What some experts call pharynx sound is a way to passively close vocal cords driven by breath. Pharyngeal sound training can increase the cost of singing high notes. It is a very scientific physical training, which can maintain the voice, but it cannot be directly used for singing.
The foundation of closing singing is to require the voice to have the ability of actively closing and covering up, otherwise a high note will suddenly pop up, and you can't sing by pulling the breath up from a low level.
The word "coperto" means "cover up" or "cover up", so this singing method is also called "cover up singing method". The word "off" is relative to the "open" state of male voices in the midrange. Vocal music works before the 19th century did not require grand volume for high notes. When the male voice sings in the high-pitched area, it still sings along the singing method in the middle-pitched area, and when it reaches a certain height, it uses falsetto. At the beginning of the 19th century, there appeared opera works expressing heroic passion in Italy and France, which required singers to express the mood of music and the characters' personalities with loud voices.
Some tenors in Italy practice. Gradually, a kind of high-pitched singing method using masked chest sound to support breathing, expand the range and enhance the volume has been explored, and good results have been achieved. This kind of singing method not only has enough volume to exert passion, but also protects the singer's voice. Since then, this singing method has been widely used.
Unfortunately, the names of the first singers who used this singing method are unknown. It is recorded that Dueppre, a famous French tenor at that time. He went to Italy for further study in 1828. Under the influence of the famous singer Donzelli, he began to train this kind of singing method, and achieved remarkable results, which changed the lack of low volume and not very bright timbre. In 1835, in Naples, he played Edgar, the hero of Donnetti's opera "Lucia of Lammore", which was a great success. He returned to Paris in 1837 and performed Rossini's opera william tell. He sang to the high note G with a thick cover chest voice. His powerful voice, coupled with his beautiful singing style, shocked Paris. He is called the first romantic singer in France.
in p>1846, Dueppre expounded the principle of "closing singing" in more detail in his book "The Art of Singing". In 1862, Helmholtz, a famous German physiologist and physicist, made a scientific and systematic analysis of the phenomenon of * * * in his book On the Feeling of Sound as the Physiological Basis of Music Theory, and became the founder of modern acoustics.
in p>1876, Dr. Mandel in Germany published a book, advocating the use of diaphragmatic breathing to sing. In 1887, British doctor Mackenzie also wrote a book to support this view. This method makes breathing, as the basis of singing, have a concrete physiological basis and promotes the development of vocal music art.
"compressing vocal cords" and establishing "breath support under dynamic conditions". Here, it is necessary to quote a passage from Pavarotti to illustrate the significance of compressing vocal cords: "When the mid-range area enters the high-range area, there is a feeling of" tightening "in the throat, which is not the strength of muscles. On the contrary, the muscles involved must be relaxed, just like yawning, but you must make the voice more Squeezed. When you start to learn to master this feeling, it seems < At the beginning, it is normal to often crush the sound. However, when the correct method is mastered, it is a very safe and safe method. Even if you can't have a beautiful voice for a while, you will be beautiful after mastering it skillfully. "
This passage has the same positive significance for the training of popular singing, because it provides a concrete solution to the treble and expounds the reactions that will occur in the process of producing the treble. Not only that, but this method also solves
the problem of "changing voice" which also bothers female voices. What Pappas said about throat tightening is actually vocal cord tightening. He said that the muscles concerned must be relaxed. In my words, the tightening of vocal cords is based on the relaxation of the throat. When the throat is yawning, it means opening the throat. However, it is not easy to grasp the contradictory unity, because the throat and vocal cords are in the same position (it is said that it took Pappas six years to solve the "high-pitched transition"). The habitual instinct of people is: either the throat and vocal cords are "tight" at the same time. But as long as you work hard, you can certainly learn it, which will be discussed in detail later.
The principle of using "compressed vocal cords" to make sounds or sing sounds a bit mysterious. Actually, it's not, because the shape of vocal cords is very similar to people's lips. As long as you see how people who play trumpet or flute play these instruments, it's not difficult to understand the state of vocal cords when singing, and the meaning of "compression" or "contraction" of vocal cords has become very visual.
In the early introduction, some people described it as a singing method only suitable for male voices, so that people with thick vocal cords can artificially create a high-pitched area, but it is not rigorous enough. Of course, boys learn faster. This
reason is caused by the physiological characteristics of male and female laryngeal organs. Girls can also learn to turn off the high notes in singing. Such as singers Han Hong and Li Na.
Singing methods
Of course, there are many works about the closed singing method, but not many vocal music lovers and students in China can use the closed singing method freely. I have been studying vocal music for more than five years, and I have some experience and understanding about the closed singing method in constant practice-I think the closed singing method is mainly aimed at the tenor to change the voice area #. It is very important for tenors. A tenor without tenor quality is not an excellent tenor at all.
Based on my own practical experience, I will talk about the following issues:
First, breath is the basis of singing. Without breath, there is no singing. The use of breath in closed singing is different from the normal breathing in life. Usually, the "smell fancy breathing method" in Bel Canto is used. I won't say much about the "sighing breathing method" here. Let's talk about my experience when I use the treble to turn off in singing: the breath in singing needs a fulcrum. The fulcrum of the breath must be established in the lower back part first, and then find the strength of the lower abdomen. Because the waist needs you to actively expand or pull down, it will produce a force. However, the lower abdomen and diaphragm are pulled down by the waist fulcrum. Naturally, there will be a kind of confrontation. I can feel this kind of confrontation very strongly in singing. At the moment of singing high notes, my waist and abdomen will expand in an instant, because the closing of high notes requires the support of a force, and I can't be "lazy" when using the closing singing method.
Second, the throat problem, throat problem is also the top priority of tenor singing. If ","is mentioned in the throat, the whole singing state will be wrong, and finally the tenor can't sing, and it is easy to walk into a dead end. Some beginners were originally baritone, but he liked to sing tenor. By moving his throat a little higher, he got some tenor timbre. However, when speaking naturally, the throat is slightly lower and returns to the tone color and pitch of baritone, while if the throat is pressed down too much, the quality of tone color will be affected and the high overtone required by tenor will not be produced. Now, let me name the state of the tenor's throat in the voice changing area: the position of the throat is slightly higher, the length of the pipe is shortened, and the diameter of the throat is reduced, so that the voice is bright in the front, which is very beneficial for the tenor to sing light and cheerful songs. Because the overtone of the * * * sound determines the timbre, with the change of the sound quality of the sound area, the adjustment of the internal larynx, the position and shape of the larynx will also change at the same time. From the anatomical point of view, we can know that the laryngeal muscles can make the larynx rise in order to adjust the sound quality required by tenor when singing. Therefore, the term "stabilizing the larynx" should also be relative, positive and natural. How should we train the larynx to make it stable? Practice music can be practiced with various vowels or mixed vowels or mixed vowels, or with the name of scale 1234567, etc., or by arranging lyrics on the practice music to practice the practice of calling words. Generally speaking, choose the rounder vowels such as "O" or "U" to start practicing, because these vowels are easy to form the needed space, and it is easier to keep the basic state of the throat open, and it is also easier to form the state of the throat space.
Third, the high position in singing. We should always keep a high position when singing. This brings up a problem of "singing high and singing low". What does it mean to make "singing high and singing low"? This is not to say that the singer is required to raise the pitch of the song, but that the singer should not only keep the high position of the treble all the time, but also keep his voice in a positive and tense state. Every sound in the range of any voice should have the overall color of * * * *, and the high voice is more in the * * * organ of the head, and the chest should be strengthened with the low singing; The proportion of vocal organs is adjusted in the pharyngeal cavity, and the pharyngeal cavity and oral cavity are also the most important vocal organs, which are the connection links between the upper vocal organs and the lower vocal organs. The necessary condition for obtaining high-position sound is to use masked, vertical and rounded sounds in the whole music. Without this, it is impossible to obtain high-position sound, and this requirement is applicable to all parts. My personal suggestion is to have a feeling of shooting when singing. Anyone who has played basketball knows that his body will lean forward and upward at the moment of shooting, or you can consciously weigh your feet when practicing singing. In short, the feeling needs to be explored by yourself, but please remember that you must sing up.
fourthly, the change of mouth-shape closing singing generally means that the brighter "A" is gradually used to "O" in the midrange, and the "U" is used when the voice is changed. Too many "A" voices are white and flat, and too many "O" voices are dark, so they must be properly mastered in practice. Different songs have different pronunciation and mouth shapes. When singing high notes: "LAVERDE", you should keep a positive "E" and when singing the high notes in "Under the Silver Moonlight", you need to sing "A" when "Looking for traces of the past". At this time, you must combine what I just said, and you must have a feeling of pulling up, so you can sing with your feet on your hands.
Fifthly, turning off some attention elements of singing is an important aspect of singing vocal training to make musical instruments: it requires the throat to be stable, the throat to be open, all the sounds to be on the breath line, no sound to be out of the breath track, the sound to be even, coherent and powerful, the breath to be unobstructed, and no trace to be revealed when the voice area is changed, etc. But singing is an activity of the advanced nervous system, and a person's psychological state when singing can often affect it. Good sound is the result of the coordinated work of the whole vocal function.