What are the precautions to keep your breath steady and powerful when singing?
A) Breathing and Breathing
Everyone who has studied physics knows that the physical cause of sound is that external factors impact objects. The objects vibrate and produce sound waves of different lengths. The sound waves cause the surrounding air to Vibration produces sound. Therefore, the power source of singing is breathing. Good use of breath can make the physical properties of the vocal cords better utilized, thereby singing good-looking and complete songs. Therefore, the use of breath is one of the very important techniques in singing. Several breathing methods are named with popular words)
1. Sighing inhalation:
As we all know, sighing is a very common phenomenon in daily life. It is a way to relax. is also downward. It helps relax the inspiratory muscle groups so that you can inhale better. The specific method is to sigh first and then inhale. Your main thought is to sigh, not to inhale. When the breath is expelled with the "sigh", that is, the work of the exhalation muscle group has been completed, and then the inhalation muscle group will immediately start working - inhalation. This cycle is completed automatically. If you are thinking about inhaling, your inhaling muscles will always be in a working state and unable to relax, making it difficult for the breath to be inhaled normally. Note: Breathe in wherever you sigh, don't make any forced movements. Keep the feeling of sighing while singing, every phrase is like this, forming a good breathing circle. Next, practice sighing inhalation combined with the singing of songs. Try to sigh (exhale) as much as possible before preparing to sing, and start singing when the breath is naturally inhaled.
2. Breathing with fancy style:
Breathing with fancy style makes it easy to inhale deeply, and there is no pumping sound and unnecessary movement when inhaling. Easier to understand and master. When smelling flowers, the fragrance makes people feel particularly happy. When identifying the fragrance of flowers, special care and attention are required. It is a feeling of relaxation and excitement. Specifically, when inhaling: the upper body is completely relaxed, the waistline is relaxed and comfortable, and then the chest also feels relaxed, and the space in the body is increased, allowing the breath to flow in naturally. This kind of inhalation is both loose and moderate. After inhaling, the person will be very excited and the chest will feel spacious. Use this feeling of inhalation to sing, your breath will be smooth and your voice will be mellow.
You can open or close your mouth when doing the sniffing style. When closing, your mouth should not be closed too tightly. Too tight will affect the speed and flexibility of air intake. When simply practicing inhalation, you can use closed-mouth inhalation. When singing, it is best to naturally open your mouth and nose and inhale at the same time. Whether you inhale simultaneously with your nose with your mouth closed or with your mouth open, the most important thing is to experience the feeling of the breath flowing into your body.
3. Surprised inhalation
Surprised inhalation is to use the rapid physiological response of people when they are surprised to achieve the purpose of rapid inhalation. This kind of inhalation is both fast and deep. It can make the respiratory muscles complete the cycle of contraction and relaxation in an instant, and can exercise the rapid flexibility of the respiratory organs. This inhalation is also called "gasping." It is better to express sadness, anger and passionate emotions.
(Some of the breathing methods refer to the Central Conservatory of Music paper)
Why should we name this breathing method like this? It is mainly so that everyone can be more familiar with it in life. To grasp the requirements of singing breathing, we need to explain that singing breathing is definitely a special kind of breathing and cannot be completely equated with breathing in life. How to use breath is the highest level. Personally, I think that being able to serve the mood of the song and achieve the highest level of sending and receiving freely is the highest level. Therefore, different songs have different breath requirements. Generally speaking, there are the following types:
(1) Inhale quickly and exhale slowly: Some songs switch quickly between phrases and have a small breath, but the phrase development is very long. It requires fast inhalation and slow exhalation, such as red*. This requires sufficient excitement when breathing, the diaphragm must be active and vigorous, and the exhalation must be balanced and even. This is the most difficult situation.
The specific method is: inhale quickly, pause briefly, and then slowly breathe out. You can feel it this way: imagine that a very close friend who has not been with you for a long time suddenly appears in front of you. You gasp in surprise, almost shouting, and then stop in this state. After a few seconds, it seemed as if there was an external force pushing the lower abdomen back. I felt that the lower abdomen was fighting against this external force, and the breath was slowly released. At this time, the diaphragm plays a strong supporting role.
(2) Inhale slowly and exhale quickly: Some song phrases are written very short, with a big breath, but the phrase development is very small. When singing, the breath has time to prepare, but when exhaling, it should be quick and not delayed. Be clear and direct.
(3) Slow inhalation and slow exhalation: This situation mainly occurs in some slow versions of love songs. Since the song does not progress quickly, the entire melody is written relatively long, so you can inhale slowly and sing slowly. The difficulty here is that you can't move your breath casually. Although the requirements for the breath are not too difficult in this situation, once you move your breath, the pitch will be wrong, the rhythm will be wrong, or the sound will not be felt properly. The author occasionally has this problem. Therefore, when encountering this situation, the persistence and stability of the breath are required to be relatively high.
(4) Inhaling and vomiting quickly: This situation mainly occurs in some fast-paced songs. There are even requirements on intensity.
Compared to the above three, this one is relatively easy.
These are several situations of singing breathing. You can practice based on your own situation, based on the fragments of songs you are familiar with and meet the above situations, or create some vocal training songs that meet the four situations, and slowly experience it. The thoughts and feelings of breathing under different circumstances. There are also some simple methods that can also achieve the effect of training breath, such as some exercises to increase lung capacity, but a large lung capacity does not necessarily mean that the breath is used well. A large vital capacity will be even more powerful if it is combined with the scientific use of breath.
(B) Articulation and Vowels
Everyone knows that the lyrics are ultimately what is sung, so articulation is also an aspect of singing technique. The general requirements for singing language are: the initial consonants are accurate and dexterous, the final shapes are well maintained, the rhyme comes naturally and at the right time, and the yin and yang should be remembered firmly. Priorities must be clearly distinguished, and the tone and tone must be handled well. The prefix must be pronounced correctly, but not too tightly. When the word head is bitten, it should transition to the belly of the word naturally and timely. After the belly of the word is clear, the sound should be collected and returned to the rhyme in a timely manner. We must pay attention to the connection between the three, so that the transition is natural and smooth, forming a whole. In addition, the pinyin must be pronounced accurately, such as "l" and "n", "flat tongue" and "warped tongue", "f" and "h", "front nasal rhyme" and "back nasal rhyme" must be distinguished, and the intonations must be distinguished. precise.
Every word is pronounced with a final. In fact, many times we have to practice some basic vowels. When singing, we attribute the final sound of the word to the final of the word, as the author is best at The "I" (pronounced one) vowel is well used in the author's song "Admit Mistake". Attributing words to vowels is a way to simplify complex things. This is also what we usually call "reduction". rhyme".
(C) Ming and vibrato (also called overtones)
The main organ of our human body that produces sounds is our vocal cords, but if we only rely on our vocal cords to produce sounds, our vocal cords It seemed very fragile. The human body is a large structure and a large cavity. If the vocal cords produce sound, the quality and brightness of the sound will be greatly enhanced by a certain shock wave and other parts of the body producing similar frequency vibrations. This is ringing.
There are many cavities in the human body, such as the nasal cavity, head cavity, abdominal cavity, etc. Generally, it is better for us to use head cavity singing, because head cavity singing can produce a relatively ideal effect. When singing, we can think of our own vocal cords, mouth and other vocal organs and head They are connected, the sound is thrown upward!
Training for singing can be done in combination with vowel methods. For example, the vowel ah is suitable for training the head cavity, and the M sound is suitable for practicing the nasal cavity. When you feel the production of your body and vocal cords, A slight tingling state indicates that the ringing sound is occurring.
As for the many vibrato singing methods we usually use, it is also the function of the vibrato. Due to the vibrato produced, other cavities cause vibrating, but it is not completely inconsistent with the frequency of the vocal cords. , so it will produce a pitch that is slightly different from the vocal cords. When the two sound effects are combined, they will produce small sound fluctuations, which is vibrato.
The method of training vibrato (overtones) is also to train the cries. With the cries and some breath cooperation, vibrato (overtones) will naturally occur.
(D) Psychological control and relaxation state
Singing is a very high-level physiological and psychological activity. A correct physiological state is a prerequisite, but a correct psychological state is also Indispensable, sometimes a poor mental state will directly lead to changes in the physiological state of singing.
Therefore, a good mental state when singing is also very critical.
Whether it is recording or singing, friends often feel that they are nervous and in a bad state, including myself. At this time, psychological adjustment is very important! First of all, you can use the method of association to associate more life scenes in your life that are basically consistent with the content of the song, and try to let yourself have a psychological state in life. Secondly, you can sing some simple and short vocal training songs or humming songs to fully relax your vocal cords. You can also yawn, lower your throat, and return to a very relaxed state. At the same time, he hints that being nervous can't solve any problems, and he can only feel better if he relaxes.
Singing breathing training method...
Train the oppositional power of the abdomen, that is, the holding power of the breath
Ash-pouring breathing method
We all have this common sense. If you hold a handful of ash, If you bend down and pour ashes on the ground, what will be the result? The ash spread on the ground will immediately form a column of air rising upward. We use this feeling of pouring ashes, and inhale like ashes falling to the ground all at once, inhaling deeply and widely. Oh Min, it is like the air column bouncing back from the ground. Keep the feeling of inhaling, twist it into an upside-down T shape and form a column of air to drill upwards. Each phrase must be like this to form a benign breathing circle, so that the problems of shallowness and stiffness can be overcome during singing. If you breathe shallowly and stiffly, you won't get a good sound effect.
Lower fulcrum inhalation method
The lower fulcrum is at the diaphragm
Melting inhalation method
This inhalation method is used when the singer is in a relatively tense state. Because the melting inhalation method is easy to inhale deeply, there is no sound or obvious movements, and it is also easy to understand and master. However, when you feel that your limbs are melting early, do not relax your lumbar and cervical spine. When learning to inhale, don't close your mouth too tightly, as this will affect the speed and flexibility of air intake. While inhaling, the mouth should be opened naturally, and it is best to inhale at the same time as the nose.
High-position inhalation method
Sing as you inhale. During the inhalation process, the breath seems to reach through the nose and the upper teeth and palate in the mouth. The diaphragm, which is a parabolic angle, is at a high position. Therefore, when singing, you can sing according to the inhalation state, and you can achieve a high position and deep breath as a whole sound. If you lower your breath very low when inhaling, and the air seems to pass through the lower teeth and tongue surface, and you only use your mouth to inhale, then the air will inevitably be inhaled shallowly, and there will be movements and sounds. If you inhale like this The sound produced by this method must be horizontal, white, shallow, and tight, and the range is narrow, making it difficult to solve the problem of high notes in singing.
Maintaining breath when shooting and aiming
When singing, the inner voice must sing outward while maintaining the state of inhalation, forming an internal and external confrontation. It can not only maintain the state of inhalation Depth, and can make the breath even, smooth and lasting when singing. Practicing singing while inhaling while shooting and aiming is just a feeling. Anyone who has served in the military is familiar with this state and it is easy to experience it. This is used to achieve the purpose of keeping the breath steady during singing. In the process of singing practice, the less breath you have, the more you keep breathing inward. This will alleviate the problem and make others feel like your breath is inexhaustible.
The above several silent singing and breathing training methods are convenient for self-training in various situations. When exhaling, if you can add the sound of S, and continue from 10 seconds to 20 seconds, and then to 30 seconds, it will be a good result.
Since breathing is required to be long and powerful, the singer must have a strong body.
It is said that the great singer Caruso did military-style gymnastics or simple exercises with dumbbells when he got up every morning.
It is best to find a professional teacher for guidance, so as not to go astray and damage your vocal cords. Be careful not to use your vocal cords too much when singing, and let your voice spread far and wide. Steady, pay attention to the use of breath, otherwise the vocal cords will become cocooned and the breath will be unstable when singing. What are the methods?
Unstable breath means that the degree of breath control is not enough.
Vocal training has a complete, scientific and systematic training method. It includes:
1. Breathing training
Singing breathing is the driving force for vocalization and the foundation of singing. Without good breathing methods to control and use the breath, there will be no beautiful and sweet singing. All voice performance techniques are inseparable from breathing. Clark argued in "On Breathing" that the first thing a singer should do is to learn proper breathing. Pressman believed in his "Physiology of the Larynx" that breathing is the vitality of sound. It is said in traditional Chinese vocal music treatises: "Qi is the teacher of sound. If the qi is weak, the sound will be thin, if the qi is turbid, the sound will be stagnant, and if the qi is dispersed, the sound will be exhausted." It also shows that singers at home and abroad, both ancient and modern, attach great importance to breathing in singing. important role.
To learn to breathe, you must first understand how to breathe. There are three breathing methods:
(1) Upper chest breathing. This type of breathing is a method of controlling your breathing with your upper chest. The amount of inhalation is small and shallow, reaching only the upper part of the lungs, which can easily cause tension in the muscles around the larynx and neck, resulting in a tight, dry, and inelastic sound. This kind of phenomenon is more common among beginners, especially amateur singers. This is a bad breathing method that needs to be corrected.
(2) Abdominal breathing. This kind of breathing is a breathing method that relies on the expansion of the soft ribs and the swelling and contraction of the lower abdomen. It inhales deeper than Upper Chest Pose, but has its limitations. Due to inhaling too deeply, the breath is often not smooth, which affects the part where the sound is produced. The tone in the middle and low range is dull, the sound lacks flexibility, and the sound appears low.
(3) Thoracic and abdominal combined breathing. This kind of breathing is a breathing method that uses the chest, diaphragm, ribs, and abdominal muscles to control the breath simultaneously. This breathing method is recognized and commonly used in the vocal music circles at home and abroad in modern times as a scientific breathing method that conforms to the laws of physiological mechanisms. This breathing method has many advantages. It has strong ability to control the breath, exhales evenly and controlledly, can store more breath, has an obvious breathing fulcrum, expands the sound range, and harmonizes the high, middle and low sound areas.
It is not enough to know the breathing method. It also requires long-term and unremitting practice to achieve the ability to use it freely when singing. There are two commonly used practice methods now.
Inhale quickly and exhale slowly: This breathing method is the most commonly used one when singing. It should be practiced regularly. The specific method is: inhale quickly, pause briefly, and then slowly breathe out. You can feel it this way: imagine that a very close friend who has not been with you for a long time suddenly appears in front of you. You gasp in surprise, almost shouting, and then stop in this state. After a few seconds, it seemed as if there was an external force pushing the lower abdomen back. I felt that my lower abdomen was fighting against this external force, and my breath slowly came out. At this time, the diaphragm plays a strong supporting role. Inhale slowly and exhale slowly: Inhale slowly, pause briefly, and then slowly exhale. You can experience it this way: when you receive a bouquet of your favorite flowers and you are happily smelling the fragrance of the flowers, you will find that your chest is lifted forward and upward naturally rather than artificially, and the rib muscles, including Expand the waist to all sides at the same time, maintain this state, and only relax and inhale the muscles below the abdominal diaphragm. When blowing the air, think of blowing out a candle. Blow down the burning candle, but don't blow it out. Just like that, keep the candle light neither rising nor extinguishing it. Keep it for a little longer, and then breathe again. To achieve this requirement, the inhalation must be as natural, calm and gentle as when smelling flowers. Exhalation must be even and controlled. Similarly, if you want to practice inhaling slowly and exhaling quickly, take a slow breath and blow out the candle all at once.
2. Vocal exercises
Vocal exercises are the most basic and simple exercises for training vocal skills. In fact, it is to extract the most basic and simple motives or phrases that make up the melody of the song, match them with simple vowels or syllables, and practice singing repeatedly by moving semitones up or down in the appropriate range. There are various methods and steps for vocal practice, and there are many schools of thought.
However, no matter what methods and steps are used, the following goals are achieved:
(1) Consciously use the breath to make sounds, and gradually control breathing with the diaphragm.
(2) Form the correct position of the larynx, liberate the larynx, stabilize the laryngeal organs, closely match the movement of the vocal cords with breathing, adjust appropriately, and when singing notes of high, medium, low, and different strengths, All have better sound effects.
(3) Train how to adjust the vocal cavity, and appropriately expand the adjustable shape of the vocal organs-pharyngeal cavity, oral cavity, and laryngeal cavity. Using the head cavity and chest cavity, which cannot adjust the shape of the singing organs, through the adjustment and use of the singing cavity, the volume can be increased and the tone can be beautified.
(4) Breathing, larynx (vocal cord), and vocal organs work closely together to produce sounds in a coordinated movement, achieving unified vocal area, full of intensity and timbre changes.
In addition, appropriate vowel sounds should be selected during pronunciation exercises. When starting vocal practice, among the six vowels a e i o u u, not everyone can sing them all in a balanced manner. Therefore, with the help of the teacher, you need to start practicing with the most natural and beautiful vowels. In this way, it will be easier to adjust the vowels. Focus on the position and coordinate the role of sound waves in the buzzer. After you have practiced the most convenient and natural vowels, gradually adjust them to promote other vowels, and the progress of vocal practice will be much faster.
The vocal exercises are initially based on the natural vocal range and gradually expand to the range of the middle vocal range. On the basis of practicing the middle vocal range, further expand the range of the kit to achieve the sound characteristics and range that the voice part should have. What should I do if my breath is unstable when singing?
First, adjust your breathing. When singing, you cannot breathe as usual. You should use deeper abdominal breathing. When singing, you should inhale naturally through your nose and mouth at the same time. Try to be smooth, light, and gentle. Do not use force, and inhale deeply. Then when you exhale, contract your abdomen inward to the maximum extent and keep your chest still. . . I hope it helps you. How to practice when your breath is weak when singing.
To keep the Dantian Qi sufficient, take a big breath through your mouth and nose, and then try to breathe out as little as possible when singing the low part. , when singing the *** part, take a big breath and tighten your abdomen, and use the brewing of emotions to drive the adjustment of breath.
Please accept it, thank you! When singing, my breath is unstable and my voice floats. What is the reason?
It is said that fame is not breathed into the correct position. When singing, you have to suck the breath into the abdominal cavity, and It's not like ordinary people sucking Qi into the chest, which is similar to martial arts and sinking into the Dantian. Do more basic exercises, such as inhaling quickly and exhaling slowly. If the breath is used correctly, it is a matter of tension.
Is there any way to practice breathing while singing?
Vocal training has a complete, scientific and systematic training method. It includes:
1. Breathing training
Singing breathing is the driving force for vocalization and the foundation of singing. Without good breathing methods to control and use the breath, there will be no beautiful and sweet singing. All voice performance techniques are inseparable from breathing. Clark argued in "On Breathing" that the first thing a singer should do is to learn proper breathing. Pressman believed in his "Physiology of the Larynx" that breathing is the vitality of sound. It is said in traditional Chinese vocal music treatises: "Qi is the teacher of sound. If the qi is weak, the sound will be thin, if the qi is turbid, the sound will be stagnant, and if the qi is dispersed, the sound will be exhausted." It also shows that singers at home and abroad, both ancient and modern, attach great importance to breathing in singing. important role.
To learn to breathe, you must first understand how to breathe. There are three breathing methods:
(1) Upper chest breathing. This type of breathing is a method of controlling your breathing with your upper chest. The amount of inhalation is small and shallow, reaching only the upper part of the lungs, which can easily cause tension in the muscles around the larynx and neck, resulting in a tight, dry, and inelastic sound. This kind of phenomenon is more common among beginners, especially amateur singers. This is a bad breathing method that needs to be corrected.
(2) Abdominal breathing. This kind of breathing is a breathing method that relies on the expansion of the soft ribs and the swelling and contraction of the lower abdomen. It inhales deeper than Upper Chest Pose, but has its limitations. Due to inhaling too deeply, the breath is often not smooth, which affects the part where the sound is produced. The tone in the middle and low range is dull, the sound lacks flexibility, and the sound appears low.
(3) Thoracic and abdominal combined breathing.
This kind of breathing is a breathing method that uses the chest, diaphragm, ribs, and abdominal muscles to control the breath simultaneously. This breathing method is recognized and commonly used in the vocal music circles at home and abroad in modern times as a scientific breathing method that conforms to the laws of physiological mechanisms. This breathing method has many advantages. It has strong ability to control the breath, exhales evenly and controlledly, can store more breath, has an obvious breathing fulcrum, expands the sound range, and harmonizes the high, middle and low sound areas.
It is not enough to know the breathing method. It also requires long-term and unremitting practice to achieve the ability to use it freely when singing. There are two commonly used practice methods now.
Inhale quickly and exhale slowly: This breathing method is the most commonly used one when singing. It should be practiced regularly. The specific method is: inhale quickly, pause briefly, and then slowly breathe out. You can feel it this way: imagine that a very close friend who has not been with you for a long time suddenly appears in front of you. You gasp in surprise, almost shouting, and then stop in this state. After a few seconds, it seemed as if there was an external force pushing the lower abdomen back. I felt that the lower abdomen was fighting against this external force, and the breath was slowly released. At this time, the diaphragm plays a strong supporting role.
Inhale slowly and exhale slowly: Inhale the breath slowly, pause briefly, and then breathe out slowly. You can experience it this way: when you receive a bouquet of your favorite flowers and you are happily smelling the fragrance of the flowers, you will find that your chest is lifted forward and upward naturally rather than artificially, and the rib muscles, including Expand the waist to all sides at the same time, maintain this state, and only relax and inhale the muscles below the abdominal diaphragm. When blowing the air, think of blowing out a candle. Blow down the burning candle, but don't blow it out. Just like that, keep the candle light neither rising nor extinguishing it. Keep it for a little longer, and then breathe again. To achieve this requirement, the inhalation must be as natural, calm and gentle as when smelling flowers. Exhalation must be even and controlled. Similarly, if you want to practice inhaling slowly and exhaling quickly, take a slow breath and blow out the candle all at once.
2. Vocal exercises
Vocal exercises are the most basic and simple exercises for training vocal skills. In fact, it is to extract the most basic and simple motives or phrases that make up the melody of the song, match them with simple vowels or syllables, and practice singing repeatedly by moving semitones up or down in the appropriate range. There are various methods and steps for vocal practice, and there are many schools of thought. However, no matter what methods and steps are used, the following goals are achieved:
(1) Consciously use the breath to make sounds, and gradually control breathing with the diaphragm.
(2) Form the correct position of the larynx, liberate the larynx, stabilize the laryngeal organs, closely match the movement of the vocal cords with breathing, adjust appropriately, and when singing notes of high, medium, low, and different strengths, All have better sound effects.
(3) Train how to adjust the vocal cavity, and appropriately expand the adjustable shape of the vocal organs-pharyngeal cavity, oral cavity, and laryngeal cavity. Using the head cavity and chest cavity, which cannot adjust the shape of the singing organs, through the adjustment and use of the singing cavity, the volume can be increased and the tone can be beautified.
(4) Breathing, larynx (vocal cord), and vocal organs work closely together to produce sounds in a coordinated movement, achieving unified vocal area, full of intensity and timbre changes.
In addition, appropriate vowel sounds should be selected during pronunciation exercises. When starting vocal practice, among the six vowels a e i o u u, not everyone can sing them all in a balanced manner. Therefore, with the help of the teacher, you need to start practicing with the most natural and beautiful vowels. In this way, it will be easier to adjust the vowels. Focus on the position and coordinate the role of sound waves in the buzzer. After you have practiced the most convenient and natural vowels, gradually adjust them to promote other vowels, and the progress of vocal practice will be much faster.
The vocal exercises are initially based on the natural vocal range and gradually expand to the range of the middle vocal range. On the basis of practicing the middle vocal range, further expand the range of the kit to achieve the sound characteristics and range that the voice part should have.
3. Singing language
Singing language is an important part of vocal training.
Singing is a form of musical expression that combines musical voices with language to further express feelings. Singing language can directly reveal the literary and ideological content of the song, highlight the style of the work, and Press directly to display the song image and artistic conception.
The general requirements for singing language are: the initial consonants are accurate and dexterous, the final shapes are well maintained, the rhyme comes naturally and at the right time, and the yin and yang should be remembered firmly.
Priorities must be clearly distinguished, and the tone and tone must be handled well.
The prefix must be pronounced correctly, but not fatally. When the word head is bitten, it should transition to the belly of the word naturally and timely. After the belly of the word is clear, the sound should be collected and returned to the rhyme in a timely manner. We must pay attention to the connection between the three, so that the transition is natural and smooth, forming a whole. In addition, the pinyin must be pronounced accurately, such as "l" and "n", "flat tongue" and "warped tongue", "f" and "h", "front nasal rhyme" and "back nasal rhyme" must be distinguished, and the intonations must be distinguished. precise.
The singing language must be closely integrated with the singing breathing, vocalization, and singing. Singing language must be coordinated with flexible breathing and smooth and penetrating vocals in order to achieve a profound and touching effect. My breath is short when singing. What exercises can help lengthen my breath?
There is a correct way to breathe when singing! There is something particular about it. 1. Ash-pour breathing method: Inhale like ashes falling to the ground at once, and inhale deeply and widely. 2. Lower fulcrum inhalation method. The lower fulcrum is at the diaphragm
Use the breath and Dantian to support Live
Believe me, I am studying opera
It means my stomach contracts inwardly.
Have you ever felt your stomach moving when you talk loudly?
As long as there is movement, that is the Dantian.
You have to move like that when singing. Hold it with breath. The treble will be stable.
If you don’t have enough breath, you can also practice.
Put one on the ground and blow it until it moves.
Blowing for a long time will make you dizzy.
You can also imitate how a dog pants when it’s hot.
You can stick your tongue out, but just reach your lower lip.
Hope this helps.
Also, I am a woman - - How to make your breath steady when singing
First of all, you need to exercise more. Stable breath comes from abundant Dantian energy. It is recommended that you do it every day It is advisable to go jogging for an hour in the evening. Secondly, you must practice your voice. Don’t underestimate these foundations. They are indispensable for singers, just like the foundation for building a house. You must not be careless. Thirdly, learn to control your breath. This requires learning vocal skills from others. .
I want to learn more singing skills. Click my name to contact the teacher. My breathing is not stable when singing. How can I practice my breathing?