Believe in the masses. Since the masses say that you sing well, you should perform well. The main reason is that you don’t believe in yourself too much. Of course, proper self-reflection is also a good thing. There are many things about pronunciation below. I hope you can understand and use the knowledge training on. I believe.
Singing in the Dantian is actually the use of sound and "qi"
When you use the Dantian to raise your energy, you will The sound will be "thick" and "full"!! This is because the sound source is deeper
The Dantian is like an engine! You have to use it to send the power through the vocal cords to the singing point...
So when you sing, it's a bit like singing with your "abdominal muscles"! But it doesn't just use your real belly to exert force. Got it!
It is the "deep" part of the belly - the so-called Dantian
But feel the way of exerting force to become familiar with it and use it! You can listen to singing high-pitched things
and you can tell whether it is useful for the Dantian! If you use it, the sound will be very solid...
1. ***Principles and classifications of singing
...
Beautiful singing* Sound is what singers pursue together. If you want to obtain it, you need to have a comprehensive understanding of the interrelationships and functions of the human body's vaginal sounds, and you must work hard and train hard to obtain it.
The phenomenon of the object
vibrating is called buzzing.
Sound production requires a vibrating body, a medium
it causes the medium to produce ripples, called sound waves. This sound wave is transmitted through the medium into the human eardrum and becomes sound. When a pronunciation body vibrates to pronounce, in addition to a fundamental sound, it can also emit some tiny overtones at the same time. For example: the vibration rate of a string is 400. When its microwave reaches an object that vibrates 440 times per second, the object is affected by the vibration.
It will cause vaginal vibration and produce vaginal buzzing.
The process of formation of the human body's crotch is from singing to making use of the many spaces in the human body that can produce crotch, causing the breath to impact
the vocal cords and the fundamental sound appears. . Although this fundamental tone is very weak, as soon as it enters the inherent singing space of the human body, it produces different forms of sound wave vibrations, and beautiful and pleasant singing sounds appear. The use of ringing can amplify the sound effect and beautify the sound at the same time. We should make full use of the vocal cavity of the human body, strive to control the singing voice
, and gradually train to form a spatial and three-dimensional sound. The singing effect of singing vocals is very important for singing.
<2> Classification of tinnitus
Classification of tinnitus: There are usually three classification methods: classification based on physiological structure; Classification is based on whether it can be adjusted
; classification is based on the nature of the use of ***.
From the physiological structure, it can be divided into cranial tinnitus, nasal tinnitus and oral tinnitus.
The physiological structure of the head cavity is above the nasal cavity. Each space in the sinus includes the frontal sinus, ethmoid sinus, etc. They belong to a fixed space, and the sound wave vibration is a breathless sound. Small in size and high in position, this color is bright, concentrated and soft.
When singing, you should pay attention to opening the jaw joint, reducing the weight of the lower jaw, and feeling a slight vibration in the bone chamber and between the eyebrows, so that the singing voice will be focused and bright.
The whine in the head cavity relies on the strength of the pharyngeal wall of the nasopharyngeal cavity and the soft palate to control the direction of the sound entering the nasal cavity, so that the sound enters the head cavity,
forming the whine. This kind of control must be carefully understood to achieve good results.
It should also be noted that when using the national singing method to sing lyrical high-pitched songs, the sound waves only vibrate at the nasal bones at the upper end of the bridge of the nose.
It is enough; if you use the bel canto singing method to sing loud When singing a dramatic song, the sound waves need to vibrate on the bridge of the nose and a larger area of ??bone around it. In order to get the feeling of ringing in the head cavity, experienced singers are often good at sending the sound into the head cavity
, thinking that it is truly beautiful singing, and this kind of singing method, the sound No fatigue, always young. If
the supporting function of the head cavity is lost, the life of singing will not only be shortened, but the sound will be very unpleasant.
<2> Nasal tinnitus and its function
Nasal tinnitus is not a nasal sound. It is the snoring effect produced by controlling sound waves after entering the nasal cavity. From a physiological structure point of view, the upper part of the nasal
pharyngeal cavity is the skull, and the lower part is the soft palate. The nasal cavity and nasopharyngeal cavity form the snoring space, which is large in size and the squeaking vibration is in
It is produced in the nasal cavity and is caused by the fixed space without breath.
To obtain a good nasal cavity, you also need to pay attention to the following points:
The use of the soft palate: The soft palate is usually called the small tongue. The soft palate is the floor of the nasopharyngeal cavity and forms a dome shape, which is conducive to pushing sounds through the pharyngeal wall. Through the use of the soft palate, the shape of the nasopharyngeal cavity and the timbre are changed. Humming exercises can make the middle part of the soft palate vibrate, expand the nasopharyngeal cavity, and also open the lower part of the nasopharyngeal cavity.
Open and control the jaw joints: The maxillary and mandibular joints should be opened a small half-inch, which is good for achieving perfect cries. Move your lower jaw slightly
and it will feel as if there is no weight, and your voice will be relaxed and free. Also remember that the nasopharyngeal cavity can not only allow sound waves to enter the nasal cavity
the larger space for snoring, but also prevent breath from entering this space. It plays the role of sound separation and can
promote the color change of the song.
<3> Oral tinnitus and its function
Oral tinnitus is a variable tinnitus cavity. It is also the middle connecting area between treble and bass, which is the part where articulation is clear. Its vocal cords
area include the mouth and throat cavity. Popular singing methods mostly use oral singing.
According to whether the ringing structure is adjustable or not, the ringing can also be divided into fixed ringing and variable ringing
Fixed ringing ***Singing cavity: It includes the nasal cavity and frontal sinus, chatteral sinus, ethmoid sinus, and pit sounds, etc. The nose includes the external nose and nasal cavity. The volume of the nasal cavity is larger than that of the external nose. Its upper wall is the ethmoid bone, and its lower wall is the hard palate. The back is connected to the nasopharyngeal cavity, and the nasal cavity leads to the surrounding bone roofs. The cavities include the ethmoid sinus, the sphenoidal sinus, and the sphenoid sinus.
These cavities have a stable fixed space, and their volume and shape cannot be adjusted.
Variable cavities: It includes the oral cavity, hypopharyngeal cavity, nasopharyngeal cavity and oropharyngeal cavity, laryngeal cavity, chest cavity, etc. The upper front part of the mouth is
the hard palate, and the back part is connected to the base of the tongue and the epiglottis pharyngeal cavity. The upper part of the hypopharyngeal cavity is connected to the pharynx, connected to the esophagus at the lower part, and the base of the tongue and the epiglottis at the upper part
The laryngeal muscles can be actively adjusted>, it is connected to the larynx opening at the lower part of the vaginal cavity, and extends forward of the larynx. Location
Nasopharyngeal cavity, its front wall is connected with the nasal cavity. The lower part is bounded by the soft palate and leads to the oropharynx.
The oropharyngeal cavity is bounded by the nasopharynx and connected with the oral cavity. Pass down into the larynx and pharynx.
The vocal tract, above the vocal cords, is connected to the mouth, nose, larynx, and pharyngeal cavity, forming a tubular oropharyngeal trumpet. Its exit
is in the nasal cavity and oral cavity. The trumpet mouth is the throat chamber. The vocal cords and vocal tract are one of the main vocal cavities.
The human body’s fixed vocal cavity and variable vocal cavity will all induce beautiful vocal responses after training. The pharyngeal cavity is connected to the oral cavity and chest cavity
and is an important vocal cavity. The chest also plays an indispensable role in ringing.
In addition to all the cavities of the human singing vocal system
playing a role in singing cries, cries also play a role in the bones of the human body. The human voice
The tinnitus is mainly cavity tinnitus. The size and capacity of the human epipharyngeal tube can vary. Through the function of tinnitus, the volume can be increased
and the timbre can be changed. Make the sound emit overtones, beautify it, and produce a beautiful sound.
Due to the different nature of use, the ringing in the front of the head is divided into: upper ringing and lower ringing. Generally speaking, the area above the palate is called "superior tinnitus", and the area below the palate is called "lower tinnitus".
Upper vaginal sinus: including the nasal cavity, paranasal sinuses, mandibular sinus, frontal sinus, sphenoid sinus, and ethmoid sinus.
Lower vaginal ringing: including the oral cavity, pharyngeal cavity, upper larynx, etc.
As mentioned before, whining can occur anywhere that is filled with air. However, the head cavity is not a cavity filled with air. Why
What can cause the sound to ring? It turns out that it does not use a cavity with air as a sound cavity for sound transmission, but uses the conduction effect of solid bone tissue to enhance the intensity of sound. The intensity of the sound is one of the important factors that constitute the loudness of the sound. The bone conduction effect is combined with the high pitch, and the sound naturally increases the loudness. Therefore, using the upper part of the body to chirp can help the sound.
expansion.
The principle of using upper vaginal ringing is to use the vaginal vibrations of the larynx, pharynx, and mouth to cause vibrations in several sinus bodies through conduction through the skull.
Vibration, to enhance the sound of the sound, we call it "bone conduction" (not air conduction). Singing in the upper part of the body is mainly achieved with the help of "bone conduction". In daily life, although we are not aware of its tinnitus effect, when speaking loudly or pronouncing certain sounds, the tinnitus effect of "bone conduction" is also involved. Expand the audio lineup. The reason why singers emphasize the use of the upper tones
is because it has a strong vibrating effect. If combined with the lower tones, it will have a better effect on high and low notes
The sound quality and the emotional coordination in singing all have a positive effect.
To use the upper armpit, you must first generate powerful sound waves from the lower armpit. The sound waves reach the hard palate, and the vibration of the hard palate is used to cause the sinuses of the nasal cavity and head cavity to vibrate. This is the role of bone conduction. This not only increases the volume, but also increases the strength of the sound
. It stands to reason that when the airflow reaches the mouth, it cannot be allowed to flow out through the nasal cavity. The airflow in the nasal cavity must be turned back to the mouth
and then sprayed out from the mouth. Only in this way can the sound of the upper chest ring be truly obtained. . However, the pharyngeal cavity is a three-way opening.
When the airflow reaches the pharyngeal cavity, part of it must rush to the nasal cavity and part of it rushes to the oral cavity. If you want to redirect the airflow in the nasal cavity
Oral is not easy. In this way, using the upper nasal sound will form a full semi-nasal sound. This situation is common among some singing actors. When they hope to get help from the upper vagina, they lower the base of the tongue, relax the soft palate, and sometimes widen the nostrils. In this way, when the airflow is introduced into the nasal cavity, large amounts of air are released from the nasal cavity. part.
Using the upper *tone, a semi-nasal sound seems inevitable. But in ethnic singing, there is obviously less nasal sound
than in bel canto singing. This is caused by the different mouth opening and muscle tightness of the two pronunciations. `When singing, almost every final is given a nasal tone, especially when the narrow final i.u.yu is encountered. This phenomenon is even more significant. However
If the listener does not distinguish carefully, he will not be able to hear the color of the nasal sound, but will feel that the sound is full.
Because the pronunciation of finals is different in nature, its effect on "bone conduction" is also different. Generally speaking,
The narrow finals i/u/yu are obviously stronger than the wide finals a/o/e. This can be fully proved by experiments.
Why is there such a phenomenon
? This is because the mouth is narrower (the voice position is higher) when pronouncing narrow vowels. When the sound wave reaches the oral cavity, it does not flow smoothly
out of the mouth. It is sent slower than the airflow with a wide vowel. At this time, the force of the instigation of the palate is stronger, so
p>
And the skull can be subject to strong vibrations. However, we should note that this type of finals is the easiest to direct sound waves to the nasal cavity, and is also the easiest to produce nasal sounds, and the oral muscles are relatively tense during pronunciation. In order to make it non-nasal or less nasal, you should pay more attention to the appropriate expansion of the mouth when pronouncing this kind of sound. The mouth opening of the wide finals a/o/e is larger than that of the narrow finals i/u/yu.
When the sound waves emitted from the throat reach the mouth, they are not as strong as the narrow finals and are very It is easy to radiate from the inside of the mouth
so the force that shakes the skull is weakened. Therefore, for head cries, narrow finals are more significant than wide finals. This situation tells us that whether the upper chest can be caused to sing is closely related to the strength of the air flow pressure.
In terms of the level of the sound, high-pitched sounds can easily cause ringing in the head, while low-pitched sounds can easily cause ringing in the chest.
This is because the vocal cords are closed tightly when making high notes and the impact of the airflow is strong; when the vocal cords are closed tightly when making low notes, the impact of the airflow is weak. Bass singers often use the chest to sing, while soprano singers must also use the head to sing. We should note here that singing bass can only be said to be based on the lower tones, which does not mean that the upper tones are completely abandoned. When singing high notes, if you get the cooperation of the upper vagina, the sound will be pure, thick and clear. On the contrary, when singing high notes, it can only be said that the upper tones play a major role. If the upper tones are missing, the height of the sound will be affected; however, the lower tones should not be completely ignored. If the lower tones are missing, ***Ming, it is difficult to get the width of the treble. For our singing voice, whether it is high or low, we always want it to be round and beautiful. It is often heard that although some sopranos can sing up to C4, their voices sound dry and harsh, lacking full color. This is the result of the upper and lower cries not cooperating. Therefore, the use of cries should be prioritized and secondary when singing high or low notes. The high notes should be dominated by the upper cries, supplemented by the lower cries; the bass should be dominated by the lower cries, and the upper cries should be used. ***Ming is the assistant. The two must cooperate properly to produce a generous and powerful sound. We heard some soprano singers with beautiful singing voices. When he sings, if he touches the top of his head with his hand, he can feel a violent vibration. At the same time, he touches his chest with his hand, and he will also feel the bones of the chest vibrating. This shows that the treble not only uses the upper tones, but the lower tones also play a role. Some people emphasize the role of the upper tones but ignore the cooperative relationship of the lower tones and thus cannot achieve the ideal high pitch. Broadly speaking, the chest cavity, head cavity, and bone tissue all have the role of conducting sound, but their roles are not equal.
The bone tissue of the chest cavity plus the vibration of the chest wall itself will cause obvious tinnitus; the bone tissue of the head cavity will cause tinnitus due to different regions
The intensity and clarity of the vibrations vary. Generally speaking, the tinnitus in the frontal sinus is the strongest and clearest. This is because this tinnitus area is directly oscillated by all sound waves in the larynx, pharynx, oral cavity and nasal cavity. We require the singer
to raise the voice to the top of the head, that is, to the position of the frontal sinus, so that the bones in this part can produce a ringing effect
. Secondly, the occipital bone has a greater effect on head ringing. It is the bone that forms the floor and back of the cranial cavity, directly below the back of the head
. Because its position is also where the sound waves go straight, the vocalization of this part of the vocal cavity, in addition to using the forehead vocalization, also uses the occiput when singing high notes. The role of singing is what the Chinese opera circle calls "picking the muscles at the back of the head."
So, how can we use this part of the *** ring? There is a theory that the occipital bone is connected to the cervical vertebrae below. When the powerful sound waves rush into the throat cavity, it will cause the cervical vertebrae to vibrate, and then from the cervical vertebrae to the cervical vertebrae. Through upward conduction, the occipital bone vibrates. In addition, when the sound wave reaches the oropharyngeal cavity, it causes a large conduction force.
It directly affects the vibration of the occipital bone from the back of the oropharyngeal cavity, and this part is very close to the "sphenoid sinus", so its ** *The vibration effect is
even stronger. When using the occipital bone to sing, one thing should be noted. The neck must be straight
Such a posture can expand the larynx and pharyngeal cavity and make the air flow smooth, creating a strong air flow column that rises directly to the back of the soft palate, causing vibration of the occipital bone and increasing the intensity of the sound. When we raise our voice, we will feel vibrations in the back of our head. At this time, the upper and lower voluptuous sounds are connected together.
Experiments have shown that the effect of the throat cavity alone is not great, the sound is not very loud, and the change of timbre is not very clear
This is because the laryngeal cavity is basically composed of soft tissue. When sound is produced in the soft vocal body, part of the sound is first absorbed;
Because the laryngeal cavity is small, the vocal effect is not strong; and because There is no significant change in the throat cavity, and the timbre does not change much.
The above situations show that the use of upper and lower vaginal airflow depends on strong airflow, and then in good
throat, pharynx, and mouth , nasal cavities can only occur on the basis of tinnitus. Therefore, we need to get the cooperation of all the breaths, and we need to specially exercise the functions of exhalation and blocking.
How to obtain the first ring (2)
2. The first ring and the vocal area
Based on the changes in the pitch of the sound and the position of the first ring The different uses of the two have formed three vocal areas: high voice area, middle voice area and low voice area
High voice area
Voicing is more focused on the head cavity* **Ming, which is conducive to developing skills in the high-pitched area. When singing and vocalizing, I feel a vibration in my forehead and cheekbones
. The sound produced has the characteristics of falsetto. At the same time, it should be noted that when singing in the high-pitched area, the movements of the nasopharyngeal cavity, soft palate and muscles should not be excessively contracted, which will leave no room for the sound waves to flow and affect the overtone sound effect.
Mid-Voice Zone
Vocal production focuses on uniform harmonic sound, which is conducive to bringing out the skills and characteristics of the mid-vote zone. The mid-range area is where the low-pitched area and the high-pitched area connect.
It is necessary to adjust and control the volume of the high-pitched area and the low-pitched area evenly, while maintaining smooth and unified sound
1. This vocal area plays a major role in vocal training. The music in the mid-range is soft, relaxed and bright. It should be noted
that if the throat, tongue and other muscles contract excessively during singing, the sound flow will be blocked, which will separate the mouth cavity
Ming, and without the support of the chest cavity, wrong sounds will appear.
1 Low-pitched area
The vocalization focuses on the chest cavity, which is beneficial to the singing skills in the low-pitched area. When singing and vocalizing, I can obviously feel the vibration in my chest
The sound is free, deep and has a deep feeling. It must be noted that when singing bass, if the neck muscles and tongue muscles contract too much, the sound of the middle and high voices will be lost, resulting in a dull and hoarse sound. It has a greater impact on the singing effect
.
3. Voice changing zone and solutions to voice changing
I think everyone has a voice changing zone. Some people say that as long as you sing to a high position, voice changing will disappear.
The basis for this statement is insufficient. We must admit that the phenomenon of voice changing exists objectively. We should not be afraid of the phenomenon of voice changing psychologically. We must find various ways to solve it and study it creatively.
<1> What is the voice changing area? When singing and singing, from bass to treble, or from treble to low, an uncontrollable "cracked and stuck" sound suddenly appears
I suddenly feel that the upper and lower sounds are not unified. This kind of Unpleasant sounds
are "voice changes".
There are many reasons for "voice change", the main reason of which should be analyzed from the physiological aspect. Because the two vocal cords are not balanced during vocal production, one of the vocal cords is not tightened, and the balancing effect of the arytenoid cartilage is lost, resulting in broken sounds.
Or, when the "real voice" is produced, the vocal cords are close together, and the vocal cords are "tightened" due to the force of the laryngeal muscles. When making a "false voice", the vocal cords are not close together
The laryngeal muscles are not too strong and the vocal cords are relatively relaxed. When singing, these two vocal forces need to be well connected to
unify the sound. If the connection is not good and the "blow volume" is not adjusted in time, a weak, tearing or interrupted sound will immediately appear. Broken notes are generally likely to occur on high-pitched extreme notes and notes near timbre changes
. Treble is generally produced at E2, F2, #F2. The "voice changing area" generally includes an interval of three semitones.
The note with the greatest change is called the "voice changing point".
Because the physiological conditions of each person’s voice are different, the position of the voice changing point has moved.
Soprano: Some sopranos have unclear voice changes, but it is difficult for dramatic sopranos to change their voices. The voice change is above and below #F;
Mezzo-soprano: This voice is more complex, with a wide range and great changes in timbre. There are generally two voice changing areas. One is above and below F2.
The second range is from #C to F2. Dramatic and low mezzo-soprano are in E2 and G2, and lyrical ones are around E-flat;
Tenor: Most of the voice changing areas are in #F and F2, including some in G2 and A2-flat.
Baritone: The high baritone voice changes at E flat, E2, and F2, and the low baritone voice changes at D2 and #C2.