Why when I sing, I just can't get rid of the breath or the breath is not enough. It's hard to sing. Are you really envious of seeing others sing easily?

Discussion on singing skills The interpretation of songs needs to be expressed in many ways. First of all, of course, the sound. This is a very professional knowledge, including breath, voice, mouth shape and the way of pronouncing words. In future articles, I will try my best to share what I know with you. The second is emotion. This requires a singer to have a better understanding of words and melodies. When many friends sing, they focus on the voice and ignore the emotion, so they can never sing a good song. The reason for paying too much attention to the voice is that the singer's strength is limited, and it is inevitable that he always thinks about where to pay attention to the breath, where to breath, and when to approach the treble. Therefore, it is very important to practice when singing. When practicing your voice, you will pay attention to your emotions when singing. There is a saying that songs are not sung with the mouth, but with the heart. If the vocalization is practiced to the point of thorough breath and perfection, the concert will inject emotion more freely and have a stronger appeal to the interpretation of songs. The third is feeling. Here is the same sentence, the feeling of music is born, how much you have, and the feeling of making up the day after tomorrow is very few. Pop songs need the feeling of pop songs, and folk songs need the feeling of folk songs. For example, if you want Yan Weiwen to sing "Nothing", I promise you will laugh at a lot of people! Singers have different feelings, and the songs they sing are handled in different ways, some are very dull and some are very exciting. These treatments are very subtle, such as a little breathing, an emphasized accent, a long drawl without breathing or a sudden ending ... these can only be understood. The fourth is the sense of rhythm and intonation. Have you ever seen a 3-year-old child play the rhythm of adding flowers when he hears a melody? Have you ever seen a 3-year-old child singing live, and his father accompanied him with an accordion, changing his tune at any time? Are all his tones accurate? Have you ever seen an 8-year-old child hum the pronunciation of "1" in any tone such as "E-flat" and "C-flat" at any time without hearing any sound, and then press the key on the keyboard to check whether it is completely accurate? This is talent. Singing needs such a foundation. Although not as outstanding as they are, they must not be weak. The fifth is quality. This is the difference between amateur singers and professional singers. In fact, many amateur singers are as good as professional singers in voice, mood, feeling, rhythm and intonation. The gap lies in quality. Do you know your body and expression when you sing? You may have a vague image, that is, when you are engaged in singing, you imagine yourself, and this image is probably the original image of the song you sing. But these are all your imaginations, and your imaginary image is almost perfect. Do you know what you see? Have you ever filmed your own formal singing with a video camera? In fact, you can tell whether you are an amateur or a professional at the first glance or the first sentence. The qualities mentioned here also include an understanding of music theory, musical instruments, music history and common sense. Of course, many professional singers are not comprehensive, but I personally think that if you want to become a professional singer, you must implement these well and be worthy of the word "professional". How many times do you read the lyrics in your mind before learning a new song? How many times have you tried to figure out the mind of the lyricist and the artistic conception he expressed? For a song, whether there is a word or a song first, both authors carefully ponder the artistic conception and thoughts that the other (lyricist or songwriter) wants to express. If you come here, you should completely ignore their good intentions and just sing with your own feelings. I don't think it's appropriate. Some personality singers like to express themselves according to their own understanding, which is also good (I like it), but I will understand the author's intention before playing. Besides, not every song is suitable for you to play casually, and you can't find a more suitable expression for some lyrics, such as the national anthem. After you deeply understand this song, your emotional handling will be much better. If you have a strong sense of perception, you can't help singing a certain tone. If you are lighter than a certain tone, an impassioned long tone will be full ... Is there a difference between words and singing except melody, rhythm and breath? Yes, that's how you spit. Please read "Let me love enough once" in your casual way, and then sing with your heart ... You will find that your mouth is open to both sides when you sing, which should be exaggerated. If you think it's almost the same, then there is something wrong with your spitting. Therefore, singing is more exaggerated than lip-synching, so that the words will be clearer, the breath will be smoother, and it is more suitable for expressing emotions. Singing Chinese songs is still standard. For example, the differences between "Z, C, S" and "an, ang" and "L, N" are easily confused. Singers in Hong Kong and Taiwan sometimes deliberately sing individual words without rolling their tongues, or they can't move their tongues, or they don't feel good, or they don't know the pronunciation at all. I didn't have a clear idea when we covered their songs. In order to imitate them, we can not correct them. But if you want to sing your own style or competition, you have to correct it. As for Cantonese songs, I advise you to learn them well before singing, otherwise it will be very funny. Just like I used to sing Cantonese songs, I thought it was very standard, but now I know there is a gap. There are subtle differences between Cantonese and Mandarin, such as "z, c, s" and "an, ang". You can't learn well without studying hard. I feel a little overwhelmed when I talk about this topic in one breath, because it is the most difficult thing to express in words. I practiced bel canto for two years before singing, and I was deeply touched and helped me a lot. Generally, people who haven't studied vocal music have flat voices, so they pronounce them in their usual speaking position (voice). We call it "white", with no color and no filter. Below I will express the method of practicing Bel Canto. Sound should be rooted in the lower abdomen. Imagine that sound passes through the back spine, to the back of the head, and to the back of the mouth. The whole voice should be positive. Please find the feeling that you take a big bite of the apple, show your upper teeth, and make a "hmm" sound at the same time, and feel the position of the sound in the back of your mouth and the upper part of your nose. This is a * * * sound point of Bel Canto. Next, put down your breath, expand your lower abdomen, exert a little force on your lower abdomen, and make a sound just now. When the male voice is under the pressure of Adam's apple and the female voice pays more attention to the position of the voice behind your head, you will find that the voice is much louder than before. It is helpful to practice the * * wall regularly, because the * * wall can touch your back spine, making it easier for you to find the feeling. The * * * sound in the chest can vibrate with the wall, making it easier for you to find the feeling of the * * * sound in the chest. Starting with practicing "Mima" and gradually increasing it will help to practice high-pitched breath; Practice from high to low, and repeat it, and one day you will find the feeling. Bel canto pays attention to "transparency" and often imagines that his voice is erect, not flat; In addition, we also pay attention to the "* * * sound". After the sound passes through the chest or above, it will be round and full. To experience the * * * sound, you can do this: close your mouth and make a "hmm" sound, with a little affection. If "hmm" lasts longer, you will feel your head and chest vibrating. If you have a good breath, this * * * sound will add a lot of color to your voice. Listen carefully to some tall Americans, and you will know what a chest is (foreigners' chest structure is more likely to produce * * *). In addition, I also want to mention the vital capacity. Singers need large lung capacity, such as some long and stuffy melodies. Don't be flushed and panting after singing. Lung capacity can only be maintained by regular exercise. Also, mastering certain skills can make up for some phenomena of insufficient vital capacity. First, practice breathing. A good vocal method can well control the flow of sound through your voice. For example, when you sing this sentence, "... I'm not afraid that you will betray me ...", a singer with unstable breath may suddenly sing the voice of "fear" through blasting, so that the breath with insufficient lung capacity can suddenly run away. If there is a long sentence that doesn't breathe, it's strange not to suffocate him. Singers with good breathing skills can control the flow of these sonic booms, and the microphone will not vibrate when singing. So I suggest that you put a candle in front of your mouth when practicing your voice, and try not to let the candle shake when practicing your voice! In this way, your qi will stay in your body for a long time. Think about whether to keep exhaling for a long time or not to hold your breath for a long time. Of course, this also requires the singer to relax and not be nervous. When he is nervous, his heart will beat faster and your breathing will be more unstable. I can only say so much here, and these are all to be realized. However, I want to remind you that vocal music training is the basis of singing popular songs. Never use vocal music training to directly interpret pop songs, because it will be too artificial, and you will sing "nothing" like Yan Weiwen. Some friends say this expression is difficult to understand. It is also an effective way for me to talk about who has penetrating breath in the hands of pop songs. It is easier to understand by feeling. Personally, I think you should listen to May more as a female singer, because she is naturally transparent. Male singers should ponder "Man Wenjun" more. He is really singing. In addition, Jacky Cheung has a good breath, but for teaching, Man Wenjun is more suitable for high notes. This is a friend's favorite question. In their words, because the high notes are "enough", hehe! Thirdly, good singing skills should be integrated in many aspects, and it cannot be said that the higher the tenor, the better the singing skills. Indeed, a good tenor can add to the climax of a song, but advise friends not to just know the value of tenor and ignore bass. In fact, the full bass is also very infectious. When singing tenor, the breath must be based on the lower abdomen and abdomen. Beijing dialect pays attention to "abdominal breathing", which also refers to this vocal position. Looking for feelings 1: What would you do if you were a girl and suddenly there was a mouse on your shoe? It is estimated that there will be a long sound of "ah ~" and a phoneme of "falsetto". When you are calm, you can look at "ah ~" and most of them will never "ah" again. Why? Because at the moment when you are frightened, your lower abdomen is tense. Think about the feeling of being scared. Are your muscles tense? It is precisely because of this foundation, coupled with strong airflow (which can be understood as the breath of singing), that the voice is not high. So you can understand the feeling of soaring high notes as "tension" and "cheer up" Remember that everything is based on the lower abdomen. Singing high notes is not to lift your head up and down, but to move your center of gravity down and feel a rebound. I also want to tell you that the ability to express high notes is related to your own voice conditions. If your voice is naturally high, that is a great advantage. For example, "Sun Nan" is a typical treble, and the treble interpretation will not be so laborious. A singer with poor voice condition needs a lot of breath and methods, but no matter whether the voice condition is good or not, the voice is sung through breath, just like a cigarette passing through a filter, and the voice will be more beautiful after filtering. In addition, I also tell you a psychological method. Imagine that you are singing in the face of the vast sea when you are in high notes, and you can't see the sea and the sky on the side. Isn't this scenery worth shouting? The bass is full and affectionate. But like the treble, many people lack the * * * sound of the middle and low notes. Bass can only be embodied by the * * * of the chest and the broad voice structure, and it is congenital. In my experience, many bass sounds are difficult to practice, so it is good to play several scales. If you must record songs with rich bass, you can record them directly without brushing your teeth or washing your face in the morning, and the sound will go down a lot. Therefore, people who lack bass should try to avoid such songs, foster strengths and avoid weaknesses, and people with rich bass must make good use of their potential. Singing a good bass is very charming! Singing alto should be polished, including enunciation and breathing, which is aesthetic. Of course, it has something to do with feeling singing. Listen to the alto of Cai Qin. Holiness and style Many singers only pay attention to the details of sentences and sentences, and put the details of singing on the top of "sentences" instead of the whole song. Don't talk about style unless you have certain strength. In the early stage of singing, I am in favor of imitation, but not singleness. Sing more songs by singers of various styles, and you will master some initial experience in singing, singing and breathing. This is a good thing. When you are mature, you will naturally add your own practices and feelings, and then explore your own style. Singing requires input, but the input is moderate. It doesn't mean that you are "hard" input, too sad or too happy. On the basis of understanding the meaning of words, you can invest moderately. For example, there are some similar words: "... how can you make me feel sad ..." I have met people who sing in great pain, so I feel funny instead of infectious. But I have also seen a really lovelorn friend sing this song in karaoke. When he sang, he was expressionless, singing calmly and his voice was vicissitudes. The helplessness and loneliness deduced from his singing infected everyone at the scene. I think this is just the right measure, there is no need to cry. But how many people can perform this at any time? It depends on the singer's musical feeling. Let me give you another example: some friends will unconsciously exaggerate the characteristics of a star when imitating a singer. For example, when they imitate Jacky Cheung, they will make that kind of strange, overburdened coarse voice (a feature of early Jacky Cheung, which seems to be rare now); When imitating Leslie Cheung, he will exaggerate his Lickitung-like appearance after singing; When imitating Faye Wong, it is that kind of stuttering strange sound that makes people feel funny. Actually, it's not so exaggerated to listen to the original song carefully. I once heard a friend who sounded like Jacky Cheung sing, but I didn't know the right bar every time I sang Xueyou's song. Later, I advised him to be natural and more like the original singer. In fact, sometimes it's good to ask a friend for advice. In addition, people with rich emotions sing better than those with dull emotions. It also requires the singer to have rich life experience in order to resonate with the emotions in the song. The more you experience, the more thoroughly you understand. The essence of vibrato is that when singing with breath, strong airflow impacts the mouth and the back of the nasal cavity, and the lower abdomen generates airflow due to the pressure of breathing. I don't agree that pop music must produce vibrato so rigidly. Some singers "do" vibrato through the trembling of the Adam's apple (Andy Lau) and the tightness of the throat (Jeff Chang Shin-Che Shen Che). These are some tricks or a style, but in many climax parts, there are also strong airflow vibrato. Therefore, breathing is the most basic. With the breath, there will naturally be the impact of airflow to produce vibrato. For pop songs, some low-key places don't need the breath of words like singing folk songs, sometimes like whispers, sometimes like helpless sighs, and there won't be a strong airflow to support your vibrato. At this time, you need to use some tips to modify your ending. I don't think the vibrato of pop songs is completely prominent. Sometimes it is ok to shake the Adam's apple and control the voice in your throat, as long as you are in the atmosphere of the song as a whole. If you don't have Tik Tok's friends, you must be drooling over Tik Tok, so let's start with imitation-imitating ambulance calls. Interesting, isn't it? This is just a way to find a way without a vocal music teacher around, which is certainly not a routine vocal music practice. It can make you feel the sloshing of the Adam's apple by making a "cry" with a high and low sliding sound (slightly faster). Slowly change the pronunciation of "Shout" to the pronunciation of "Mm-hmm", then slowly change it to the pronunciation of "You ~", and then sing some songs ending in "You" ... Hehe, this is just a vibrato way to feel the unstable Adam's apple, which has nothing to do with the breath. But everything needs to be done step by step. Try it slowly. Finally, I want to express my views again. If we set our sights higher, the singing method that emphasizes vibrato is popular in this historical period, and it may not be popular in five years. Why is there no vibrato? Although vibrato can effectively render the atmosphere of songs, it is deep and penetrating, but I also like to listen to some simple and pure sounds. So, just sing with your heart, and maybe you will be more distinctive.