(1) Breathing in singing is the same in China and the West. It is the basis of singing. The key is to design how much breath to breathe according to feelings and the length of sentences. It is also necessary to have the ability to control, so as to keep the breath in the most stressed tone, the longest tone, the highest tone and the lowest tone. However, we should also see that both Chinese and western singing emphasize breath, and the methods are the same, but the names are different. Therefore, learning the breathing of Bel Canto is the same as learning the breathing in China's traditional singing. Generally speaking, the breathing should be "sucked fast, not enough, locked up and mastered".

(2) For * * * Ming, because of the different pronunciation between China and the West, some training methods are the same, while others are different. Although the five vowels of A, E, I, O and U are the same in China and the West, there are still 3 other vowels in Chinese, so you need training when singing Chinese songs. Another example is the traditional singing training in China. For example, the training from the lowest to the highest tone is generally carried out by infiltrating the rhyme to be practiced in Changle sentences with different rhymes (that is, Changle sentences with long-lasting notes of the rhyme, or with changed tones and rhythms, but unchanged rhymes). It is also required that after the rhyme is issued, there will be changes of "strong, weak, broken and connected", especially the training of weak immediately after strong, which can lay a good foundation and form a habit of "light word stress" in singing (heavy word stress will lead to unclear word pronunciation, except in special circumstances). As for the folk terms such as "Hounaoyin", "Tianlinggong", "Submarine Flip" and "Frontofloor Cavity", they are all the feelings when * * * sounds, so they should be replaced by scientific terms, because these terms are mysterious and elusive. However, some singing terms are very clear, such as "the head is not upturned, the tongue is not long, and the breath is on the top", and so on, that is, posture and mouth shape have a great relationship with * * * singing (lifting the head, holding the tongue up, will lead to breath obstruction, and the shadow will sing * * *). In addition, there are training methods of "opening, aligning, pinching and closing" and "lips, tongue, teeth, teeth and throat (called five tones)", all of which are for the accuracy of mouth shape, in order to achieve a good position of * * * and make the pronunciation accurate. This is a more scientific method, because posture and mouth shape directly affect the * * * sound.

In addition, we should develop the habit of "the consonant is solid, the vowel is spoken but the mouth shape remains unchanged" and "the treble is light and the bass is heavy" in general. These must be determined according to the pronunciation and emotional needs, but the first thing is to open the throat, and then send the sound by air, and it must be rigid, soft, hidden, exposed, stolen, closed, closed and fierce, which is different. It depends on the word-for-word understanding. In particular, it is necessary to prevent bad habits such as focusing on high notes, focusing on the first sentence of each sentence, etc., but depending on the needs of different songs, different feelings and different sounds.

(3) singing with words as the starting point. It is an important method of singing in traditional Chinese, which requires "expressing feelings with words, bringing cavity with words, bringing sound with words, and bringing rhyme with words". Therefore, in the traditional singing art, there is a saying that "it is based on emotion, born in words, and voiced in tune", which shows that everything in China's traditional singing is "born from words". At this point, people who have learned Bel Canto must make up lessons, especially vocal music teachers who have the task of training and guidance, and they need to learn the skill of "born from words", which cannot be vague at all. Another important content in word-centered singing methods is "emotion in words". The method is to find out where the emphasis of each sentence is, especially the "emotional stress" in each sentence, and then show it in a measured way to achieve the purpose of "expressing feelings in words" That is, to make a big fuss about the pronunciation and achieve a vivid situation, this is the most basic design, especially the most emotional place. Never just "sing according to the music". Therefore, the higher the literary accomplishment of a singer, the better, and the wider the knowledge. Here is a traditional training method: to express feelings in words, you must first read the lyrics aloud. When reading, you should express the words or words that need to be emotional with tone and pronunciation. For example, a "bitter" word has a bitter sound, and a "good" word has "really good", "not bad" and "good without being strong" If we say that the skill of "feeling in words" is first mentioned in recitation, and then transplanted to singing, it will be a breeze with half the effort. The knowledge and methods in it are quite rich, which should be carefully studied. Never use "water cavity" to cope with every word's feelings. Therefore, we should bid farewell to the bad habit of only "singing according to the score" and dry singing at the sight of one tone. Instead, we should not only sing according to the score, but also "have feelings in the words" at the point of emphasizing words. Achieve the situation of "no heartless songs, no songs without cavities".

(4) Besides singing from the pronunciation, we should pay attention to the problem of "tune". . For cavity (moistening cavity), it is a means to promote accurate pronunciation, meticulous feelings and rich charm in Chinese singing. Therefore, there are artistic tricks in traditional singing: "the word leads the cavity, and the cavity turns with the word", "the cavity is set with the word, and the cavity is round", "there is a sound outside the word, there is a cavity outside the sound, and there is love in the cavity" and "no singing without a cavity". There are more than 4 methods to moisten the cavity, each of which has its own performance of expressing feelings and adjusting the voice "tune", and it must be learned and grasped by itself. Examples:

flat cavity, trumpet cavity, convergent cavity, olive cavity, gourd cavity, beating cavity, doubles cavity, pushing cavity, nodding cavity, gargling cavity, cushion cavity, kneading cavity, overlapping cavity, trembling cavity, dividing cavity, pharynx cavity, crying cavity, hook cavity, intermittent cavity, redundant cavity, whispering cavity, picking cavity and swallowing cavity. These nouns are very vivid and can be understood by themselves. Of course, it would be faster and better if you could get some advice from experienced people.