When you sing from the bass upwards, you will find it difficult to sing at a certain point and get stuck easily. This is when you have reached the voice-changing area. At this time, you must use a certain method to continue. Sing on. The singer should first basically master the singing method in the vocal area, and then make specific adjustments according to the individual. There are several methods that you can practice:
1) The "gasp" action is when the singer sings the sound of changing the voice (while pronouncing the vowel), he makes a gasp. The movement of the breath is like the physiological state of "startle", which allows the larynx to move downward and back slightly to fully open the oropharyngeal cavity. At the same time, the breath sent upward and behind the gums when singing in the middle vocal area will follow the pitch. Gradually move upward and open your mouth gradually. At this time, the sound feels upward and sent farther forward. At this time, the sound naturally enters the voice changing zone.
2) The vowel conversion technique is to cover up the voice a little in advance when singing to the voice change area, make the voice darker, the air volume smaller, and the little tongue raised a little. When you encounter a voice change point, one thing must be emphasized. That is, when you find it difficult to sing, or even when your voice feels that it is about to break, do not change the shape of the vocal organ, do not move or exert any force. Just keep singing to the sound. In fact, the problem of changing the voice point is always a "mixed voice" problem, that is, the problem of combining true and false voices. To cover up some of the sound is to have elements of falsetto, but it cannot be completely false. It must be mixed with the real sound so that there will be no trace of the connection of the sounds and the sound will not be empty or empty. Therefore, if you learn the transition of voice points, you will also learn how to sing in falsetto, and the falsetto position is very beneficial to singing and solving the unification of sounds.
The so-called "false voice" refers to the sound produced by consciously controlling only part of the vocal cords to vibrate during singing. This sound is higher than the "real voice" in which the entire vocal cords vibrate. Weak, and the tone has a bright and transparent feel. Most pop singers (both male and female) sing in their real voices to achieve a natural, approachable, and colloquial style. Some female singers (such as Qi Yu and Huang Yingying) mainly use falsetto when singing songs with a wider range and stronger artistry. Male singers often use falsetto when singing accompaniment parts, such as Garfunkel in the American "Simon and Garfunkel" duet, and Lin Zhixuan in the Taiwanese "Yuke Li Lin" duet. This is also an important feature of country music style duets. But there are not many male singers who sing purely with a soft falsetto like the lead singer of "Modern Talking". The key to producing a beautiful falsetto is to have a relatively high vocal position. When using the falsetto, pay attention to the smooth transition between the true and false sounds, without any breaks. Generally speaking, the falsetto is less powerful, but when necessary, the falsetto can be converted into a half-truth, half-hoarse, half-hoarse cry. Many heavy metal rock singers like to sing in a hoarse falsetto. Falsetto can also be used as a way to modify the voice. The "mixed voice" that combines the true and false voices can produce a soft, delicate, and slightly ethereal artistic effect. Compare "Passenger of Life" sung by Tong Ange and Tu Honggang. The former uses pure real voice to sing, while the latter uses a timbre between true and false voices. There are also such differences in "About Winter" sung by Liu Huan and Qi Qin. The sudden switch between true and false voices used in Tong Ange's "Unforgettable" and Wu Sikai's "Special Love for Special You", and the cadenza sung in falsetto at the end of Zhu Zheqin's "A True Story" are all examples of this. Common methods of applying falsetto in popular songs. In Whitney Houston's "All My Love Is Left to You", she first sings softly in the mid-bass range with a warm mixed voice, and then uses a straight and high-pitched real voice to gradually push the song to a climax, reaching the highest point of the song, and suddenly Switch to a very soft falsetto. This is an excellent example of using the transformation of true and false voices to express the ups and downs of emotions in singing.
There is only one way to sing high notes, and that is to use the Dantian. Why can’t some people sing even after using their Dantian?
1. Everyone has a different vocal range. I have heard that people with shorter and fatter necks are mostly male and female sopranos, while people with longer and thinner necks are mostly male and female basses. This is because of the Adam's apple. Why can some people who sing male and female basses sing high notes? It can also be trained by practicing the day after tomorrow. Family inheritance seems to be involved. Your parents are male and female sopranos, so you are destined to sing high notes. This is what I heard from attending lectures.
So you can research it.
2. Not enough energy and strength. It does not require you to exert all your strength, but to easily use the Dantian and the sound cavities on your body. There are four: chest cavity, nasal cavity, throat cavity and head cavity. Too tight and you won't be able to sing high notes because you've locked up your throat.
The transformation of true and false sounds requires long-term practice. Why do some people have a very low falsetto? It's because your voice hasn't opened yet. It takes a long time to work hard to open it up, and the strength of the Dantian is also limited.
Are you satisfied with my answer?
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