3, the breath is blocked, and the process of inhalation is very good, but the process of breathing is tight. Although I want to save breath, it affects the flow of breath, and the voice appears dry.
4. There is a sound when inhaling, and there is that kind of friction noise when inhaling, especially when singing fast songs. You should experience the state of your throat when inhaling through your nose.
5. Breath and sound are not harmonious, but the relationship among sound, strength and breath is harmonious, so you must combine them when practicing, and you can't pay one-sided attention to one aspect.
. * * * in singing,
The * * in singing is related to the timbre, volume and expressive force of singing, and the change of sound quality that * * * can form is much greater than the vocal energy of vocal cords themselves. When we sing, if we want to get the overall feeling of * * *, we must make each cavity cause * * * *, generally speaking, it is the oral cavity, the chest cavity and the head cavity.
Actually, the practice of singing * * * can't be completed in one time. We develop from the middle to the two ends, that is, from the basic throat and oropharyngeal cavity to the nasal cavity, chest cavity and head cavity. Of course, this is also based on a good singing voice state and breathing state.
oral singing is a very important part of singing, including throat, pharynx, mouth and tongue. On the one hand, the singing of oropharyngeal cavity plays a decisive role in the production of full and beautiful timbre, which is the basis of the fame of chest cavity and head cavity, and it is also a key part for the articulation of singing.
Having said that, I have to talk about the important role of nasal cavity humming, which is based on oral cavity humming, expanding and enriching the indispensable singing area of humming, and is also an indispensable bridge to build the head cavity humming. Sometimes when we have a cold and a stuffy nose, our voice is not pleasant to hear, and it is also difficult to sing. In fact, the nose space is blocked and the breath can't pass through. Without space, of course, we can't sing. The center of the eyebrows is a crucial * * * singing point.
However, sometimes this phenomenon occurs, and the nasal sounds are mistakenly regarded as nasal sounds. When nasal sounds are produced, the feeling is like this. The sound is stuffy in the nose, and the breath can't pass smoothly as soon as possible. Of course, the singing voice is very obscure. When the nasal cavity is ringing, the nasal cavity is open and expanding, the airflow is upward, and the nasal sound is often downward. This can be experienced.
When practicing * * * sounds, you can choose three vowels with associated relations to practice, so as to establish the unity of * * * sounds in the throat, pharynx, mouth and nose.
First, you can practice with O, and pay attention to the purity of O. Inhale deeply through the nose, keep the spatial state of the throat when inhaling, prevent the throat from lifting and retracting, and establish the first * * * singing area in such a throat space.
On this basis, the second step is established by using ao, which is generated by the O sound and the space function of oropharyngeal cavity. However, it is impossible to bring pure ao by opening the mouth reasonably, and attention should be paid to the stability of the tongue to prevent it from shrinking or arching. Because of the role of pharyngeal wall, the voice is larger and fuller than the simple throat opening space.
Next, on the basis of these two * * * singing areas, we should establish a third * * * singing area with nasal sounds with ang, that is, the * * * singing area of the nasal cavity, so that the airflow can pass through the nasal cavity smoothly, but we should be careful not to put too much emphasis on the rhyme. The sound continues on the "Ang" before the rhyme, and the last "G" of the rhyme can be omitted, leaving the nasal cavity in a stretched state.
If these three vocal levels can be linked together, a relatively complete vocal area can be established in the throat, mouth and nose areas.
Also, when singing high notes, why do you feel that the voice sounds very laborious? I don't know if you feel this way. If you do, you just don't have a * * * voice, and your voice is tense and trembling. If you want to practice head cavity singing, you must have a solid nasal cavity singing first, otherwise there is nothing you can do.
Basic vocalization practice is essential. You can strengthen basic vocalization practice. First, you should sing in a correct posture, that is, stand up straight, relax your chest, and try not to raise your head as much as possible. Speaking of this, many friends of Kao Lan singers are obviously sitting and singing. If you sing like this, it is very detrimental to the display of voice and breath.
During the basic vocal practice, you should inhale deeply gently and quietly, keep your throat in the state when inhaling, have a proper understanding of treble and strength, and be psychologically prepared. In addition, the volume should not be too strong, and a comfortable volume is appropriate. I suggest you buy some information about this. Generally speaking, vocal practice starts from the natural sound area and then gradually expands, so I won't elaborate on it here.
What I want to say now is that some singing problems found in it can be divided into two categories.
The first category belongs to the problem of vocal methods, which is manifested in the squeezing and squeezing of the throat like a voice that is unable to speak.
The second category belongs to the shallow emotion, insufficient expressive force and too little display of personality.
1. Shouting phenomenon, Some of my friends use great force to press the chest and vocal cords when they sing high notes, completely abandoning the basic vocal skills of singing, and forcing the vocal cords to reach high notes under strong stimulation. This is very wrong and dangerous, and the damage to the vocal cords is too great. At the same time, the voice loses its aesthetic feeling.
2. The voice is pale. This vocal state basically does not require skills. Depending on the conditions of the voice, However, it also does great damage to vocal cords. A-mei is a very typical case.
3. The voice is weak, which seems to be loose on the surface. In fact, excessive relaxation means looseness. If there is no corresponding strength, the voice will definitely lack appeal.
4. The articulation is unclear. Sometimes, people often seek to open their throats and achieve * * * but ignore the lyrics. The voice is heartless. Some friends have very good voice conditions, but they also have a solid foundation in singing, but when they sing, they only leave the impression of the voice, but they are indifferent to the emotion and emotional rendering in the song. It is not touching to sing, of course, and it is impossible to move.
6. The pitch rhythm is not good. The pitch problem is more complicated, and the mastery of singing methods and emotional changes will also bring various problems. The breath is shallow and the voice is easy to drift. Pitch tends to be too high. If you are nervous when singing, you will also have inaccurate intonation, and if you are too excited when singing, you will also have a high intonation. However, I think there are very few people who are born with pentatonic, and this problem can be overcome through practice the day after tomorrow.