How to sing?

How to open your throat

If you want to open your throat completely, you must first understand the place and feeling of exertion. If the throat can be completely opened when singing, then the singer's own feeling should be that the throat expands outward and has the power to make the Adam's apple downward. Mr. Becky said, "Opening your throat correctly means feeling your neck expand around." "I feel that the muscles on both sides of my throat are sore, which makes the Adam's apple drop. This is right." To illustrate this problem, Mr. Becky often makes such gestures in class, that is, her hands are pushed out from her shoulders like two walls to show the direction and feeling of this power. ……

In order to find out the feeling of opening the throat and the part of exerting strength, Mr. Becky used many specific means in her lectures, which are easy to understand and have remarkable effects. Singers can choose one or more of them in practice and experience them in various ways.

1. Yawning is the easiest way to open your throat. ..... "There is a way to open your throat. When you are sleepy, you yawn while talking, and then your throat opens. " ...... "Prevent yawning too much, which will make the sound too late."

2. Finding the fulcrum of the chest is conducive to opening the throat. ...... "When singing, the sound comes from where you cough." ...... "The sound comes from between the two collarbones, and the sound is deeper." "The sound comes from the bottom of the throat." ...

3. Imitating a loud person helps to open your throat. ..... "Imitating a person with a wide voice is not imitating that person's timbre, but mainly imitating his technique. As a technology, it has the same requirements for any sound. "

Singing without opening your mouth will force your throat to open.

Laughter and crying also help to open the throat.

6. Looking back, you can often find the feeling of opening your voice.

What I have introduced above are some methods that Miss Becky often uses to open her voice in her lectures. Singers can use it flexibly according to their own problems. In addition, I personally have this experience: when my throat is completely open, I will feel a force to push my head forward and upward when singing, that is, to some extent, there is a feeling of pinching my neck. Cheryl Milnes, a famous American baritone singer, talked about correcting the unnatural state of some singers' heads and chins when singing. She advocated that her hands should be crossed on the upper side of the back of her head, and her head should move forward gently and forcefully when singing, and her head should lean back slightly to keep her head and chin in a singing state. ……

There is also a feeling that I think is very important, that is, when the throat is completely open, the singer will feel that the throat seems to have disappeared when singing, and only the support of breath and the loud mask can make the singer clearly feel it. In Becky's words, "only the diaphragm touches the mask when singing." In other words, the fully opened throat looks like a smooth passage, where the sound is not blocked, but sent to the mask above. Although this is a feeling and imagination, it seems to be an objective fact. This feeling is recognized and emphasized by many famous singers in the world, so singers must try their best to find this feeling, and only in this way can they completely open their throats.

-Tian Yubin's On the Art of Bel Canto, Page 765438 +0-80

How to find the mask *

I think the mask is actually the product of opening the nasopharyngeal cavity. That is, when the singer's voice is completely masked, his or her nasopharyngeal cavity is completely open. If opening the throat requires opening the laryngopharyngeal cavity and oropharyngeal cavity, then if you want to send sound into the mask, you must also open the nasopharyngeal cavity at the same time. So Mr. Becky said, "When I say open your throat, I mean open it up, down, left and right." ..... How to open the oropharyngeal cavity and completely open the nasopharyngeal cavity, so as to obtain a complete mask? According to my understanding, I summarize Mr. Becky's practice as follows.

1. Smiling sounds easily enter the mask position. Mr. Becky said: "Ancient teachers taught singing only two things: one was yawning and opening your throat; Second, singing with a smile helps the voice to enter the mask. Based on these two points, there have been many outstanding singers in Chinese history. "

2. Feel the mask humming. He said, "Sing wherever you hum." ..... Of course, this humming must be based on a completely open throat and good breathing support, otherwise it is impossible to hum inside the mask. In addition, try to find a dizzy feeling when humming, which shows that we have opened the nasopharyngeal cavity and really arched our heads.

3. You can find the mask without opening your mouth. ..... In addition to not opening his mouth, Mr. Becky also asked the singer not to control his voice with his mouth, and not to make a sound with his mouth, which would often affect the voice of the mask.

Singing in a low voice helps to find the mask.

5. Try to sing with a mask when you speak. ..... As Seba said, "Speaking should be as beautiful as singing, and singing should be as natural as speaking."

-Tian Yubin's On the Art of Bel Canto-Page 965438 +0

On the treble problem

1. Mr. Becky said, "You must be full and accurate before singing high notes. This high-pitched impression has long been imprinted in your mind. " I understand that this sentence includes two aspects. One is that you must establish a correct voice image in your mind ... The other is that all parts of the vocal organs, such as the support of the diaphragm, the position of the Adam's apple and the voice of the mask, should be prepared for active work before singing high notes.

2. Mr. Becky said, "The sound action is just the opposite of the pitch." ..... That is to say, the higher you sing, the lower the movements and feelings of some parts of the vocal organs. Mr. Becky summed up this reverse movement in three aspects. He said: "when singing high notes, don't use external force to rush up, but use internal strength: first, the muscles on both sides of the Adam's apple pull the Adam's apple down;" Second, the diaphragm effectively controls breathing; Third, don't put your head forward, don't look up, but bow your head slightly. "

3. Mr. Becky said, "The treble needs a mask to sing."

Mr Becky said, "You should have confidence in singing high notes."

-Tian Yubin's On the Art of Bel Canto-Page 100-Page 106

Several problems that should be paid attention to when practicing vocal music

1. Practicing vocal music is a hard job.

2. Keep a good singing state when practicing voice.

3. Cultivate singing awareness when practicing vocal music.

4. When practicing vocal music, try to achieve the unity of subjective and objective.

5. Practice your voice with clear goals.

6. Don't pursue the volume excessively when practicing your voice.

7. Pay special attention when practicing your voice.

8. Practice singing with a scientific attitude.

Any kind of singing, no matter how different the aesthetic standards, has its advantages and disadvantages. How to change from low to high and from poor to good depends on the learning method. In the book "Practical Guide to Vocal Music" (published by Shanghai Music Publishing House in June, 1995), the author once suggested that there are two methods: conscious and spontaneous, and the conscious method often points to the teacher's learning; Spontaneity means that you never learn from the teacher, but you sing very well. That is, the difference between "learning to know" and "being born to know". Natural understanding should be understood as unconscious use of physiological-physiological adjustment that meets the requirements of singing; The conscious method is summed up from countless unconsciousness; Practice precedes theory. According to this statement, it is not surprising that some singers who have never learned sing better than those who have been teachers for many years. Some singers are born with high notes (except for the thin and short vocal cords). Godler found that sound has a special function of shortening and edge vibration, and people who are not afraid of treble unconsciously use this function, so the treble problem has been solved theoretically. Come back and use it in practice-after teaching people who are afraid of heights to learn this method, their fear of heights will be cured. Take Qi as an example: China has regarded Dantian Qi as the basic requirement of singing art for thousands of years, and it has become the foundation of national singing. Its formation process and nature, like solving acrophobia, have a process of practice-theory-practice. This is called method, and both of them become the basis of learning scientific vocalization.

Many self-taught singers are inseparable from "imitation". The form of imitation seems to be learning songs, but in fact it is often a method of imitating imitators together. It's just different forms of studying art or self-study. The key is the effect-"success". No matter what kind of singing art, to reach a high level, you must have basic skills. Some songs cannot be sung without basic skills, and some songs can be sung without basic skills. If a Song Like's "Xiao Fang" is sung by a skilled person, is it overqualified? That's not true. Skilled people can certainly sing better than unskilled people. So what is the basis of popular singing? How to train? Take dance as an example: regardless of ballet, China folk dance, international standard dance and modern dance, waist and leg skills are indispensable. If the waist is not soft and the legs are boring, even the best sense of dance will not give people a good visual enjoyment. Singing art requires basic skills as strictly as dancing. The basic skills of western traditional vocal music are opening the throat and gathering sounds (vocal terminology is also called "Guan"); Build strong support for breathing. There is no difference in principle between popular singing and western traditional singing, the difference is only the way to open your voice. Traditional western singing requires opening the throat at a low throat, which requires long-term training, just as ballet emphasizes standing up and dancing on tiptoe. Pop singing does not emphasize this point. The specific meaning of opening throat is mouthpiece confrontation. In popular singing, there are still many singers who can't open their voices, especially in high-pitched areas, which will not cause "channel blockage", which is allowed in popular singing; However, as long as there is a slight "displacement" at the high laryngeal position, it is very easy to produce "vocal tract obstruction". This contradiction has been solved in China's national singing-by "removing the tendons in the back of the head". In popular singing, the purpose of openness is not to meet the needs of singing, but to prevent the channel from being blocked. But as far as the effect is concerned, opening the throat properly is positive for singing. This is one of the main reasons why the singing effect in Europe and America is better than that in Hong Kong and Taiwan. The intensity and texture of the sound produced by the action of using the mouthpiece will be enhanced. Therefore, in the training process of popular singing, the basic skill of opening the throat is not as important as the traditional western singing, but it can not be ignored.

The basic skill of popular singing is to "compress vocal cords" and establish "breath support under dynamic conditions". Here, it is necessary to quote a passage from Pavarotti to illustrate the significance of oppressing vocal cords: "When the midrange area enters the high frequency area, there is a feeling of" tightness "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 sound more squeezed. When you start to learn to master this feeling, it seems to be "lost" (. It's normal to bend the sound frequently at the beginning. However, when the correct method is mastered, it is a very safe and secure method. Even if you can't have a beautiful voice for a while, it will be beautiful after mastering it. "

This passage is also of positive significance to the training of popular singing, because it provides a concrete solution to the treble and expounds the reactions that will appear in the process of producing the treble. Not only that, this method also solves the problem of "voice change" that also plagues female students. When pappas said that the throat is tight, it actually means that the vocal cords are tight. He said that muscles must be relaxed. In my words, the tightening of vocal cords is based on the relaxation of the throat. When you yawn, it means to open your throat. However, it is not easy to grasp the contradictory unity of the two, because the throat and vocal cords are in the same position (it is said that it took pappas six years to solve the "treble transition"). People's habitual instinct is: either the throat and vocal cords are "tight" at the same time, or "loose" together. But as long as you work hard, you can certainly learn, which will be discussed in detail below.

The principle of using "compressed vocal cords" to make sounds or sing is a bit mysterious. Actually, it's not, because the shape of vocal cords is very similar to that of human lips. As long as you see how people who play trumpet or flute play these instruments, it is not difficult to understand the state of vocal cords when singing, and the meaning of "compression" or "contraction" of vocal cords has become very vivid.

Another basic skill is to establish dynamic breathing support. Why add the word dynamic? Isn't respiratory support a well-known theory? The reason is that it is not difficult to "know" singing with breath support, but it is as difficult to "achieve" breath support as the above requirements; At the same time, the contradiction between tight vocal cords and loose throat should be unified. Although popular singing is the closest to talking, there is still a difference between talking and singing. Mainly reflected in the range, the speaking range is "narrow" and the singing range is "wide". Speaking with an octave is enough, but singing is definitely not enough; The smell is different. Short of breath when talking, long of breath when singing. As energy consumption, speaking consumes less and singing consumes more. What's more, singing is divided into high and low, strong and weak, and it is necessary to establish an adjustable breathing mechanism. The common so-called breathing training method often has three wrong tendencies: 1, which pays attention to "breathing" instead of "breathing" and forgets that singing is carried out in the state of "exhaling"; 2. Pay more attention to "posture" than actual effect. I think as long as I open my arms and sing, I will achieve a supportive atmosphere. This result is often counterproductive. "Keeping" has become a "deadlock" in most cases. When the breath stops flowing and the energy supply stops, how can the sound flow again? How can singing be smooth? (This problem will be discussed in the following "misunderstanding". 3. The imbalance between "lifting qi" and "pressing qi": lifting qi-pressing qi is the unity of contradictions in singing, and the breath is "upward". Without the pressure of breathing on the glottis, how can there be sound? Compressed air is the "brake valve" for proposing momentum. The so-called excretory breathing method aims at compressing air and completely ignores the leading role of gas lifting. The specific method is to require the lower abdomen and upper abdomen of the drum to exert force at the same time, but the force of the upper abdomen of the drum can never be greater than that of the lower abdomen, and the balance between the two becomes "stalemate". If the lower abdomen just protrudes, it becomes a excretory type; If the upper abdomen is just "tight", the voice will "hold back" and can't sing.

Some people say, "Singing is the art of breathing." That makes sense. The same applies to pop songs. It takes time and energy to learn to control the breathing mechanism of singing. After all, it is completely different from breathing in daily life.

Because the above two mechanisms need special training to be used in singing practice, they are called singing basic skills. Regardless of the western traditional singing method or any other singing method, this physiological voice requirement is the same. The only slight difference is that the starting point of pop singing for throat opening is more for unobstructed channels, unlike the starting point of traditional western singing for throat opening is to "build a singing cavity" for establishing an amplifier in itself.

Pop singing is a knowledge closely combined with electroacoustic, so it has an indissoluble bond with microphone. The quality of microphones is different, but what is more important is the sound engineer (or master Andhadhun). "Tuning" is a profound knowledge, which requires not only a full understanding of the performance of various keys, but also a high sensitivity to various sounds. Great singers have their own Andhadhun. An excellent tuning can make a singer a "star", and a bad Andhadhun can also ruin a singer. Most of the so-called "studio singers" have only a sense of music (some even have a poor sense of music) and have no basic singing skills. From volume to timbre, it is shaped by electroacoustic. With the high development of science, it is likely that computer singers will be produced one day, but this is beyond the scope of this study. However, as a singing method, singing should always be "subject" and electroacoustic should be "guest", and this concept cannot be reversed (this kind of inversion does exist in reality). Some poor sound engineers (commonly known as switch engineers) don't know anything about sound at all, let alone have self-knowledge. When the effect is not good, they always complain about the singer's poor singing skills, which makes the singer laugh and cry. Acoustics is a very profound science, and people engaged in acoustics in the world are quite respected; Especially the title of "teacher", it requires highly sensitive auditory discrimination and skilled mixer control. Only in this way can we get the title of "teacher".

As a singer, both the subjective aspect of using the microphone and the objective aspect of the cooperation of the recording engineer are technical topics that must be paid attention to. It has become more important than other singing methods in popular singing. Its specific requirements are:

1, the sound must make the audience feel clear "texture". To do this, you must put the sound completely in front. This front must also be "highly concentrated." "Texture" is embodied in the form of high "focus". The smaller the idea, the higher the quality.

2. The volume control is not realized by zooming in and out, but by controlling the light and shade of the above-mentioned small gathering points. The purpose of this technical requirement is to keep the sound quality together when the singer's volume is loud. The "texture" should not be lost when the volume is reduced. Even when singing empty, you should not lose the "texture". No matter how clever the electroacoustic is, it can only change the singer's timbre, but can't create a "timbre".

3. The sound quality comes from the vibration of vocal cords and the tension resistance of vocal cords, so the "key" of pronunciation must be on vocal cords. There is a vocal term in western traditional singing called "Let the vocal cords sing". Pavarotti said: "The sound starts from the vocal cords, which must vibrate immediately." That's what it means.

4. There is also a vocal term in popular singing-"Sound must rely on vocal cords". It's the same property If the starting point of sound is the mouth, the sound cannot rely on the vocal cords. That is, the tension of the vocal cords-the resistance is not in place, and the sound effect is either breast-feeding; Otherwise, the sound cannot be concentrated; At present, there is such a singing method in the Japanese music scene, which is said to show the "pure" effect. In contrast, Yang Yuying and He Ying in China are better than Noriko Sakai and Seiko Matsuda in this respect. As a performance feature, grandma's voice is not bad, but without the basic vibration of vocal cords and the support of breath, it seems "artificial" The word "let the vocal cords sing" can have three contents at the same time: sound consciousness should start from the vocal cords instead of the mouth, which is a kind of consciousness, and the vocal cords are always the starting point (because the sound always comes from the mouth); The second is physiology. When the vocal cords sing, "both sides of the soft palate should be put down", which seems to be hanging under the neck all the time. This is an important condition when singing, because it is the key to solve the problem of tight vocal cords and loose throat. When the palatal arch is relaxed, the tongue is free and the chin is relaxed, so that the throat can be opened. On the contrary, as soon as the palatal arch is tightened, the root of the tongue will press down immediately, causing the vocal tract to be blocked, and everything will be over; The third kind refers to "sound depends on qi" (traditional singing requires this, and popular singing in Europe and America also has this feature), because the essence of singing is breath-glottal impedance. Without positive glottic tension, how can resistance produce impedance with breathing? The adjustment of vocal cords is the core of all scientific singing methods, and popular singing methods are no exception, which is one of the signs that European and American singing methods are different from Hong Kong, Taiwan and Japan. The advantages of this method are strong phonetic "texture" and obvious phonetic features. It is worth learning from the Chinese music scene.

Another performance that the voice must be completely sung is articulation. Although the articulation of popular singing is based on the natural speaking at ordinary times, there are still differences in degree after all. It should be said that singing and enunciation are much more exaggerated than speaking, just as the enunciation of lines in a play is more exaggerated than usual. The articulation of popular singing requires the tongue to tighten horizontally from left to right. The purpose of this emphasis is to make the sound more forward and clearer. The tongue seems to be always in the position of "get", "let" and "like" in English. The articulation of popular singing is not as exquisite as the "spray" and "bite" in China's national singing. Nor is it like the traditional western voice, which requires opening the cavity like yawning. It should always keep the back of the mouth as small as possible. Therefore, when singing, never consciously open the back of your mouth, let alone the soft palate. Popular singing does not need a big mouth, as long as the mouth is "trumpet-shaped" and does not affect the front of the sound. The mouth shape of a cat when it barks vividly illustrates the mouth shape requirements of singing. )

There have been such cases: jane doe singers usually sing softly, but they can perform loudly; Another female singer usually has a loud voice, but her performance on the stage is very low. Why? It turns out that although the former is small, it is very "quality" and has a high voice; The latter is loud but not concentrated, resulting in blurred texture. And because of the "back"-the back of the mouth is bigger than the front; It's loud, but I can't get out. It's not big. Then the popular singing method can't use the "backward" consciousness? The answer is that, in most cases, the consciousness and effect of popular singing should go ahead. Only under certain conditions can temporary "backward" expedient measures be allowed. This means that some singers habitually protrude their chins forward when singing, which hinders their vocal tract. In order to correct the position of the chin, let the voice "lean back" temporarily, in order to urge the chin to retreat. If this can really help correct the problem of prominent chin, once the mistake is corrected, it is still necessary to sing according to the "front" requirements of popular singing. Bulunbanov, a famous vocal music teacher in Bulgaria, once asserted that the secret of singing is to "go ahead and then go ahead". Why do you emphasize the front so much? In the western traditional vocal music field, the debate about "ahead"-"behind" has a long history. The reason is that the content of "* * * Ming" is often easy to give people the illusion-let the ears hear the vibration. This instinctive habit consciousness will make the singer unconsciously put his voice behind his mouth-the place closest to the eardrum, thus producing the idea that the voice is loud but people don't speak. This situation may also occur in popular singing. Most singers ignore the objective reality, that is, the singer's self-feeling and the listener's actual feeling are two different things. Self-perception in treble is even completely opposite to the actual effect. A singer can't sing well if he can't establish the concept that he always listens to his voice with his own ears-that is, he clearly knows the actual effect of his voice in the audience's ears. Some singers feel very good about themselves, but in fact they are completely opposite. Some singers sing very well, but they always feel inferior to their poor singing. This problem will be discussed in the following "Errors in Singing". "Singing" is the original intention of "walking ahead", but the front of traditional vocal music and the front of popular singing are completely different in sound effect. Popular singing means "white voice" in western traditional singing, and it can even be said that the whiter the better.

6. Breathing: Breathing is not only a kind of consciousness, but also an "effect". It is a means to establish support through upper and lower abdominal confrontation in the above breathing. This does not mean that the ribs can remain open when singing, even if there is breath support. "Breathing feeling" is the post-evaluation of this method. Take the church clock as an example: if the clock is not hung properly, knock it, and the sound will be short and unpleasant; Hang it up and play it naughty again, and the sound will reverberate and spread ten miles away. Qi sense can make songs always have a kind of "reverberation", and the auditory effect is obviously different. The singer's self-feeling is that he obviously feels an "echo" in his chest.

The above points are the specific requirements that must be paid attention to in the practical application of popular singing. Although the popular singing method is multi-standard and multi-level, these requirements are consistent. But the specific requirements for singers at different levels can be different. If we take the sixteen characters of high energy, low energy, strong energy, weak energy, just soft energy, bright energy and dark energy as the criterion, then the requirements for high level are: all sixteen characters are in place; Align the horizontal part in place; Ignore those low-level ones. This refers to the skill requirements. Some singers can't reach the first-class music sense, but their skills are first-class and they can still reach the first-class level. As a first-class singer with a sense of music, even if the skills are insufficient, it will not affect their possibility of becoming a first-class singer, because the sense of music is the first in popular singing. Because of this, the only way out for people who lack music sense is to make up for it through skills, and the skills such as strength contrast, color contrast and explosive force created by skills can at least achieve "pleasure" even if they can't achieve the effect of "temptation". It is undeniable that some people with poor sense of music "inspire" their true sense of music through "production", which is called bullockscored. /question/73649533.html？ si= 1