What should I do if my singing sounds bad?

Emergency method! ! Learn to sing an English song, such as the song in "High School Musical"

It's not difficult and the melody is nice. English songs are different from Chinese songs, as long as there is emotion

Is it Yao Zi Society? None of it matters

Long-term plans! !

About singing skills

1. The composition of singing vocal organs

The formation of sound is a physiological phenomenon caused by the coordinated work of vocal organs. This phenomenon is caused by It is a physical phenomenon formed by breath movement and vocal cord vibration, but the vocal movement of singing is different from the vocalization we usually make when speaking, so singing vocalization is also a physical acoustics and acoustics phenomenon. The practice of singing art is a complex and rich process of psychological activities, so our singing movement can be said to be a "trinity" of physiology, physics, and psychology. The vocal organ of singing is composed of four parts: respiratory organ, articulatory organ, vocal organ and articulating organ. They are the entire material basis of singing and vocalization and the main functional system in the movement of singing and vocalization.

1. Respiratory organs

The respiratory organs, the "source" power, are composed of the mouth, nose, throat, trachea, bronchi, lungs, chest, and diaphragm (also known as the diaphragm). ), abdominal muscles, etc. The breath is inhaled from the nose and mouth, passes through the pharynx, larynx, trachea, and bronchi, and is distributed to the alveoli in the left and right lobes of the lungs (the lungs are composed of two leaf-like bellows of spongy tissue, which contain many small air-filled cells). bubbles); then in the opposite direction, the trachea (bronchi) branching from the exit of the lungs collects the breath into two large tubes on two sides, and finally forms a trachea, and then exhales from the mouth and nose through the throat. The movements of various muscle groups related to the respiratory system are also related to the ability to breathe, and are the guarantee of the power and energy of the "source" of singing. Our daily breathing is relatively calm and shallow, and we do not need to use all our lung capacity. However, the breathing movement during singing is different. The inhalation movement is very fast and the exhalation movement is very slow. If you encounter a longer phrase, the breath must be sustained. The changes in high, low, strong, weak, pauses and cadences of a song can only be accomplished by the strong and flexible movements of the inhaling and exhaling muscle groups.

2. Vocal organs

Vocal organs are the organs that produce sounds. It includes the larynx and vocal cords. The larynx is a delicate chamber located in the middle of the front of the neck and is composed of cartilage, ligaments and other muscles. The vocal cords are located in the middle of the larynx. They are two horizontal, symmetrical and elastic white ligaments juxtaposed to the left and right. They are very solid in nature. The middle of the vocal cords is also called the glottis. The vocal cords are regulated by the cartilage and muscles in the larynx. When inhaling, the two vocal cords separate, the glottis opens, and the breath is inhaled; when voicing, the two vocal cords come together and close to produce sound. The vocal cords are relaxed and open when they are not making sounds, allowing air to pass through them smoothly. The vocal cords produce sounds, partly due to their own functions, and partly relying on the muscles around the vocal cords to assist in vocal movements. When we train vocal music, we should pay full attention to the functions of these muscle groups, use them rationally, develop good habits, and avoid damaging our voice due to incorrect vocal habits. There is also a very important cartilage called the epiglottis between the upper part of the throat and the base of the tongue. The function of the epiglottis has two aspects. One is to protect the glottis. When we swallow food and drink water, it instinctively and automatically covers the trachea to prevent food from entering the trachea when passing through. We often drink water accidentally. "Choke" is caused by uncoordinated movements of the epiglottis. The second function is that when singing, the epiglottis stands up to form a channel for the sound to be output smoothly.

3. The vocal organs

The human vocal organs mainly include the three major vocal cavities of the chest, oral cavity and head cavity. The chest cavity includes the trachea, bronchi, and the entire lungs below the larynx. The oral cavity includes the larynx, pharyngeal cavity and oral cavity. The head cavity includes the nasal cavity, maxillary sinus, frontal sinus, sphenoid sinus, etc. In singing, due to different musical quotients, the proportion of using these vocal tunes is different. Generally speaking, when singing low notes, the chest cavity ringing is most effective, when singing alto, oral cavity ringing is used more, and when singing high notes, head cavity ringing is mainly used. If we can use these singing voices correctly and reasonably, and coordinate with each other, then we can obtain a mellow, melodious, plump and beautiful singing voice.

4. Organs for articulation and articulation

Organs for articulation and articulation (i.e. language organs) include lips, tongue, teeth and palate.

The positions and different focus areas of these organs when they are active form consonants and vowels (i.e. language). When singing and singing, the movements of the various components of the articulation and articulation organs are more agile and exaggerated than when speaking normally. Agility is to make the pronunciation accurate and clear, and exaggeration is to make the beautified vowels or finals develop smoothly. Therefore, the language organ is the material basis for us when we pronounce and pronounce words, and it is also an important organ for us to produce sounds, lead lengths and return rhymes when we learn to pronounce and pronounce words. Voice is the basis of singing. To train your voice well for singing, you must first understand the structure and function of the vocal organs involved. The feeling of singing movements is far less easy than visible and tangible physical movements such as piano and violin training. This requires each of us singers to have a keen sense of self and repeat it under the guidance of professional vocal teachers. Training to form a conditioned reflex to determine whether your voice is correct and in line with the basic laws of vocal organ movement. Another point to point out is that the above-mentioned organs and their movement forms are based on the physiology of singing, and the coordinated activities of these organs are completed under the regulation and control of the human nervous system. Any physical movement is under psychological command or suggestion. The singer's will, emotion, desire, stage feeling, etc. are largely related to psychological factors. Sometimes psychological constraints are even more important than vocal technology. In our training, we should fully pay attention to the importance of psychology. When we sing, especially when performing on stage, we need to focus on the content and emotion of the song, and bring the voice with emotion instead of paying attention. The force is dispersed in the position and activity state of specific organs.

2. Singing posture

Some people say: "Posture is the source of breathing, and breathing is the source of sound." Singing training must first have correct singing posture. Without professional People who train often don’t pay enough attention to posture. Whether the posture is correct or not is directly related to the coordinated posture of various organs during vocalization. If the posture is correct, all parts of the vocalization can work normally, while incorrect posture will often bring about Incorrect sound. This is just like our runners, if they don’t have the correct running posture during a race, it will directly affect their running speed.

The correct singing posture is: 1. Keep the body naturally upright and remain naturally relaxed. The relaxation here is by no means loose or paralyzed. It should present a positive and uplifting state, that is, a state of full energy. 2. Keep your head in a position where your eyes are looking forward and slightly higher, your chest is naturally raised, your shoulders are slightly lower and back, your lower abdomen is contracted, your arms are naturally hanging down, and your whole body is in a state of active movement. 3. Place your feet slightly apart in front of one and back in front of you. Focus on the front foot and keep the weight of your body steady, with the weight falling on both feet. 4. The face and eyes should be natural and vivid. The eyebrows, eyes, and mouth are important parts of the facial features. The eyes are the windows to the soul. Therefore, remember to open your eyes wider during singing. Do not squint your eyes and sing empty-handedly. 5. The mouth is a trumpet for singing. It should be opened and relaxed, and remember to clench your teeth tightly. 6. When singing, retract your jaw. The correct feeling should be as if a straight line is formed from the lower abdomen to between the eyebrows, and the neck, back, and waist are connected in a straight line, so that the breath can flow smoothly. 7. When singing, you can give appropriate movements according to the inner emotion of the song, but the movements should be concise and generous, and avoid being pretentious or superfluous. The posture requirements for sitting and singing are the same as those for standing, but you should pay attention to keeping your waist straight and not stiff, and do not lean on the back of the chair. Be careful not to sit on the entire bench but with your buttocks covering about 1/3 of the area, and keep your feet slightly apart. , naturally curved, cannot sit cross-legged, nor cross legs.

3. Singing Breathing

Learning correct singing breathing is the most important and necessary foundation for the art of singing. Singing controlled by breathing is vocal music, and breathing is the driving force behind singing. There is a saying in the vocal music industry that "whoever knows how to breathe can sing", which illustrates the importance of breathing in singing. It is indeed a basic skill that singers should learn first.

The breathing when singing is different from the breathing when speaking in daily life. In daily life, people communicate their thoughts and feelings through speaking, because generally when the distance is closer, the volume required is smaller, the breath is shallower, there is no need to use a lot of force, and it does not need to be spread far, and we use our voices continuously for a long time to speak. If you breathe too hard, your voice will become tired and hoarse easily. If you use this kind of speaking breathing to sing, it will seem incompetent. Singing is to express emotions and to be sung to others.

When singing, you are often faced with a large audience, and the singing must be spread to every corner. Therefore, the voice must have a certain volume and a certain change in intensity. It must have the ability to sing for a long time, and it must be based on the needs of the song. , it is not a simple matter to convey the breath in a controlled manner, whether it is long, short, strong, weak, high or low. Therefore, breathing during singing, as an artistic method, has its own unique set of rules and methods. It is a technical issue that is acquired through training.

Respiratory movement includes two processes: inhalation and exhalation.

1. Inhale

Inhale vertically downward through your mouth and nose, and inhale to the bottom of your lungs. Be careful not to raise your shoulders. When inhaling, expand the area around your lower ribs. , in the abdomen, the diaphragm gradually expands, causing the abdomen to expand forward and to the left and right sides, while the lower abdomen has to contract hard without expanding. The back should be straight, the spine is almost immobile, but its sides can move, and must also expand downward and to the left and right. At this time, the air is pushed to the sides and behind and stored there. Keep it there and then Then exhale slowly.

2. Exhale

When singing, you should still keep inhaling. This is very important, just like pumping up enough air for a bicycle and not relaxing all at once. There is also the issue of keeping your breath. To keep your breath, you must always keep inhaling during the singing process and control it. Exhale the breath slowly, save your breath, and exhale evenly. This is the so-called confrontation of the breath. During the process of exhaling and inhaling, we should pay attention to the feeling of stiff breathing. The entire body expression should be actively relaxed. The tense parts are the diaphragm and the two ribs. The two ribs are like a full balloon. We should Let the sound sit on it and pull it down, so that the balloon cannot float upward. In other words, you must hold the breath and not let it lift up. This involves a problem of the breath fulcrum.

3. There should be a breath support point when singing.

The support point means that the voice must have a foothold. This foothold is the diaphragm and both sides of the lower ribs. Support point, when we cough or laugh, we can directly feel its supporting effect. People who have not received breathing training often blush and have thick necks, bulging veins, stiff singing voices, difficulty in going up to high notes, difficulty in going down to low notes, etc. when singing. This is all related to the failure to maintain the breath support point. On the contrary, if we master the breathing method and have the feeling of support point, then when we sing and sound, we will feel that the sound seems to fall on the breath we control, which means that the sound is supported by the breath. This kind of sound is not only sweet and loud, but also can make various changes in strength and weakness freely.

4. Different phrases use different breaths

When we perform thoracoabdominal breathing, the strength of the breathing momentum and the method of exhalation should be based on the song (or phrase) being sung. ) have different requirements. Below we introduce several different breathing exercises.

1) Breathe in slowly and exhale slowly. This is a method we often use when training and singing. That is to say, the chest cavity is naturally raised, and the breath is slowly inhaled to the lower part of the lung lobes through the mouth and nose, the diaphragm is lowered, the muscles of both ribs expand outward (that is, the waistline is expanded), and the lower abdomen is slightly drawn inward. This kind of inhalation requires natural relaxation and smooth and gentle movement, just like the feeling when we smell the fragrance of flowers. The feeling of smelling flowers makes us inhale deeply, just like doing deep breathing exercises, but when inhaling, do not If you don't use too much force, just gently hold your chest and upper abdomen up, and then exhale slowly. When exhaling, pay attention to maintaining the inhalation state and controlling the ribs and diaphragm, that is, controlling the breath so that it can be exhaled slowly, steadily, evenly, continuously, and coherently. There is a feeling that can help us understand the state of the lower ribs and diaphragm when exhaling: after slowly inhaling, slowly blow off the dust on the table. Here you need to blow for a long time, that is, making a long sound. Exhalation practice, we often say: "long sounds are like blowing ashes, short sounds are like blowing wax", it is a feeling of exhaling.

2) Urgent inhalation is to inhale quickly and deeply through the mouth and nose into the lower part of the lung lobes in a very short period of time, and hold the breath, and then follow the slow exhalation process. Called out according to the request. We often use it in singing practice, because you have a long pause time between sentences and words in the song, so you often use the method of "stealing air" to inhale and To inhale without being noticed, this is the function of inhaling quickly and exhaling slowly.

In order to cultivate the control of breathing, we can use some etudes and certain phrases in songs to do exercises with words, which will achieve better results. Caruso said that whether a singer can embark on the road to success depends first on whether he has established a strong foundation in the manipulation and use of respiratory organs.

4. The vocalization of singing

The vocalization when singing is not exactly the same as the vocalization when speaking. Singing in conversational style or speaking in amplified manner are both wrong. There will be no color, it will not be a musical sound. Therefore, the vocalization of speech cannot meet the needs of singing. We must pay attention to the vocalization method and help people who are learning to sing to hone their ordinary vocal cords into beautiful, melodious, and lasting sounds that are consistent with scientific methods and have artistic appeal. The voice comes.

1. Larynx and vocal cords

The larynx and vocal cords are the vocal organs of singing, the core part of singing, the fortress leading to overall singing, and the gold that opens the treasure house of singing art. key. Therefore, it is very necessary to understand and clarify the position and state of the larynx and vocal cords when singing. Generally speaking, the throat position when singing should be lower than when speaking (just like the feeling of the throat when we inhale deeply, because the throat position when inhaling is slightly lower than the throat position when resting). Many people think The position of the larynx during inhalation is called the "horizontal position." When singing from word to word or sentence to sentence, the larynx should always be in this position and should not move upward or downward from the horizontal position, or to the left or right. Of course, the stability of the larynx position is Relative stability in motion, rather than rigid stability. Just like a ball floating on the water is always stable on the water, if the ball is compared to a throat, the state of the ball floating on the water is like the state of the throat being stable in the inhalation position. Therefore, the position of the larynx when singing should always be in a low, free and stable position with the larynx wall open.

2. Open the throat

In singing training, "opening the throat" is a very important central link, which directly affects the quality of the voice. "Opening the throat" means stabilizing the larynx in the correct position, actively contracting the mouth lid upward into an arch, relaxing the base of the tongue and placing it flat behind the lower teeth, opening the jaws, relaxing the jaw and lowering it naturally and then pulling it later. The throat at this time is open. So how can we help beginners "open their throats"?

1) "Yawning" state The "yawning" state allows the mouth to open naturally, relax, lift the mouth cover, and increase the space in the mouth. Therefore, when singing, the throat should not be blocked, but should be opened to allow the breath to flow out freely. The "yawning" state is indeed a good way to open the throat, and it also ensures the singer is in a good singing state. In daily practice, you can also "yawn" with your mouth closed. When you yawn with your mouth closed, the state inside is also open and raised. If we can maintain this state when singing, then your voice will be It will no longer be "white" or "flat", your voice will be "upright" and "round".

2) Use the "smile" state to open your throat. The "smile" we are talking about is not just smiling, but refers to raising the "smiling muscles". The purpose of raising the "smiley muscles" is to open the nose and pharynx, open the big teeth, and make the smiley muscles (zygomatic bones) on both sides of the face look like a smile. Such a smile can open your throat and allow you to achieve a high-pitched voice. . "The state of singing is the yawn inside and the smile of the virgin." This is a very insightful saying.

3. A good middle voice area

The middle voice area is the basis of singing. Without a good middle voice area, nothing else can be discussed. We should pay attention to the practice of the middle voice area, work more on the middle voice area, and don't rush to sing high notes. When practicing, we first start practicing in the middle voice range with medium and small volumes. After a considerable period of consolidation, we will slowly develop to a higher or lower range. Beginners must follow the step-by-step process from easy to difficult. principle, otherwise if you practice high notes too hard from the beginning, you will not only fail to obtain the correct high notes, but will actually damage your vocal cords. The middle vocal area should be forward, bright, easy, smooth, and effortless, so that it can develop upward and open the way for singing high notes. The sound in the middle vocal range should not be forced to be loud, but should be natural and free, requiring beautiful timbre and flexibility of the voice. The important range of each voice is the middle range.

In the middle voice area, you need to inhale deeply. Breathing should be natural, elastic, positive, and supportive. The larynx should be stable and relaxed. Regardless of whether you sing high or low notes, the larynx should feel in the same position, and the sound should be directed outward. Send, but keep the sound in the same tone and position from beginning to end. We often use metaphors such as "the sound should be like threading through pearls, threading each sound on a line" and so on, which means that the sound should be coherent, unified and rounded.

4. About the voice-changing area

When you sing from the bass upwards, you will find it difficult and easy to get stuck when you sing to a certain point. This is the voice-changing area. , at this time, you must use a certain method to continue singing. 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", allowing 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 sound a little in advance when singing to the voice change area, make the sound darker, the air volume is smaller, and the little tongue is 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.

How to practice vibrato RR

When practicing vibrato with the tip of the tongue, gently roll up the tip of the tongue (so light that it doesn’t take any effort), and gently touch the front of the hard palate (so light that it doesn’t take much effort) Feel the contact (relax anyway), blow it with continuous exhaled air and let it vibrate on its own. After you learn to blow the tip of your tongue, learn to vibrate your vocal cords at the same time. When you start learning, you would rather let the tip of your tongue tremble for a while. In actual language, only two or three vibrations may be enough. For uvular vibrato, you can even use mouthwash to make your uvula vibrate. It can be imagined that in strong winds, the air will quickly flow through both sides of the tall chimney, and the chimney will also swing. Because it is blown by airflow, it is said to be the result of the Bernoulli effect. The principle of that kind of movement is different from that of flashing sound. Tongue flicker requires the person to use nerves to direct muscles to move the tongue tip. The Bernoulli effect causes the wings of an airplane to generate lift, allowing it to fly into the sky. In other words, the streamlines on the upper surface of the wing are longer than the streamlines on the lower surface. When the aircraft moves forward, the air flows through the upper surface faster than the lower surface, so the negative pressure of the airflow on the upper surface of the wing is greater than the negative pressure on the lower surface. , the aircraft gains the power to rise. If two ships are too close, they will move toward each other or collide, which is also the result of the negative pressure. The reason why the vocal cords can vibrate is mainly the result of the Bernoulli effect and elastic force, not the command of nerve impulses. One more thing to add. At the beginning of practicing the tip of the tongue trill, the tip of the tongue is gently rolled up to touch the roof of the mouth. At the same time, the edges of the tongue also work to block all exits in the front of the mouth. Use a certain amount of force on the edge of the tongue surface to tighten the upper palate and gums on the left and right sides. They do not participate in vibration, but only narrow the valve at the tip of the tongue and make the tip of the tongue elastic. In other words, the edges on both sides of the tongue are immobile. The pressure of the exhaled airflow pushes the tip of the tongue away. If the tip of the tongue cannot be blown, it may be that the tip of the tongue is too tight (no sound), or more likely there is air leakage from both sides (h... sound). If you hear a th... when blowing, and then the tip of the tongue stops outside, it must be a lack of elasticity, that is, the sides are too relaxed, or the tip of the tongue is too tense, or the tip of the tongue is not rolled back enough. If what you hear is a tx..., the base of the tongue is too high and too tight. If the tongue tip valve is adjusted smaller, it may be easier to vibrate. If you push the tip of your tongue upward too hard, you will hear trrr and you will feel tired.

The handlebar-style "de'erjia" in the Northeast is trjia... . The key is to learn the easy flutter of rrrrr. There are two more points: 1. Add consonants with the same place of pronunciation as the vibrato, and experience the vibrating of the tongue in the syllables. Such as: toot——/tru/. When practicing long sounds, focus not on whether it is the tip of the tongue, but on the experience of airflow. 2. The vibrato at the end of a syllable is difficult to pronounce. You can add a vowel at will according to personal circumstances, and then weaken the vowel. Don't control it, and don't try to transition from flash, retroflex to vibrato. Don't control it, especially the tongue. Think more about the flag in the wind.

To practice vibrato, you must first know where it comes from. There are only two methods. First, two sounds with a small interval appear alternately; second, breath control makes the same pitch repeat intermittently. Obviously. "Twitching the Adam's apple" is closer to the second type, but it is not the breath, but the closing and opening of the glottis, which is extremely difficult to control. Because the degree of opening and closing each time must be highly consistent, otherwise the pitch will not be able to be heard. Control. The mid-bass is okay, but when it comes to treble, the vocal cords are very closed, leaving a very narrow gap. It is unrealistic to control it so finely. Many times it will only tremble twice, the vocal cords are closed, and there is no sound. , or it is too open and out of tune.

So use breath control, because then your vocal cords can always maintain a similar state, don't pay attention to it, and the breath impacts the vocal cords intermittently. , there is time for the vocal cords to rest, so the duration of the hold is longer. However, this method requires good breath control. How long to stop, how long to rise, and how long to maintain require quite accurate. When practicing, You can slow down the speed, practice slowly first, and then increase the speed when it is stable. Tremolo. This is something that many friends are pursuing, haha! Many people think that without vibrato, it is not professional and cool enough. As everyone knows, vibrato is just a way of expression in songs. Can't you sing well without vibrato? Not really.

Vibrato is essentially the vibration caused by the powerful airflow hitting the back of the mouth and nasal cavity when performing a song with the breath, and the pressure of the breath given by the lower abdomen creates the airflow. I don't agree that pop music must use such a rigid way to produce vibrato. Some singers "make" vibrato through the shaking of their Adam's apple, such as "Andy Lau" and the tightening and loosening of the throat in "Jackie Cheung". These are little tricks or a style, but in many of the climaxes they also have the vibrato of powerful airflow. So, again, breath is the foundation. When you use your breath, the impact of airflow will naturally produce vibrato. For pop songs, there are some low-key places where you don’t need to focus on the breath like singing folk songs. Sometimes it is like a whisper, sometimes like a helpless sigh, and there will be no strong airflow to support your vibrato. At this time, it is like a whisper. You need to use some small skills to modify your tail. I think the vibrato of pop songs is not fully expressed and the breath is pushed out. Sometimes it is not a bad idea to shake the Adam's apple and control the sound in the throat, as long as the whole thing is within the atmosphere of the song. Just don't be affected, but you must remember that if you are not completely sure that you can do it well, then you'd better not imitate it now, especially when recording.

If friends who don’t have vibrato are determined to covet vibrato, then start by imitating it - listen to more of Andy Lau’s songs. I felt very comfortable with his vibrato, so I started imitating him. You can also imitate an ambulance call. Funny, right? This is just a method of self-examination without a vocal teacher around. It is certainly not a regular vocal practice. Make the "Woo" glide in sequence (slightly faster) and let you feel the vibration of your Adam's apple. Slowly change the pronunciation of "Woo" into the pronunciation of "Uh huh", and then slowly change it to "Uh huh". The pronunciation becomes "you~", and then sing some songs that end with "you"... Haha, this is just a way of vibrato to feel the vibration of the Adam's apple, which is different from the breath sound. I'm sure the vocal teacher will be pissed off after seeing it! But everything needs to be done step by step and slowly figured out. You might as well give it a try.

But you can also think about it this way. I think singing that emphasizes vibrato was popular during this historical period. Maybe in five years' time, singing that emphasizes vibrato will no longer be popular. Why bother with no vibrato? Although vibrato can effectively enhance the atmosphere of the song, it is deep and penetrating, but I also like to listen