Generally speaking, the core problem in Lala Hsu is that the quality range is too narrow. When summing Up the range of Lala Hsu, the UP owners of major websites simply and rudely listed the lowest and highest sounds that have appeared in Lala Hsu, forming a seemingly terrible range: D3-E6; The whole range is three octaves, which is completely the top T0 level in Chinese music. But in fact, this practice is extremely irresponsible statistics.
The validity of the range is determined by the quality of the single tone that expresses the degree of emotion, not the simple highest tone and lowest tone. The bass zone between D3 and A3 in Lala Hsu is basically in a state of no support or articulation in the throat, with low volume, weak resonance and loud voice. For pitches below A3, Lala Hsu has no high-quality performance. In the high-pitched area, the tone area after Lala Hsu D5 is dominated by falsetto, which can't be called weak mixing. There are some high throat positions, the touch can't maintain a long tone, and the participation of the thyroarytenoid muscle is close to nothing. The same quality is not suitable to be included in the quality sound area.
If we make statistics on Lala Hsu's live singing tunes, it is easy to get the quality range of Lala Hsu: A3-C#5, D5 weak mixed voice. Generally speaking, A3-D5, the span of this range is an octave plus 2.5 degrees. This is also the best vocal range in Lala Hsu. An octave plus 2.5 degrees is a very low-quality vocal range among Chinese singers. JJ Lin, G.E.M., Huang Qishan and others have excellent vocal ranges of two octaves plus four degrees, almost twice that of Lala Hsu.
Narrow vocal range will cause a series of problems such as low musical tension and homogenization of vocal range on site. Lala Hsu also realized this, so in fact he consciously used the bass zone D3-A3 which he was not good at, which was Lala Hsu's biggest shortcoming in singing. Because of the bass expression of almost all the songs in Live, Lala Hsu relies too much on the microphone to listen because of his lack of resonance and low volume. The problem of microphone sticking to the mouth will lead to excessive saliva sound and enlarged respiratory defects. It is essentially a lack of abdominal support and chest sound resonance ability.
So in fact, Lala Hsu's CD effect is far greater than the field effect. The following is a brief explanation from two aspects: timbre and cavity ability:
1: timbre; From the perspective of timbre, there are three timbre techniques commonly used in Lala Hsu: marginal vocal cords, falsetto and strong mixing. But the completion of these three skills is not very high. Generally speaking, it still presents a large degree of low voice, and the oral opening and support are low.
Regarding the marginalization of vocal cords, Lala Hsu's problem is that his breath is too strong, and his breath cannot be stably supported to achieve a sense of melody tolerance. Pronunciation is too loud, the overall pronunciation is too heavy, and the tail sound processing lacks resonance sustain. The core function of vocal cord marginalization is to soften the sound line and increase the vibration frequency of air sound at the edge of acoustic ligament, and the premise of all this is the stable support of breath in abdominal cavity. Usually, the marginal range should be in the midrange, because it is too low, and the effect of abdominal support is not as emotional as the bass embellished with chest sound. Lala Hsu's vocal cord marginalization basically started from E3 as the timbre modification of her personal bass.
Marginalizing vocal cords from E3 is a risky decision with low return. In addition, her own ability in the bass area is in a state of lack of training, which eventually leads to Lala Hsu's dry pronunciation and vocal cord friction in some bass areas. There is a large degree of bracket air leakage.
The second timbre technique is falsetto. In falsetto, Lala Hsu has reached the level of ordinary T2 female singer, which is one of her main timbre skills and belongs to the relatively stable coloratura timbre in live singing. Here, I personally think that the reason for her low falsetto completion lies in the harmony effect of D5. Here we need to point out an essential difference: the difference between weak mixed falsetto;
Fake voice is essentially a timbre skill below the voice change area. False voice is the best choice when the real sound card is in the high throat position. There is nothing wrong with this part of Lala Hsu. But above the voice change area, it is not the stage where falsetto should appear, but the stage of mixing. The concept of mixed sound is a compound state, which requires the participation of thyroarytenoid muscle to a certain extent to maintain the true sound intensity of timbre, and at the same time requires the cricothyroid muscle to provide a certain degree of falsetto tension to provide high resonance of frequency and overtone. Therefore, mixed sound is essentially the pronunciation state of mixed true and false sounds. It can effectively prevent arytenoid muscle or cricothyroid muscle from being in an overload injury state.
However, Lala Hsu's problem is that the participation of arytenoids is very low, and his cognition of falsetto is still in the state of using falsetto when he can't sing the real voice. The biggest problem with singing like this is that D5 has a weak pronunciation, a low tone and a low volume. The whole sound line lacks the weight and strength of the real sound for the expression of emotion.
The third timbre is strong mixing. This can be regarded as the best timbre expressed by Lala Hsu. Her core representative works all take C5 strong mix as the core chorus pitch, such as "Riding a White Horse", "Like Moonlight" and other songs all take C5 as the core pitch. This is a very correct expression of the sound area. However, Lala Hsu's best timbre skills still have a lot of room for improvement-a real sense of sound power.
Personally, I think the best music in Lala Hsu is riding a white horse. This song is Lala Hsu's early work. At that time, Lala Hsu's singing was relatively simple, and there were not so many flower-adding techniques now. The more technology there is, the less music cares, lacking the early sense of true sound and pure sense of strength. The core of China Popular Vocal Music Institute is the expression of real voice quality, which is of great significance, because the purpose of vocal music is to express emotions. In emotional expression, the true voice is always more sincere than the false voice.
In Lala Hsu's early days, the texture and thickness of thyroarytenoid muscle were strongly mixed. Now, because of singing too many times, the function of vocal cords has been reduced to a certain extent. In fact, if you listen to Lala Hsu's Riding a White Horse, you will find that the early Live is better, while in I am a singer, the underlying timbre of Lala Hsu is basically very different from that of CD.
On the whole, in terms of timbre skills, today's Lala Hsu lacks real voice participation to a great extent.
2. Cavity capacity; In terms of cavity capacity, taking Charlie as a reference, we can see Lala Hsu's problems well. Similarly, in Riding a White Horse, Charlie's maneuverability and ability expression are more profound than Lala Hsu's present state.
Marginalization of vocal cords: First, the A-segment vocal cords are marginalized. Charlie's tail sound processing is a continuous aeroacoustic state, while Lala Hsu is a discontinuous interruption. The inherent ability of the two is actually a demonstration of the abdominal support ability. In essence, the aeroacoustic effect of vocal cord marginalization has a certain active semi-leakage, and it is more difficult to support in the semi-leakage state, especially in the bass region. The purpose of vocal cord marginalization is softening, and the sound of air is only a vassal product of softening effect. However, Lala Hsu's vocal cords are a little soft, which makes her saliva sound great. The problem of marginalizing the vocal cords at the bottom is that Lala Hsu's abdominal support ability is insufficient, and the diving depth of vocal cords is not enough.
Chest tone embellishment: This ability is Lala Hsu's vanishing cavity ability, which is also the reason for her declining singing skills. Take Charlie as an example, the core of Charlie is actually bel canto, and the chest energy of bel canto is the core of the core. He can complete a relatively heavy and sincere shouting emotion in the climax of the early chorus, and the background color is the real sound intensity with the arytenoid muscle as the core, rather than the delicate feeling that the tenor needs to switch to falsetto. In essence, the chest sound is dotted with a strong background color.
Laryngeal position: The thickness of Lala Hsu's true voice is decreasing. At the same time, her treble falsetto is too many times, which is a serious load on the acoustic ligament and cricothyroid muscle.
In addition, Lala Hsu's head tone ability, weak mixing ability and balanced mixing ability are also lacking. Lala Hsu can finish the head hum of D4, but basically E5 is the starting point of the head hum. It can also bring high-quality overtone resonance.
Generally speaking, I personally think that Lala Hsu's singing skills are declining, and her treble position needs to be solved. Learning all kinds of timbre skills can't solve the problem of throat position.
On June 23rd, 20 18, the 29th Golden Melody Award was held in Taipei Dome. Lala Hsu won the Best Mandarin Female Singer after defeating her sworn enemies May and Peng Jiahui, and won the Best Mandarin Album Award for her debut album Psychology, holding two golden melody awards. It's really an honor.
For the mainland audience, Lala Hsu came into everyone's sight through the fourth season of "I am a singer" in 2006, and a lost sandbar won the first place as soon as it appeared. In the song "Lost Sand Shore", Lala Hsu originally defined this song as a song about "Lost". At first, she talked about first love. Later, because she visited children with cancer, she expanded the pattern of this song and turned it into a song that cherishes farewell.
I believe that Lala Hsu will bring us more and better works after winning the Golden Melody Award. Let's congratulate Lala again!
I think Lala Hsu is a singer, although his singing skill is much worse than that of a singer. It would be better if the singing skills were improved to a higher level, and the road to singing could be wider. Compared with ordinary people, singing should be good. The weak falsetto is ok, but the real voice is a little insufficient. The alto is good, but the treble is not enough.