Chinese T1 (first echelon), perfect support, perfect voice change, perfect rhythm, slightly insufficient strong mixing range, 20-year-old skills are perfect.

Shan Yichun, this is my favorite child. Her appearance represents the educational maturity of domestic vocal training institutions. The vocal training institution she attended in her senior year of high school was: Hangzhou Yinyue Class Art Training. The level of this institution already includes mature European and American singing theory and technique analysis, as well as localized Chinese pronunciation training.

Shan Yichun’s talent, developed by this organization, is particularly amazing. Basically, when she opens her mouth, she is a model of pop vocals. Simply based on "The Voice of China", I will show you the singing skills and skills of Shan Yichun born in 2000:

"Love that Never Lost Connection": Absolute pitch, perfect abdominal support, stable tail vibrato, perfect Change the voice, the articulation point is concentrated, the mask sounds, the vocal cords are closed perfectly, the thyroarytenoid muscle and cricothyroid muscle are consciously separated, the thyroarytenoid muscle controls the real voice quality to full extent, the weak mixing is mainly weak, and the strong mixing quality is acceptable , but the metal core has insufficient explosive power. Quality tweeter D5.

"Like the Wind": The vocal cords are marginalized, weakly mixed with empty inspiration, and the chest voice crescendos change to the metal core as a base. The basic support is the same as above, still perfect.

"Forever young": Great progress, singing skills began to evolve toward emotion. Below the voice change area, the control of the mid-bass chest voice has evolved, and the falsetto is embellished. The sound changing technology is full, the metal core has explosive power, and the cohesion is perfect quality. The whole thing is no longer pursuing the so-called continuous explosion. At the beginning, under the guidance of Li Jian, the vocal range dropped by 3 degrees, but the content and emotion increased, and it entered the T1 level of detail processing.

"Like this": The perfect pronunciation point is concentrated, the perfect mask screams, and the perfect metal core explodes. The thyroarytenoid muscle participation throughout the whole process provides a sense of underlying strength. This song is my favorite. I also think Shan Yichun should sing more songs like this with more real voice participation. After all, the carrier of weakly mixed falsetto and marginalized vocal cords lacks thickness and power, so it is an add-on and should not be the main body.

"A Love Letter to Filmmakers": The mid-bass thyroarytenoid muscle participation is perfect, the thickness is perfect, and the emotions are fully reflected. The single tone quality has been greatly improved. Li Jian, Li Jian, is really the best teacher to improve students' music aesthetics.

Considering the basics of vocal music, Shan Yichun can no longer find any major problems. In terms of pitch, abdominal support, single tone quality, and technique, she has all reached the T1 level of ability. What she lacks is Professional experience, and this cannot be achieved overnight.

If I have to find any faults, I think there may be three hidden dangers:

1: Insufficient strong mixing range. Shan Yichun's voice change point is at B4. Her strong mixing metal core breaking point only has three notes: C5, C#5, and D5. At E5, it's basically a weak mix, and after E5, she can't sing in the mix. .

2: Insufficient pharyngeal sound training. Shan Yichun has a certain risk of high throat position. When her D5 strong mixed metal core is used, you can feel a certain biting and tugging. I don’t know much about the qualifications of Hangzhou Yinyueke. But no matter what, pharyngeal sounds are likely to be ignored and not taught to students. Because the pharynx has a special status, strictly speaking it does not belong to the field of pop music, but to the field of bel canto. But any singer who can sing without losing his voice for 30 or 40 years cannot do without the throat sound. At present, Shan Yichun does not have good pharyngeal sound training.

3: Commercial decline. After leaving Li Jian, Shan Yichun obviously let himself go a little bit. Among the songs he sang, there were more and more weak mixes, and the strong mixes retreated from D5 to C5.

Below, in terms of timbre, range, and accent Let’s analyze three aspects of this treasure singer’s body in detail. 1: Timbre;

Shan Yichun’s timbre structure is a typical singer who mainly uses pop vocal tunes.

All the timbre force is not on the vocal cords. This is to avoid excessive pressure on the vocal ligaments causing friction and high larynx inversion.

Shan Yichun’s specific timbre takes basic cavity and technical skills as the core of the display. In fact, it is the specific technical term mentioned above.

Basic timbres: 1: Uphanging articulation point, 2: Abdominal support; 3: Mask scream;

Uphanging articulation point refers to the cavity of the voice The concentrated point of the voice line hangs on the maxillary sinus. This is the most reasonable articulation point position, which can effectively improve the brightness of the voice and relax the vocal ligament to reduce the load. The maxillary sinus can provide a perfect cavity hard wall, which can produce echoes when sound waves collide and increase the sound effect. At the same time, hanging on the pronunciation point is also the most basic cavity confrontation and focus point.

Abdominal support is a commonplace issue. The intuitive feeling of whether singing is good or not depends on whether there is support or not. A singer without support sounds weak and breathes out much more. Abdominal support is the foundation of high-pitched sounds. It can provide deep hearing for abdominal cavity cries and is the source of the depth and intimacy of human voices. Compared with the overloaded squeezing sound of the chest voice and the hard and mature tone of the tongue base. For example, Joker Xue's abdominal support is a big problem, while JJ Lin, Tan Jing, and Deng Ziqi's abdominal support is relatively perfect.

Mask sound, this is an advanced technique, which belongs to the core of single tone quality of basic sounds. Whether the content of the voice is rich or not is basically determined by the intensity of the mask's sound. Shan Yichun's mask ***ming still had a lot of room for improvement before meeting Li Jian. But after meeting Li Jian, this was strengthened. Li Jian's weak mixing skills are world-class. And there is a certain national singing style of singing.

The masked chant is also the main reason why Shan Yichun is different from ordinary professional singers in that it sounds good when she opens her mouth. The rhythm is based on the content of the masked chant. Only in this way can we produce a sound that changes on one side and has a rich and unchanging background at the same time.

The three points of pronunciation, support, and mask sound constitute Shan Yichun’s basic timbre characteristics: bright, close, and content.

The rest is specific timbre techniques.

Shan Yichun’s timbre technique mainly consists of five parts: vocal cord marginalization, falsetto, weak mix, strong mix, and head voice harmony. Among these five timbre techniques, her voice-changing technique is perfectly suitable. It is a matter of talent.

1: Vocal cords are marginalized. The main soft hearing of pop music can provide a greater sense of breath containment and overtone rhythm. This is an essential skill for Chinese female singers. People such as Karen Mok, Liang Jingru, Fan Yaxuan, Tian Fuzhen and others basically use this skill as their core. Especially in TW, this is the main technique, but of course the homogeneity is also a bit serious. For male singers, R&B style music singers also need vocal cord marginalization as the main skill.

Its physical process is to provide a certain tension of the cricothyroid muscle, so that the glottis cleft is centered and has a slight tendency to close, so that the air outlet volume of the two sections of the vocal ligament increases, and there is a gourd-like glottis. Crack changes provide larger air sounds and increased sound pressure changes. The overall hearing will be very feminine, with delicate, soft, and hoarse overtones swimming around.

The marginalization of vocal cords has become the main technical means of Shan Yichun’s CD singles. Well, it can only be said that the marginalization of vocal cords is a bit serious for the homogenization of Chinese music.

2: Falsetto; simple falsetto is actually rarely used by Shan Yichun, concentrated in the mid-range, that is, falsetto with a slight change of voice, basically marginalizing the vocal cords The tension on the foundation deepens. And basically wherever falsetto can be used, it can be transitioned by marginalizing the vocal cords, and the sound pressure of marginalizing the vocal cords is much greater than that of falsetto in the mid-range. The falsetto treble that the public calls it is essentially a weak mix in the mix.

3: Strong mixed metal core.

The breaking point of Live is the emotional outburst in the entire song. The strong participation of the thyroarytenoid muscles maintains the true voice. The high-density ring of the maxillary sinus provides a metal-core textured sound line. Under the premise of abdominal support, , with the characteristics of unlimited development of sound pressure and unlimited penetration. The common best metal core pitches are A4-D5.

4: Weak mix. The concept of weak mix refers to the auditory perception maintained by a metal core caused by the falsetto component being greater than the real sound in the mix above the voice-changing area. Because of the participation of the real voice, it has better timbre unity, while the falsetto in the high range has a head voice tendency, which can produce an airy feeling of sustain. It is Shan Yichun’s main timbre technique.

5: Head voice harmony. It is often seen in Shan Yichun's singing. She does not need a harmony above E5 in Live because she has professional chorus members. In the singing bar, Shan Yichun often sings in European and American styles, with high quality.

Overall, the complexity of Shan Yichun's timbre structure only lacks a spare sound for the pharyngeal sound. But in fact, pharyngeal sounds are also training sounds. They are a tool for protecting the voice and are not displayed on the stage. 2: Sound range;

Shanyi’s pure theoretical range: E3-E5, G5-D6 harmony;

Shanyi’s pure quality range: E3-B4-D5-E5;

Shan Yichun’s quality range is basically equivalent to his theoretical range. The range of G5-C6 is head voice and harmony, which is basically not used in Live. The only flaw in Shan Yichun's vocal range is the missing three keys of E5-G5. As mentioned above, her mixing area is actually not much, only the three-Key strong mixing of C5-D5, and the weak mixing of D5-E5.

But a female singer has two octaves of E3-E5, which is already very scary. She can sing low-pitched songs like Tsai Chin's "Love Letter to Filmmakers" and high-intensity D5-mixed high-pitched songs like "Like This". And the best range is A4-D5. Female singers do have a natural advantage over male singers in this range.

E3-E4: The quality of the chest voice guided by Li Jian. This is not just a nice bass, but also in line with Li Jian’s aesthetics for bass - simplicity and thickness. Bass is difficult to sing. The reason is that most professional singers want to do various tricks on the bass. For example, the friction of the vocal cords in the backward voice, Xu Wei's leaky voice, and even the semi-leaky singing methods of Eason Chan and Andy Hui are all qualities that cannot be stood up in the academic world. For bass, if you maintain the pitch well, maintain the involvement of the thyroarytenoid muscles and chest voice well, and leave the rest to your own rhythm and support, it will be the best-sounding and most emotional bass.

F4-B4: In the real sound area, the quality is still very high. The main area where the vocal cords are marginalized and falsetto is played is also Shan Yichun's average CD comfort area. In this true voice zone, Shan Yichun's voice changing skills are very good, and her awareness of separation of the thyroarytenoid and cricothyroid muscles is full. The contrast between the real voice intensity and the chest voice participation is also relatively obvious.

C5-E5: In the mixing area, the quality of the strong mixing metal core of C5-D5 is not bad, but in fact there is little long tone sustain, most of which are one-eighth treble sustain, which can be used in the future. Strong improvement on the mixing area. E5 is the weak mixing area, the quality is not bad, but it tends to be slightly sharp. 3: Cavity;

There is nothing wrong with the cavity; it is fully open and perfect.

Abdominal support, chest voice embellishment, throat vocal cord marginalization, vocal cord closure, articulatory point hanging on the maxillary sinus, mask tinnitus, strong mixed metal core, and head voice technology are all available.

The only hidden danger is that the laryngeal position resistance in the throat can be improved, and voice protection training for pharyngeal sounds can be put on the agenda, and you can also learn a little bel canto. This allows her to exercise her throat muscles and keep her voice at its peak for decades. Rather than sinking into business and causing a loss of voice.

The best rough jade so far. I hope to elevate my singing skills to an artistic realm emotionally.

Shan Yichun’s voice quality, cavity, and musicality are all well-equipped, and they are all high-end. This is one of the few absolutely talented flow singers in recent years. S-class ceiling for singers under 30 years old, vocal range G#2-C5, amazing bass talent, better beauty compared to treble Huang Xiaoyun.

Shan Yichun, this little girl born in the 2000s ranked first in the popular vocal music class of Zhejiang Conservatory of Music. Her talent has given the entire Chinese vocal music circle a wake-up call - the post-00s generation was born in a country rich in music resources. In this era, the difference in music singing skills is no longer about the superficial aesthetics of intonation, pitch, rhythm, and classic melody, but about the comprehensive emotional enjoyment of rhythm, tension, musical integrity, and immersion in expression.

The key to the expression of Shan Yichun’s vocal aesthetic in music is that Shan Yichun can clearly express the musical composition, arrangement, orchestration, and lyrics through specific vocal performances* **There is an underlying emotional unity, and this unity is what other musicians call flow. Because vocal rhythm in Europe and the United States means a subconscious desire to express based on enjoyment. What to enjoy? Enjoy the subjective emotional color given by the essence of music at this moment. So in essence, flow, vocal rhythm, refers to the singer's own expression of the underlying emotions of the song during music singing, which is in line with the interests of the song and the potential emotional tendency of the orchestration.

Why the lyrics of this song are like this, why such a composition has such a melody, why such a melody has such orchestration and harmony, and all these thoughts are in Shan Yichun’s vocal singing Being able to express does not have to do with showing off skills or others' understanding, but only with one's own desire and immersion in the comprehensive expression of music, and the emotions that one understands are precisely the core of the music's purpose. It can clearly express the high degree of unity and emotion of the underlying auditory art of music. This is the reason why Shan Yichun said that he is a good prospect, and even a good prospect who has made progress with the times.

This kind of vocal rhythm is very difficult for singers. Because this involves the comprehensive interference of factors such as the accumulation of personal musical literacy, understanding of the basic music production process, the perfection of vocal skills, the stage of personal singing skills, commercial influence, etc. It is often easier for unexperienced students to achieve this, because this stage is about enjoyment, and when they grow up, it may become a matter of profit. Among popular vocal music and Chinese pop music, few singers have this ability. Zhang Bichen didn’t, and Huang Xiaoyun didn’t either. But Faye Wong has it, and Shan Yichun had it when she was 18 years old.

Starting from Shan Yichun, the new generation of singers in the future will become more and more professional. At the same time, the ranks of music singers are also beginning to gradually enter, eliminating non-professional idol singers. The professionalism and personal abilities of so-called singers have increased, the entertainment media has frequently created stars, and the era in which any so-called idol is a singer has begun to enter its twilight.

Looking at her personal singing ability, the best thing about Shan Yichun is her perfect lower cavity support (abdominal cavity, chest cavity). The support ability mainly affects the overall vocal quality. Intuitive comfort. Shan Yichun's ability to support the mid-bass is amazing. The most difficult thing to support is the mid-bass, not the high notes. At the same time, Shan Yichun's biggest disadvantage is that her five-group vocal range has not yet been developed, and her mixing area ability is still in a hazy state. The following simply uses the comparison between Shan Yichun and Huang Xiaoyun as the core expression; 1: Tone: Shan Yichun Huang Xiaoyun;

In terms of timbre, cavity, and range ability, the 23-year-old Huang Xiaoyun and the 20-year-old Huang Xiaoyun are mainly used. Shan Yichun's comparison between two new-generation female singers with the best singing skills can intuitively feel the advantages and disadvantages of Shan Yichun.

In terms of personal timbre, I personally think Shan Yichun’s timbre is better than Huang Xiaoyun’s. In addition to my personal listening experience that Shan Yichun is better, the main objective reason is that Shan Yichun's timbre is more concentrated in pop music and has better unity. Huang Xiaoyun's timbre has undergone a huge change, from bel canto singing to pop singing (Huang Xiaoyun's China Good Voice Live when he was 16 years old was a bel canto popular singing method).

At the level of top new generation singers such as Shan Yichun and Huang Xiaoyun, the timbre with less market interference is often the timbre with more personal vocal rhythm expression.

Shan Yichun’s timbre has not changed much. Judging from the audio of her singing in the singing bar when she was 16 years old, compared with her status when she was on The Voice of China at 18 years old, she has always been deeply involved in popular singing. , the polishing of the tone is based on the natural effect of personal talent.

Huang Xiaoyun is different from Shan Yichun, because Huang Xiaoyun has been famous since he was a child and actively participated in various variety shows. In the end, she received a series of bel canto lessons from primary school to university at the Central Conservatory of Music. She herself was also taught by the Central Conservatory of Music, which led to a certain preference for bel canto. Especially between the ages of 16 and 20. After the failure of The Voice, Huang Xiaoyun began to join the study of pop vocal music, his timbre began to change, and he also began to further strengthen the vocal expression of pop music. Various skills began to be strengthened.

However, there are still essential differences between Huang Xiaoyun's major and Shan Yichun's. Huang Xiaoyun majored in bel canto at the Central Conservatory of Music, while Shan Yichun majored in pop singing at Zhejiang Conservatory of Music. Among the 13 independent key conservatories in the country, the Shanghai Conservatory of Music has the best bel canto, and the Zhejiang Conservatory of Music has the best pop singing. In addition, the reason why Huang Xiaoyun was admitted to the Central Conservatory of Music was that he took professional courses all the way from the attached middle school and began to cultivate vocal music since he was a child. Compared with Shan Yichun, who jumped over the dragon gate in one year of training in the third year of high school and became the number one in the popular vocal music course of Zhejiang Conservatory of Music, the two are not on the same order of magnitude in terms of resources.

In terms of timbre expression, both of them have the awareness of focusing on the best pronunciation points at the moment. At the same time, in terms of timbre skills, whether it is the quality and intensity of the real mid-bass or the timbre expression in the mixing area, both are Top notch. But there is still a difference - the throat position.

The throat position is the source that determines whether the timbre will be split or changed. The higher the unity of the throat position, the better the overall emotional expression will be. Among Shan Yichun and Huang Xiaoyun, it was Huang Xiaoyun's throat that should have been pressing down on Shan Yichun, because Huang Xiaoyun studied bel canto. The treble skills in bel canto are all based on laryngeal position confrontation, while the training method for larynx position in popular vocal music is actually borrowed from bel canto - pharyngeal tone.

But in fact, Shan Yichun's throat position uniformity in singing is higher than that of Huang Xiaoyun. Of course, there is a difference in vocal range. Because Huang Xiaoyun has five perfect sets of high notes, the throat position fluctuates too much, and there are some stuck pitches and a bel canto voice that is aged and aged. But in terms of the singer's overall integrity, Shan Yichun's throat position unity is better than Huang Xiaoyun's. The specific vocal range is the C3-C5 stage. Shan Yichun's timbre unity is better than Huang Xiaoyun's. 2: Vocal range: Huang Xiaoyun Shan Yichun;

Huang Xiaoyun’s quality vocal range: Eb3-B4-B5, G5-B5 harmony;

Shan Yichun’s quality vocal range: G#2-C5, C#5-D5 chord;

Vocal range is currently Shan Yichun’s biggest singing weakness. Currently, Shan Yichun's quality pronunciation is in G#2-C5. Shan Yichun's bass talent here is terrifying. The original key of "Long Time No See" is in G and the lowest bass is E2. Shan Yichun's "Long Time No See" in the final of "Voice of China" is in B key. , improved 4Key, the lowest bass is G#2. Note that it was raining and windy that day, but her G#2 was still very stable in Live, and she won the championship in the end.

The high note C#5 has a bit of a throaty enunciation and a lighter degree of closure. This is actually a very big problem for a female singer. Because C5 and C#5 are the voice changing points for female singers, the voice changing point is the core for female singers to determine whether they can expand the five sets of high notes. C#5 is stuck and D5 does not have strong mixing capabilities, which means that Shan Yichun does not have strong mixing capabilities.

On the contrary, the five groups of vocal ranges are exactly Huang Xiaoyun’s main dance troupe. Huang Xiaoyun has appeared on The Voice of China twice, failed once in the blind audition, and reached the top eight level once. The reason why he is now able to sit on the judging panel of The Voice of China is that his vocal range has been fully extended.

The commonly used vocal range of Eb3-B5 is basically perfect and gentle to the level of the national team. Tan Jing’s commonly used articulation is exactly the same as Huang Xiaoyun’s, which is also Eb3-B5. However, Tan Jing can achieve the national singing method of G5, A5, and B5 with semi-pharyngeal articulation, and Huang Xiaoyun’s G5 , A5, and B5 are all singing methods with weak mixed head voice.

Comparing Huang Xiaoyun with Shan Yichun, Huang Xiaoyun’s vocal range is two octaves pure 4th; Shan Yichun’s vocal range is two octaves pure two octaves; one is talented in treble, and the other is talented in bass;

There is still a sense of bullying Shan Yichun. The professional background of the Central Conservatory of Music is still stronger than that of the Zhejiang Conservatory of Music. Huang Xiaoyun has received bel canto education since he was a child. According to the mainstream aesthetics, he has chosen the high range as his personal ability. Very successful.

However, if you are afraid of failure, Shan Yichun is the number one popular singer at Zhejiang Conservatory of Music, so there is a reason why she is number one. After all, Huang Xiaoyun did not enter the Central Conservatory of Music with the first place in professional courses.

The golden range of pop music is C3-G5. G5 and above are basically the commonly used harmony range. The auditory beauty of articulation here is no longer there. This is also the reason why Huang Xiaoyun mainly uses weak head voice. Or market aesthetics. Among the golden ranges of C3-G5, there is another regular conclusion: most of the climax pitches of pop music choruses are in A4-D5, which makes it easier for golden songs to be born. This is a conclusion derived from European and American music.

The golden chorus range of A4-D5 can also explain why there are more female singers than male singers. For Shan Yichun, the quality below D5 is far more important than the treble range above D5. This is why when Li Jian selects songs for Shan Yichun, he always looks for Shan Yichun's bass ability instead of treble ability. Regarding treble ability, Li Jian only has a blind selection point: more solid treble.

Shan Yichun's song "Like the Wind" that he sang during PK has already begun to be clever, with a perfect solid metallic quality. Li Jian only gave Shan Yichun's treble guidance in one sentence, while he gave Shan Yichun's bass guidance in person all morning. Because for vocal music majors, bass can be more difficult to sing. It is really difficult to support the bass, and for a singer with the metallic ability of C5 to have perfect expression ability in C3, it is as difficult as climbing to the sky. At least Huang Xiaoyun, a prodigy with top music resources, cannot come to C3. Because for female singers, C3 is really scary. And Shan Yichun's bass is in G#2, so it's not an exaggeration to say that it's amazing.

Of course, Li Jian takes credit here - the sighing bass is the most perfect way for a female singer to sing a second set of bass, no one else. But Shan Yichun is able to achieve perfection in Live, and it has to be said that this child's talent is not a ceiling that can be achieved by conservatories piling up resources.