Make a ditty out of several simple vowels, so that students can practice their voices while singing, or choose a track with a smooth melody, and then choose a track with a light jump for students to try to sing, find out the representative phrases, and make students feel its singing, so that they can practice their voices with this feeling. It is easy for students to keep their heart and soul into singing. In other words, don't treat the vocal exercise as a mechanical exercise. Otherwise, it will create an illusion of sound concept and state for future singing. Only by practicing with a pleasant mood and a touching emotion can we effectively find a relaxed and natural tone. The third lecture is about the relationship between standing posture and singing. Don't mistakenly think that only Bel Canto and folk singing pay attention to posture. In terms of human physiological function and vocal state, any kind of singing is the same.
Some singers can't keep the back neck in a vertical plane with the waist, so the vocal channel will be oppressed and blocked. For example, if you hunch your back and make your chest squeeze, your breath can't flow smoothly in your body. Chin warping will cause neck relaxation and weakness of pharyngeal wall muscles, which will make it difficult to sing high notes. At the same time, it will hinder the sound emission in the singing cavity, and bulging the lower abdomen will cause the breath to stop and press down, which will destroy the support of the breath.
the correct standing posture should be that the center of gravity is in the first half of the foot. Just think about the upper chest, regardless of the abdominal state. Of course, don't be stiff. The fulcrum of inhalation must be established at the waist, and then the effect of the final counter-pulling force is realized. Because the waist needs you to actively expand or pull down, it will produce a force. However, the lower abdomen and diaphragm will naturally have a confrontation due to the downward pull of the waist fulcrum. If you only put the fulcrum in front. Which is the lower abdomen. At that time, it is difficult for the waist to control the breath. Imagine that it is the strength of the front and back that controls the breath more effectively. Or is it more effective to rely only on the local strength of the lower abdomen? The relationship between them is active and passive. The fourth lecture is on the practice of weak voice. Some new students will blindly pursue the volume when singing. In fact, students' loud voices may not be correct. If the sound is scattered inside the mouth, the position will be relatively low and there will be no * * * sound. At this time, when the sound passes through the microphone, it will emit a sharp and unclean timbre. Especially when recording in the shed, singers will find it difficult to control their own voices. Then, how to make students use scientific vocal methods to establish a smooth and orderly singing state?
First of all, I think it's easier to find the feeling of relaxation by practicing in a weak voice. Any kind of singing, only relaxation will produce beauty. When doing this exercise, it is best to use the state of humming. That is, the mouth is open and not pronounced, but pronounced with the nose. Students who have not received training will have tight jaws and need to practice opening their mouths every day. Hold your chin with your hands and practice stretching upward. Don't use too much force to hurt your oral joints. Your mouth should not be too horizontal or too long. It is best to expose the upper teeth and slightly expose the lower teeth. This oral state is correct in terms of vocalization. One thing to note is that it is one of the first things to open outside, and the key is to realize that opening from inside to outside is the most important thing. Don't form a horn state, it's big outside and small inside, so it's difficult to get a smooth sound.
In this exercise, we should consider the position of listening to the sound with another thinking. The position of sound is constantly changing with the pitch. Move from front to back. The speed of movement should be judged by the teacher's ears. When moving to the treble zone, the soft palate should be lifted moderately, because the lifting of the soft palate is the only channel that can produce treble. Speaking from the voice structure, it is impossible to produce high notes from behind the teeth. Only when the soft palate is lifted, the tension of the posterior pharyngeal wall is driven and the back of the mouth forms an arch state, will it have a nasal cavity * * *. Only the high notes can be relaxed. At the same time, it produces a vibrating force. Of course, the sound direction cannot be upward, so it will feel like Bel Canto.
There is an inseparable and completely different relationship between popular singing and Bel Canto folk singing. It is important for teachers to learn from the advantages of European and American singing methods and combine the characteristics of national singing methods to train, which can solve the problem that students' voices are not high in a short time.
A good teacher of popular singing should solve the problem of all students' voices unobstructed within one year, and should not let your students sing three to four octaves after five or six years.
Some students will ask, "Will the voice become lower in the practice of weak voice?" "Can't you let it out in the future?" Actually, it is not! It's hard to find the feeling of relaxation by shouting loudly. On the contrary, it is easy to find it with a small voice. In other words, popular singing should establish its own voice channel. It should be based on complete relaxation, and then the sound is released more effectively. Therefore, weak voice practice is only a means, and the purpose is to get smooth and magnetic sound. The fifth lecture is how to grasp the directionality of sound. It is very important to grasp the directionality of sound when singing popular songs.
Because in the process of singing, it needs to move constantly, including whether the oral cavity is in place or not, and it needs to remove every note in detail, so it is easy to pay attention to the upward direction and not to the forward direction in the process of moving, especially when moving backward. Whether you are singing bass or treble, you should be very clear in your mind's consciousness, and the pronunciation of your voice will always be like before. Open the nasal cavity and keep it unobstructed at all times. When singing popular songs, don't pronounce words in the second half of your mouth. The voice is easy to fall backwards, and it sounds like bel canto. You can't hear clearly what you are singing, and the voice is not easy to come out. The linear flow of sound is connected with the mutual rolling of sound and sound, until the emotions continue to advance and enter the climax of the song. Everyone should keep the same thinking, that is, my voice is forward.
Top
Struggle was published at 1: 42pm on September 5, 24. Lecture 6: The Role of Pharyngeal Strength in Singing. During the practice of opening voice, we should pay close attention to the position where the voice moves. If the moving position is large, the sound will be empty, and if the moving distance is small, the sound will be crowded. When doing this exercise, you must sing at a fixed point. In the middle of the sound, the onset should also be in the middle, so as to grasp the accuracy of the sound.
After grasping the accuracy of the voice, we can understand the power of using the soft palate to lift and drive the pharyngeal wall when singing treble, forming a strong pulling force, which makes the treble have the ability to penetrate and produce the feeling of vibration.
However, if the pharyngeal sound is used appropriately, it is the key. When all the throat walls are tightened, the voice will be too hard and too bright, lacking singing. Without the power of pharyngeal sound, the sound will be hollow, and there will be no feeling of fulcrum and tension.
personally, I think pharynx sound is an essential part in singing. However, the effect is not ideal if it is enlarged and lightened too much. That will lack the charm of my real voice. Flexibility is not enough, dexterity is not prominent, and there is a lack of expressive power in different ways peculiar to popular songs. If we can meet the needs of different strengths of songs. Proper use of pharyngeal wall strength will play a icing on the cake in the performance. A good singer should have the most sensitive sense of touch to words. When singing that sentence and that word, he has the ability to completely penetrate into the inner meaning of words and sentences. When singing, the singer should sing himself, not anyone else.
For example, in the song "Qinghai-Tibet Plateau", in the opening part, we must first find that the body forest valley is empty. If it appears in the form of a question, the main difference in singing is "calling" and "looking forward". "Can it be said that" the tone should be strengthened, and the feeling of being in the air is better. "The silent song" should have the feeling of being pulled up. "Or is it the unforgettable attachment?" In this sentence, "for a long time", "forgetting" and "attachment" should highlight the connotation of performance. "I" The singer's own feelings, I'm in Tibet now. You should have infinite good feelings for people in Xizang and deep admiration for the People's Liberation Army. You can't restrain the feeling of being there. At this time, you can sing deeply moved by the Qinghai-Tibet Plateau, sigh for glaciers and green trees, and gaze at your hometown. The pride of admiration for the people of Qinghai-Tibet. The eighth part talks about the change of emotional structure in singing. The language of singing is heartfelt. When a singer stands on the stage, the only thing that communicates with the audience is your sincerity and true feelings. If a singer can tell your joy, joy, sadness and anger as if he were his own relatives. First of all, you won't be nervous. Besides, what you want to express to yourself will be true.
In addition, singers must learn to remember their feelings. Store the personal feelings of joy, anger, sadness and joy in your daily life in your brain, and immediately mobilize them when needed to use them in the plot of your singing.
how is the "blue sky" sung by A Mei expressed?
"I woke up suddenly and fell asleep, and I struggled for another night, and a few rays of light came through the window."
When you sing this sentence, you will feel the unbearable heartache of staying up all night, and gradually strengthen your voice and emotion to reflect the feeling that the light is from dark to bright.
"The feeling of happiness is dull with your photos in an empty room"
It shows the feeling that people go to an empty building, and happiness is no longer around.
"I didn't want to sing, but I broke the piano, leaving everything for tomorrow."
Musically, this passage belongs to repetition. In the processing of repetitive passages, no matter from the speed than the previous paragraph, the tone should be strengthened, giving people a progressive feeling in music.
The expression "emotional fickleness, trying to cover it up, who can really say sorry"
shows emotional frustration and injustice. The purpose is to connect with the climax of the next piece of music. Therefore, singing should be in the state of climax.
"I'm trapped in love, and my face is getting tired, as if I can't get out of your world."
This expression is the last ending of my feelings that I can't hold back when I reach the peak of emotional catharsis.
"Through the heavy heart wall, there is a whole blue sky"
means that we finally overcome our fragility and welcome the blue sky tomorrow with a cheerful mood. Lecture 9: How to grasp the rhythm and rhythm to sing. Every song has its own unique rhythm and rhythm to sing a form of expression.
how to grasp the characteristics of the song is the key to sing this song well. For example, A Mei's "Can I hug you?" This track is composed of a small rhythm and a sense of segmentation. The speed appears in the form of a slightly faster forward rush. However, the concept of ci thinking is completely different from that of rhythm. Lyrics mean to express a woman's psychology by breaking up with her lover, helplessness, sadness and nostalgia. So when expressing the connotation of this piece of music. One kind of thinking in singing, firmly grasp the rhythm after the bar, another thinking to think about the meaning, "it's raining outside, as if my painstaking efforts are dripping, loving you for so long, in fact, it's not easy." Then you need a singer to sing your inner sadness, reluctance, and even the pain of breaking up with a slightly brisk and inflexible feeling, hoping to retain love. If you can't sing with two different thoughts, it will inevitably lead to inaccurate rhythm or procrastination, or you can't devote yourself to the content of the lyrics in singing.