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The training method for opera singers from no voice to good voice

The training method for opera singers from no voice to good voice

Opera performers have never had a voice to have a good voice training methods

As the saying goes, "good singer first adjust the gas", how to practice a controlled singing breath?

First, silent practice breathing

Practice rapid inhalation in the method of "sobbing"; practice slow and deep inhalation in the method of "sniffing the flowers", and sink the breath in the

Practice exhaling by gently "blowing dust", slowly and evenly.

Second, vocal practice breathing

With the traditional opera shouting method, with the word head of the spout to drive the abdomen and the two ribs, the abdomen to send the breath, and play in the mouth cover, send out the parabolic "yi", "ah" and other long sounds;

With a gentle "blowing ash" method to practice breathing (exhalation), slowly and evenly.

Through the long days of training, I can do to skillfully use the breath and control the breath, I feel, sing the gas can not be inhaled too deep or too shallow, inhaled too deep, easy to hold in the chest, inhaled too shallow, and can not produce strength and elasticity, should be in the natural breathing basis, according to the needs of the singing of the depth of the breath adjustment, slow slow breath to deep, fast and fast minor keys are inhaled to shallow.

Adjusting the breath to the natural breathing of the human body.

The correct position of vocalization is that the different vowels have a centralized point on the mouth cover. Mr. Tian gave me a sound position arrangement point:

Yi Yi Yi (衣七辙) breath in the upper teeth;

哎--(怀来辙) breath in the palate of the hard mouth cover;

An Yi Yi (言前辙) breath in the middle of the hard and soft palate;

Ah Yi Yi (发花辙) breath in the soft palate;

Ai Yi (发花) breath in the soft palate;

Ai Yi (发花) breath in the soft palate;

Ai Yi (发花) breath in the soft palate. Breath hits slightly in front of the junction of the hard and soft palates;

Oh -- (Poso rut) Breath hits behind the junction of the hard and soft palates;

Aung -- (Jiangyang rut) Breath hits the mouth;

Ou --(Gusu rut) relaxes the larynx, raises the soft palate, expands the pharynx, and causes the sound to form in the pharyngeal tube.

The advantage of this arrangement is that it allows me to visualize in my mind an unseen and unobtainable part of the voice, and it helps me psychologically to find a good feeling, so that I can train with clarity. The relationship between the breath and the sound position is like the relationship between the gong hammer and the gong boring, the position on the mouth cover is like the gong boring, the breath sent from the belly is like the gong hammer, and the gong hammer is used to strike the concentration point of each vowel (i.e., the gong boring), which produces a bright and full sound. In other words, if the gong hammer did not hit the gong boring, and knocked on the side of the gong, the sound is dark and muffled, understand this reasoning, in the singing will know how to use the breath to hit the correct location of the sound.

The sound has *** sounding the rest of the sound around the beam line

If the cello is not equipped with *** sound box, with the bow to pull the strings, the sound will be thin; just because there *** sound box, the sound is bright and full. If the actor sings without the *** sound, the sound must be thin. Human *** sounding organs are many, singing the main *** sounding cavity has the oral cavity, head cavity, pharyngeal cavity, thoracic cavity. Oral *** sound big, head *** sound bright, pharyngeal *** sound transmission far, chest *** sound broad. How do I get these ****ing sounds in my studies and practice? With the correct position of the voice, you can get the day cavity **** sound. For example, when I sing the word "thousand" in the phrase "A word of words weighs a thousand pounds", the beginning of the word "thousand" is the "wife" sound. This "wife" sound word head to drive the abdomen, the abdomen continues to send breath, impact on the "clothes seven rut" concentration point (upper teeth), you get the oral *** sound in the oral *** sound on the basis of the abdomen to send the breath to increase the strength, through the nasal cavity, sent to the head cavity. The breath is then sent through the nasal cavity and into the head cavity. If you can not master this feeling, you can also use the body to help find the head cavity *** sound. Generally speaking, the "clothes seven rut" more with the head cavity. I sing "heart", "catty" and other words, legs apart, waist bent 180 degrees, head to the ground, to catch this low singing. Feeling, and then stand up and sing, repeated training, repeated feeling, you can get the head cavity **** Ming.

"Gusu rut" is my biggest fear, whenever I sing "lonely", "bitter" and other sounds are difficult to hear, because there is no pharyngeal cavity **** sound, Mr. Tian asked me to experience the sound of barking dogs. So I learned the dog "woof woof" barking, only to relax the larynx, raise the soft palate, expand the pharynx, the sound in the pharyngeal tube formed naturally, issued by the "buzz" sound, to get a better pharyngeal cavity *** sound. How to get thoracic **** sound? Capture the feeling of "moaning" when you are sick, and slow down the sound of "moaning", make it longer, and sigh downward. For example, when I sang the word "chest" in "knife stabbed chest", I sang the word "chest" with the feeling of crying according to the emotional needs of the character, at this time, I didn't sing with my mouth but with my chest, and felt a slight vibration in my chest. I feel a slight vibration of the chest, the sound is broad and strong, to get a good chest **** sound.

Training, these *** sound cavity needs to be sung individually, it is necessary to skillfully combine, integrated use. For example, the word "chest" of the "knife", I sing with the word head of the mouth to drive the abdomen, the abdomen continues to send the breath rushed to the head cavity to the pharyngeal cavity, and then slightly close the mouth to the nasal cavity, a word with a variety of cavities *** sound to complete, to achieve the word is round.

True-false hybrid sound can be expanded

With the development of society, modern opera in the field of sound has been greatly expanded. Our local opera in the past the traditional singing, basically an octave or so; now the opera in the traditional basis, create a lot of new songs new cavity, without a wider range of difficult to perform, so I have to broaden the range of voice, take the combination of true and false voice method.

At the beginning of my study, I was not sure of the concepts and methods, so I used my real voice to sing the middle and low notes, which made my voice sound weak and thin. In my study and practice, I found my true voice and falsetto voice change area (i.e., the scale where the big and small voices fight) is the "5" sound of the key of A. I started to use the mixed voice singing method, and when I sang the treble above the "5" sound, I used my falsetto voice as the main voice, and doped it with my true voice to increase the chest **** sound. I started to use the mixed voice singing method. When I sing the high notes above "5", I use the falsetto as the main voice and mix it with the real voice, the voice is wide and bright so that there is a falsetto in the real voice, and a real voice in the falsetto, forming a mixture of timbres.

A combination of practical learning

I'm an opera singer, I don't have the opportunity to systematically learn the theory of vocal music like vocal students do in art schools, and I can only learn in the absence of performances and rehearsals as an amateur. According to my specific situation, Mr. Tian adopted the method of combining learning and application, and chose Wu Qinghua's "Keeping this fighting youth" and "Finding the savior, seeing the red flag" from the Chu Opera "The Red Detachment of Women" to give me word-by-word and phrase-by-phrase training, and taught me the use of breath when singing in training. In the training, I was taught not only the use of breath when singing, but also the position of my voice *** sound and the combination of true and false voices, so that I firmly grasp the breath and *** sound two major elements. I learned and mastered vocal theory through singing training, but also to learn and master the theory to guide their own training and singing, and singing in the difficult as the focus of training. From practice to theory, from theory to practice repeatedly combined, so that I basically mastered the knowledge of scientific vocalization, and created from 5:30 to 11:00 continuously starring in two large-scale costume drama "Yang Bajie broke into the Youzhou" historical record. I always paid attention to the scientific use of the voice during the continuous performances, so that the entire performance did not drop in pitch, did not cheat, did not lose strength, did not lose color, and maintained the vitality of the artistic voice. Even the incurable disease of my vocal fold closure for many years has been cured without any treatment.

Learning the science of vocalization is a very difficult path. However, as long as you find the right way, you can go through, eight years, I am unremittingly climbing on this thorny mountain road; eight years of golden years in the dream of seeking to pass, eight years of sweet and sour in the exploration of the beauty of the disappearance, and eight years of amateur practice and practice, but I have gained a valuable artistic life.

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