of vocal cords.
As mentioned earlier, the overall shape of the vocal cords is like lips. The principle of singing and pronunciation is like the lips of playing flute or trumpet, which requires the lips to contract. When playing high notes, this contraction action must be strengthened, which will inevitably make the edges of the lips Thinner. But the vocal cords can't be seen or touched, so what's the use of just knowing its principles? Human beings are smart. The famous Spanish vocalist Garcia invented the laryngoscope. He discovered that the best singing state of the vocal cords is the state just before coughing. This provides a specific method for singing lovers. Another vocalist A. Kin called it "pronunciation with restrained vocal cords" and stated that the sound produced in this way is no longer a real sound. It should be said that this kind of voice is neither a real voice nor a false voice, but an independent voice (traditional singing calls it "mixed voice"). It also has the function of "welding" the true voice and the false voice, so it opens the door to the concept of singing. The secret - why some people are born without the phenomenon of "voice change"; why some people are born not afraid of high pitches.
It is not easy to capture the moment before coughing like a camera. After repeated experiments, I found that it is easier to "capture" this movement by pronouncing Hm directly at the front end of the vocal cords. Therefore, using the starting "bubble sound" to gradually transition to this "pre-vocal Hm" has proven to be a desirable and effective way to get started. This Hm sound can be practiced using scales or like "pulling a siren". You can also use the latter to find the feeling first and then use scales to make it musical.
When this Hm sound is practiced to the natural limit of the human voice (female voice reaches #C, male voice reaches #F), compared with the voice change point of traditional vocal music, the female voice is exactly one octave different, which is popular. The female voice sings in a higher pitch.
Male voices are exactly the same) It is necessary to artificially strengthen the "compression awareness" of the vocal cords, which is the "experience" about Pavarotti introduced earlier, which also means that when people play the flute or trumpet to a certain height, their lips The contraction of the vocal cords must be strengthened consciously (this awareness of vocal cord compression must be more "forward", which is very important!) At this time, the self-consciousness that may accompany it seems to have a "suffocation feeling", so don't be afraid to keep practicing. The sound will pass by. The sound produced at this time often makes the singer feel that it is not consistent with the original middle vocal range, and even doubts the correctness of the sound. In fact, there is no need to do so. On the contrary, you should be happy because you have found it. "The Secret of Singing".
The next work is to convert the "closed" Hm to the "open" Hm, then transition from the open Hm to the e or o vowel, and then gradually expand to the other three vowels EH, AH, AW.
The whole process must always adhere to this principle - the compression of vocal cords. The specific requirement is to compress the sound into a "point". In order to adhere to the premise of vocal cord vibration, this point cannot leave the core position of the front closing end of the vocal cords for a long time. So, how to explain the completion of this basic skill? The metaphor of an iron ruler being ground into a needle is of course a bit exaggerated, but if you practice the "concentrated sound" in front of the vocal cords until it is as small as the tip of a needle, you have achieved superior kung fu. The sound that came out at this time was always "penetrated" by a perceptible "thread" as thin as a hairspring, just like the luminous tungsten filament in an old-fashioned light bulb. When the filament is emitting light, it appears to be thousands of times thicker than before, but in fact it is still as thin as a hair. The principle of sound production in singing is the same. Although the sound source is as thin as a hairspring, the sound can be controlled as freely as a light. Do not interpret the thickness of the light you see as the thickness of the filament itself. One of the most common "misunderstandings" that many ignorant singers fall into is to try their best to "expand the vibration area of ??the vocal cords" to increase the volume. As a result, either the high notes cannot be increased or the voice is damaged when singing. I don't know why. In the traditional Western singing method, it is difficult to steal the branch? An address pepper ㄒ step release 乇? --- concentrated. The purpose is to make the sound pass through the compression of the vocal cords and the impedance of the breath, so that the sound has maximum penetration and strong "brightness". In popular singing, this closed-concentration method has been proven to produce the best results under the interaction of microphone sound effects. Although popular singing does not require a strong volume, nor does it require a metallic sound effect like traditional singing, it is completely consistent in terms of "concentration". Among the "three senses" required by popular singing, "texture" can only be felt by the listener as "magnetic" when the sound is compressed into a "point" like a needle tip. Even when singing a weak or breathy voice, a skilled singer can still vaguely feel its "quality". The basic test of traditional singing skills is mainly measured by the sound quality when singing half voice and weak voice (PP). In the era without electronic amplification, a truly methodical singer, no matter how "weak" the singing, will The sound can still be sent to every corner of the theater, which is the real skill. Although the popular singing method has electronic amplification, but the sound is not concentrated, the effect is not as good as the concentrated sound. The smaller the sound, the better the quality is than the louder sound. Mr. Lu Xun once said: "Comparison is the most effective way to prevent being deceived." The northwest wind singing method is very loud and powerful, but it is a pity that its vitality is not strong. What is the reason? The problem lies in the fact that although the volume is large, the sound is not concentrated. Whitney Houston, Mariah Carey, and Celine Dion are always praised by the audience when they sing powerful high notes. The reason why this kind of high-intensity sound is breathtaking is that they use the method of closing and focusing. Many envious people think that the reason why European and American singers can sing very different vocal effects from Asian singers is due to different national constitutions. They are completely wrong! This is why the methods are different. Filipino female singer Lei Jin is an example of Asians mastering European and American singing methods. Taking the advanced singing method of Europe and America as a model, this model always takes closing-concentration as the core of pronunciation. Regardless of male or female, regardless of musical form. In terms of physiological function, in addition to the low voice area, the middle and high voice areas should use "restrained vocal cords" (or compressed vocal cords) as the basis for vocalization when singing, that is, always sing with a mixed voice that is neither true nor false.
Additional tips
We use natural breathing in our daily life. This is subconscious. We inhale less and shallowly, and we don’t need to control our exhalation. A breath only takes about three seconds and cannot be used for singing. Singing breathing is a relatively deep abdominal breathing method. The air should be inhaled around the waist, and then the confrontation between the expiratory muscles and the inspiratory muscles should be used to find the fulcrum of force. One breath often lasts for more than ten seconds, and is completed by the high and low strength of the singing, the changes in Yang and Yang, and the flexible and powerful movements of the whole body's respiratory muscles. This state should be maintained all the time when singing. The sound is completely controlled by the breath. This is what people call "voice * breath transmission".
⒈Inhale
Imagine yourself in a beautiful garden and smell the fragrance of the flowers deeply——Okay, this is the inhalation of singing, like this Breathe in deeply. Inhale should be done naturally through the nose and mouth at the same time, and try to be smooth, light, and gentle. Do not use force or stiffness. Inhale deeply and do not inhale in the upper chest or heart. After inhaling, hold it briefly like before sneezing, and feel the expansion and swelling around your waist. Finding this feeling is the key to singing.
⒉Exhale
The way to exhale is to use the power of the diaphragm to maintain the feeling of expansion of the waist and abdomen. Imagine holding a large bottle of sesame oil in your hand and filling it into another small bottle. You must be careful and hold your breath. Exhale evenly and calmly. You can prepare a 10-square-meter piece of tissue paper, place it on the wall, 4-6CM away from it, inhale and hold it for a while, and then blow with your mouth to keep it from falling to the ground. If it lasts for more than half a minute, it will be considered qualified. You can also replace it with a burning candle and pronounce the "U" sound against the flame. The correct breath is that the flame will not go out when it falls. The longer you sing, the better.
⒊How to train the strength of the diaphragm
The strength of the diaphragm is important for maintaining the breath and the strength of the sound.
Traditional training methods include;
⒈Count numbers; take a deep breath, use the strength of your waist and abdomen to hold it, start counting from 1, and count to 60 to be qualified. Counting should be even and rhythmic, and you can't steal your breath.
⒉Blow dust; take a deep breath, and then blow forward like blowing off the dust on the table. The rhythm is slow and fast, and feel the power of the diaphragm.
⒊Do more sit-ups to strengthen the waist and abdomen.
Vibrato
Vibrato uses the cooperation of breath and Adam's apple to produce a sense of fluctuation and ups and downs in the sound. This is one of the most common techniques used in lyric songs. There are many types of vibrato. For example, Zhou Huajian's vibrato range is moderate, neither loud nor small; Qi Qin likes to use small vibrato; Teresa Teng and Jacky Cheung are famous for large vibrato; and the characteristic of Japanese songs is "first straight and then vibrato", that is, singing a straight note and then starting Tremors range in amplitude from small to large and in frequency from slow to fast, which requires effort. Many friends don’t know this skill, so don’t be discouraged, it can be learned. The key is to coordinate your breath and throat well. Don't just use your throat to make a little vibrato sound like a sheep's cry.
⒉ Breathing sound
When it occurs, if the air comes out first with the sound, and there is more air and less sound, the airing sound will be made. It makes the song softer and more touching. The first verse of Teresa Teng's "On the Water Side" and the first verse of Lin Yilian's "Falling in Love with Someone Who Never Goes Home" are also typical breath-singing styles.
⒊Crying tone
Crying tone is one of the most popular techniques in popular song singing. It is the explosive force produced by re-throat and suddenly increasing the breath, making a similar sound. The sound of pain. Jacky Cheung and Stephen Chow are the representatives of the crying style. The crying vocals can increase the appeal of the song if used well, but it should not be used too much.
⒋Voice picking
Voice picking is a little skill that a good singer must master but is often the most easily overlooked. It is produced when the sound at the end of the word slides down and then suddenly rises. When Zhou Huajian sings again, he is very particular about picking the notes and is very precise. Some singers like to have big picks, such as Ye Qianwen. She sings songs such as "Live a Life Sincerely" and "Ming Yue Xin". Almost every line of lyrics has a big pick at the end.
⒌ Choking
Choking is a choking-like sound made in the throat. The most representative Hong Kong and Taiwan singer who sings choking is Wang Jie. The reason why Wang Jie gives people a sense of sadness and vicissitudes is because his singing has a lot of "choking sounds" and "crying sounds". . . . Hope you are satisfied. . .