I can sing that love is very simple, love me or him. But in the glorious years, when I really love you, there are always one or two words that I can't express. How high can I sing?

Your method is wrong,

How to sing high notes

1. Human singing instinct

Have you heard the lament of the blind girl on a rainy night? Bar? Have you ever heard of a happy folk song duet between a man and a woman? These people have never had any vocal training, but their singing still moves you because they give full play to their natural singing instinct. Regarding the issues of breathing, vocalization, vocalization, and high pitch that I talked about earlier, everything cannot escape natural conditions, and all physical conditions are produced according to nature. Unfortunately, we often abandon this natural condition and work hard to find some "shortcuts" and "secrets". That is a very sad thing.

When a singer sings, although the role of the larynx is unique, mental effort can also influence it. When singing, the movements of the larynx are completely spontaneous. When the singer sings, whatever note he wants to sing, the tension and frequency of oscillations of his vocal cords will completely match his thoughts. Of course, when making sounds, you also need to use rapid force such as the diaphragm, abdominal muscles, ribs, mouthpiece, etc. A newborn baby doesn't know these things at all, but it can use those powers very well. When he cries, he cries sadly; when he laughs, he makes a sweet note. This proves that life has a natural ability to use our voices freely and expressively.

2. Shout the high note first

When we do any kind of sport, such as shot put, we must first have the strength to lift the shot put. In order to increase the strength of their hands and feet, people who practice martial arts first practice water-carrying. Only when their hands and feet have strength can they not lose their hands and fly away when dancing with the sword.

Our vocal cords must be able to withstand the high pressure sent from below in order to be able to pronounce words. Someone asked, if the vocal cords produce sound under high pressure, will shouting occur? Will shouting break the vocal cords? No, as long as you maintain correct breathing and singing posture, you won't cry out. As for the position and covering of the high note, how can you determine the position of the high note before you shout it?

We start from the bottom and go up semitones, until #f2, g2, #g2, five tones form a group. Don't shout too much at first, because your breathing and singing posture may not be right at first. You need to correct it while singing. When everything is coordinated, you might as well shout more. After #g2 is finished, a2 is another way of breathing. We know that when singing high notes, we need to press the breath up with high pressure. In fact, we need to use the breath from the waist at this time (see the next section). After shouting a2 with the breath from the waist, use the same breath to shout b2 flat. .

Generally speaking, people who sing high notes are born with high notes, but we just don’t use them. A girl who has never received vocal training can usually only sing up to f2, but when she suddenly encounters a scary thing, she can't help but scream, and this scream may reach f3 in high C, but Normally she would not make such a high pitch. So don't worry, shout out the high notes boldly, shouting more is beneficial.

3. Breathing and posture

If we have the opportunity to scream out loud when encountering something very surprising, we must remember the screaming posture and use it again. Sing high notes, that's right.

Singing high notes is different from singing low notes. It involves pressing the air into a thin line and impacting the vocal cords. When the strength of the diaphragm has reached its peak and cannot be pressurized, waist strength must be used. As mentioned before, the lung lobes are larger than the lung apex, that is, the lower part is larger than the upper part, and the upper lung apex is expanded outward by the ribs. To use waist strength, first put your hands on your hips (you don’t have to pay attention to your abdominal muscles at this time, they will work naturally when you inhale), inhale the air around the waist, feel the front and rear waist expand, and then close the air in (Open your mouth wide, see Figure 7), pull your waist and ribs inward, and push your chest upwards. You will feel the pressure pressing on your upper jaw. This is the method of using waist strength.

As mentioned before, for f2--#g2, we use the contraction of the abdominal muscles to increase the pressure. When we reach a2, we use waist strength. When we reach b2, we only need a small amount of air (but use high pressure (gas), just open your upper lip as if yawning, expose a little of the upper teeth, and place the tip of your tongue flat on the lower teeth, then you can sing b2 flat. From a note above b2 flat to a note above high C, the method is the same as b2 flat.

Here is another example to illustrate how to use your waist strength to sing high notes.

Using the strength of the waist to sing high notes is equivalent to filling a long balloon with air, then squeezing the lower half with your hands, and the upper half will swell up, which is like a diaphragm. It has risen to the top and cannot rise any further. We inhale the waist full of air, then draw the entire waist and the open ribs below inward, and push out the chest, just like pinching a balloon with your hands, creating a strong, rising airflow, and this is It’s what we use to sing high notes.

4. Close and cover up

When I was learning to sing, when I sang high notes, I had to close! It was really "like being in a fog" at that time. And this word is still used by people in China. Because of the confusion about the true meaning of Close, many tenors have been harmed and many good voices have been ruined.

My opinion on Close is: close the sound box below and open the sound box above. When we sing high notes, we need to make a sound in the head cavity, so we have to raise the soft cover. The purpose of opening the upper lip is to raise the soft lid, and at the same time, use waist strength to push open the soft lid. As for the term "covering" used by some people in China today, I think it is better. It means that the high notes should not be too white, but should be somewhat covered, as if there is a bowl covering the high notes.

I have asked many teachers for advice on the explanation of Close, but I have not been able to get any results. Later I went to Italy and asked a teacher for advice. The answer was: We in Italy have never heard of this word. Let me ask you: How to sing when it is "closed"? As for today we use "cover" instead of "close" to explain Close, that is very wise. When we sing high notes, our upper jaw lifts up, the soft lid rises (yawn-like), and the air pressure squeezes upward and gathers on top, forming a domed space like a church, which means that the space is filled with gas. In this way, beautiful high notes will be emitted. If the top is not opened and the air cannot go up, how can there be high sound? Therefore, using "cover" also means that the sound is concentrated upward. We can do another experiment to find this feeling: when we yawn, we will feel a cool feeling on the upper palate (which we cannot usually feel), that is, there is a space above and the breath is entering.

5. The higher it is, the easier it is

When we reach b2, it should be said that we have broken through the difficulty of high notes and can easily sing b2, c3, #c3, d3, because the method of singing these notes is no different from the method of singing b2 flat. When singing b2 flat, the throat is already open relatively small, because the wider the mouth is, the smaller the throat becomes. Therefore, there is no need to be afraid of higher notes. What is needed is rapid air to support the high notes, and rapid air depends on normal breathing. Earned through hard breathing practice.

6. Fulcrum and Confrontation

For example, if we lift a stone burden with both hands, our feet will step down, and the earth will hold it up; our hands will Pushing up, the stone burden is pushing down. So, there are four directions of force here. There is a confrontation between the feet and the ground, and there is a confrontation between the hands and the stone load. Our human body is equal to the air column, and the lower abdomen and vocal cords are the two fulcrums of breath. The breath goes up and is blocked by the vocal cords. There is also a problem of "force" confrontation here. So, does the fulcrum of the lower abdomen change during singing? If there is a change, is it upward or downward? There is debate about this issue.

When singing, the breath keeps flowing out, and the air column becomes shorter and shorter. At the same time, the lower abdomen also draws in to help compress the air in the lungs and produce a certain flow of air to be exhaled.

Under such circumstances, how is it possible to always place the "fulcrum" in a fixed place without moving upward with the use of breath? But we must not forget that although the "fulcrum" continues to move upward as the breath is exhaled, the downward pressure must still be maintained. Just imagine, if we want to get something from a high place and we extend our hands but still can't reach it, then we have to put a box under our feet. If we still can't reach it, we can only add another box. In this way, won't the "fulcrum" increase? Already? How could it stop and not move?

I listened to a soprano soloist in Singapore. She was touring various countries on behalf of Canada. But when she sang high notes, her neck stretched out, which made people uncomfortable. It turns out that she specializes in singing German Lied. The German singing method advocates that the "fulcrum" is always in the abdomen. How can the sound tube be stretched so long when singing high notes?

Let’s look at the principle of the pump mentioned earlier. The piston handle is constantly pushed upward, and the piston also gradually goes up to maintain the barrel body. pressure, and the breath is ejected from the mouth of the tube. If we compare pumping with a pump to the singing activity of the human body, that is to say, the distance between the diaphragm and the vocal cords is getting shorter and shorter, so the fulcrum gradually changes its position. How can it always stay in a fixed place?

7. Use tools to test

Use a wooden board with a length slightly wider than our shoulders and a width slightly wider than the length of our shoes. Punch a hole in the four corners and thread two ropes through it. After passing through the hole, the length of the rope is even with our hanging fingers (see Figure 8). We stand on the board, take a breath, then hold it shut, open our mouths wide and pull the rope hard, and we can feel what confrontation is. At this time, our feet increase the confrontation with the ground, and at the same time reduce the confrontation between the breath in the body and the vocal cords, so that the high notes come out more easily. We can also use Coca-Cola's empty aluminum cylinder (empty beer cylinder), cut it into aluminum sheets the size of stamps, and put the two aluminum sheets together (bend the aluminum sheets slightly with your hands), so that among the combined aluminum sheets There is a seam. Then clip an old silk cloth to one end of the aluminum sheet (it can be folded as wide as three matches), and then tie the aluminum sheet with wire to make a whistle. Try playing a bass and then a treble. From this comparison, you can feel the breath and posture of singing high notes

How to sing

1. Breath

When talking about this topic, I feel a little confused, because it is the hardest thing to express in words. Before I started singing, I practiced bel canto for two years, which gave me a deep understanding. The basics of breath helped me a lot. Generally speaking, people who have never learned vocal music have a very flat voice, and they pronounce it in the position where they usually speak (throat). We call it "white" sound, without color or filter. Below I will describe the method of practicing bel canto.

The sound should originate from the lower abdomen. Imagine that the sound passes through the back of the spine, to the back of the head, and to the back of the mouth. The entire sound should be upright and backward. Please look for this feeling: you take a big bite of an apple, expose your upper teeth, and make a "hmm" sound while biting it down. Feel the sound at the back of the mouth and the upper part of the nasal cavity. This is one of the bel canto sounds. ***Ming point. Next, lower your breath, expand your lower abdomen, press your lower abdomen slightly, and speak at the same position. For male voices, press the Adam's apple. For female voices, focus on the position of the voice at the back of the head. You will find that the sound is louder than before. Regular practice against the wall will help your voice, because leaning against the wall can contact your back spine, making it easier for you to find the feeling, and the sound of the chest can vibrate with the wall, making it easier for you to find the chest** *Ming feeling. Start with the practice of "Mi~Ma" and gradually increase it, which will help you practice high-pitched breath; then practice from high to low, repeat this way, and one day you will find the feeling. Bel Canto pays attention to "transparency", and often imagines that one's voice is upright, not flat; it also pays attention to the "sound". After the sound passes through the chest or the chest above the chest, it will be very round and round. full. To experience the humming sound, you can do this: close your mouth and make a "hmm" sound with a slightly affectionate feeling. If the "hmm" is longer, you will feel your head and chest vibrating. If your breath is good, This kind of ringing will add a lot of color to your voice.

If you listen carefully to the speeches of some tall Americans, you will know what chest ringing is (the chest structure of foreigners is more likely to produce chest ringing).

Another thing I want to mention is lung capacity. Singers need a large lung capacity to sing, such as some very long and breathless melodies. Don't end up with red faces and heavy breathing after singing. Lung capacity requires regular exercise to maintain. In addition, mastering certain skills can make up for some lack of lung capacity. First of all, you need to practice your breath. A good vocal method can control the flow of sound through the throat. For example, when singing the sentence "...I'm not afraid of you betraying me...", a singer with unstable breath may suddenly change "Afraid" "The sound of the word was sung in an explosive way, and the air that was originally insufficient in the lungs was released immediately. It would be weird if there was a long sentence without breathing after it that didn't suffocate him to death. Singers with good breath skills can control the flow of these pops, and there will be no flapping sounds in the microphone when singing. So I suggest you put a candle in front of your mouth when practicing your voice, and try to keep the candle from shaking while practicing! This way your Qi will remain in your body for a longer period of time. Think about it, do you hold it in for a long time by exhaling all the time, or do you hold it in and hold it in for a long time? Of course, this also requires the singer to relax and not be nervous. When you are nervous, your heart beats faster and your breath becomes unsteady.

I can only say so much here, and it all depends on perception. However, I would like to remind you that voice training is the basis for singing pop songs. Do not use voice training methods to perform pop songs directly. That will be too artificial, and you will be like Yan Weiwen singing "nothing".

As for the use of voice in popular songs, my point of view is that as long as it fits the artistic conception of the song, it is okay to shout or break, but these are absolutely prohibited in bel canto, so we have to learn from each other's strengths, because we are not for We practice bel canto to sing bel canto. We practice bel canto in order to sing popular songs well, just like martial arts requires practicing horse stance. Have you ever seen someone squatting on the horse stance during a fight?

Some friends said that this kind of expression is difficult to understand. If you want me to tell you who among the pop singers has a clear breath, it is easier to understand based on your feelings. This is also an effective method. Personally, I think that female singers should listen more to "Zhang Huimei", she has a naturally transparent breath; male singers should listen more to "Man Wenjun", he really relies on breath to sing. In addition, Jacky Cheung The breath is very good, but for teaching, Man Wenjun is more suitable

2. Treble

This is a question that friends like to ask the most. In their words, because the treble is "enough" "Pull", haha! Let me add again, good singing needs to take into account many aspects. It cannot be said that the higher the treble, the better the singing. Indeed, good treble can add power to the climax of the song, but I advise friends not to only know the value of treble and ignore the mid-bass. In fact, the full mid-bass is also very contagious

Sing high notes When speaking, the breath must be based on the lower abdomen and Dantian. The "Dantian Qi" that Beijing dialect pays attention to also refers to this vocal position.

Looking for Feelings 1: If you were a girl and suddenly there was a mouse on your shoes, what would you do? It is estimated that there will be a long "ah~" sound, and there will also be a "false voice" sound position. After you calm down, if you "Ah~" you look at it for a moment, most of the time you won't be able to "Ah" anymore. Why? Because the moment you receive a fright, your lower abdomen is tense (think about the feeling of being frightened, are your muscles all over the body tense?). Because of this foundation and a strong airflow (understandable) It smells like singing), it goes straight to the throat, it's strange that the voice is not high. Therefore, you can interpret the feeling of hitting a high note as "tension" and "invigoration". Remember, everything is based on the lower abdomen. To sing a high note, you don't have to raise your head and pull it up. It is a kind of rebound force that feels the center of gravity downward.

Feeling 2: Have you ever seen a rubber water pipe? What should I do if I want the water in the water pipe to surge further? Tighten the front end of the water pipe. If the gap is small, the pressure will increase and the water will rush farther. In fact, high notes do not necessarily have to be very loud. Some singers sing very loudly when they sing high notes. We say that they are singing with strength and lung capacity, not with breath and skills. If you imagine the faucet theory, you should be able to understand some truth.

Look for the feeling 3: There is a big stone on the ground, lift it up. You bend down and count in your mouth: "One, two, three, go..." I think you must have used your breath for the word "go". I won’t say more, just feel it, there is something heavy around you... Haha! These are just some methods I created to let you feel the breath. They are informal, but very effective.

I would also like to tell you that the ability to express high notes is related to the condition of your own voice. If you have a naturally high voice, it is a great advantage. For example, "Sun Nan" has a typical high voice, and the performance of high notes will not be so strenuous. . Singers with poor voice conditions must rely on a lot of breath and methods, but no matter whether the voice condition is good or not, the sound is sung through breath, just like a cigarette passing through a filter, and the sound will be more beautiful if it is filtered.

In addition, I also tell you a psychological method. When singing high notes, imagine that you are singing in front of the vast sea, and you can't see the sea and sky. Isn't this scenery worth shouting out?

3. Methods of exercising vital capacity

There are many reasons for the decline in vital capacity test values ??year after year. The main reasons are: lack of effective physical exercise methods and insufficient physical exercise. time. There are many ways to exercise lung capacity. Here are three briefly introduced.

Method 1: Regularly do some freehand exercises such as chest expansion and arm raising.

Method 2: When practicing endurance running, pay attention to regularity, coordination of running and breathing, appropriate distance, and moderate intensity.

Method 3: Practice diving or swimming. In the water, not only do you have to keep moving your arms, but you also have to overcome the resistance of the water and breathe. This is a good way to improve your lung capacity.

There are many other ways to exercise to increase lung capacity: playing football, basketball, running back and forth, etc. It should be noted that no matter which method you choose, you must practice it regularly to be effective.

The mechanism of the above exercises is to increase the strength of respiratory muscles, improve the elasticity of the lungs, increase and deepen the depth of breathing, improve and improve the efficiency and function of lung breathing, thereby improving the vital capacity test value. purpose. 2. Singing and vocal areas

According to the changes in pitch and the different uses of the squeaking parts, three vocal areas are formed: high-sounding area, medium-sounding area and low-sounding area

.

High-pitched area

Voicing is more focused on the head cavity, which is conducive to the use of skills in the high-pitched area. When singing and vocalizing, I feel a vibration in my forehead and cheekbones.

The sound produced has the characteristics of falsetto. At the same time, it should be noted that when singing in the high-pitched area, the movements of the nasopharyngeal cavity, soft palate, and muscles should not be excessively contracted, so that there is no room for the sound waves to flow, which affects the overtone sound effect.

Middle voice zone

Vocal production focuses on uniform harmonious sound, which is conducive to the development of the skills and characteristics of the middle voice zone. The mid-range area is where the low-pitched area and the high-pitched area connect.

It is necessary to adjust and control the volume of the high-pitched area and the low-pitched area evenly, while maintaining smooth and unified sound

1. This vocal area plays a major role in vocal training. The music in the mid-range is soft, relaxed and bright. It should be noted

that if the throat, tongue and other muscles contract excessively during singing, the sound flow will be blocked, which will not only separate the mouth***

Ming, and without the support of the chest cavity, wrong sounds will appear.

1 Low-pitched area

The vocalization focuses on the chest cavity, which is beneficial to the singing skills in the low-pitched area. When singing and vocalizing, I can obviously feel the vibration in the chest

Dynamic, free, deep and deep feeling in the voice. It must be noted that when singing bass, if the neck muscles and tongue muscles contract too much, the sound of the middle and high voices will be lost, resulting in a dull and hoarse sound. It has a greater impact on the singing effect

.

3. Voice Changing Zone and Solutions to Voice Changing

I think everyone has a voice changing zone.

Some people say that as long as you sing to a high position, voice changing will disappear.

The basis for this statement is insufficient. We must admit that the phenomenon of voice changing exists objectively. We should not be afraid of the phenomenon of voice changing psychologically. We must find various ways to solve it and study it creatively.

<1> What is the voice changing area? When singing and singing, from bass to treble, or from treble to low, an uncontrollable "cracked and stuck" sound suddenly appears

I suddenly feel that the upper and lower sounds are not unified. This kind of Unpleasant sounds

are "voice changes".

There are many reasons for "voice change", the main reason of which should be analyzed from the physiological aspect. Because the two vocal cords are not balanced during vocal use, one of the vocal cords is not tightened, and the balancing effect of the arytenoid cartilage is lost, resulting in broken sounds.

Or, when the "real voice" is produced, the vocal cords are close together, and the vocal cords are "tightened" due to the force of the laryngeal muscles. When making a "false voice", the vocal cords are not close together, the laryngeal muscles are not too strong, and the vocal cords are relatively relaxed. When singing, these two vocal forces need to be well connected in order to

unify the sound. If the connection is not good and the "blow volume" is not adjusted in time, a weak, tearing or interrupted sound will immediately appear. Broken notes are generally prone to occur on high-pitched extreme notes and notes near timbre changes

. Treble is generally produced at E2, F2, #F2. The "voice changing area" generally includes an interval of three semitones.

The note with the greatest change is called the "voice changing point".

Because the physiological conditions of each person’s voice are different, the position of the voice change point has moved.

Soprano: Some sopranos have unclear voice changes, but it is difficult for dramatic sopranos to change their voices. The voice change is above and below #F;

Mezzo-soprano: This part is more complex, with a wide range and great changes in timbre. There are generally two voice changing areas. One is above and below F2.

Second is within the range from #C to F2. Dramatic and low mezzo-soprano are in E2 and G2, lyrical ones are around E-flat;

Tenor: Most of the voice changing areas are in #F, F2, including some in G2 and A2-flat.

Baritone: The high baritone voice changes at E flat, E2, and F2, and the low baritone voice changes at D2 and #C2.

<2> Ways to solve the problem of voice change

<1> Use the "closed singing method" to solve the problem of voice change

The Italian "Bel Canto Method" solves the problem of voice change The physiological phenomenon is achieved by using the technique of vowel variation

. Add "o" and "OU" to the variation. For example: the word "mother" is , in the normal middle voice area, add the a sound, in the

voice change area, add the O sound to change , and after the voice change area, add sound becomes the vowel sound of . After such

changes, the false sound caused by the voice change gradually gave way to a brighter sound. When solving the problem of voice change, be sure to make preparations for the voice change in advance. When you are about to switch from one sound area to the next, you need to immediately use the method of mixing the sound in different sound areas to avoid inconsistency in the sound areas. Causes undesirable phenomena such as larynx and nasal sounds.

For example: when a soprano changes from the mid-range to the high-range, the voice change point is usually at the F2 pitch. At this time, you need to move forward one second

on the E2 flat (other analogies), stabilize the larynx on the E flat, and correct the changes in the vocal cords. And use the technique of vowel variation

to control the singing with a weak tone, and use the head cavity to adjust the singing. When singing F2, the voice will naturally break through

Voice change point, a bright sound gradually appears and enters the high-pitched area, making the entire vocal area unified (analogous to other voices).

The closed singing method is to use a brighter a in the middle voice area, then further introduce o to make the sound rounded, and start using y in the changing voice area.

In the tenor, the voice area a of

should be used more frequently to make the sound bright and round. The baritone o should be used more frequently to make the sound rich and deep. Training with a,

o, and I vowels is the main method to unify the vocal area.

<2> A new way to solve the problem of voice change by using the pronunciation of "Zhongzhongzhe"

The national singing method uses the rhyme of "Zhongzhongzhe" for singing and vocal exercises, which is a way to solve the problem of voice change and Expanding the vocal range is one of the fastest effective methods

.

\'To measure the standard of vocal music teaching, on the one hand, it requires good teaching quality, and at the same time, it requires students' singing level to improve quickly.

There are many contradictions in vocal music teaching. I think the most difficult problem to solve is how to expand the vocal range and achieve unification of vocal areas.

There is an obstacle, that is, how to solve people's resistance to "voice change". "Voice change" is an extremely complex manifestation of human physiological changes. It is an invisible and intangible phenomenon of disordered muscle activity inside the larynx. For many years, the "Bel Canto Method" has been using the method of vowel variation to solve the physiological phenomenon of "voice change". Although this change has played an role in changing the voices of some vocal music students, there are still some students who have not solved the problem completely and their vocal ranges have expanded slowly.

I agree with changing the pronunciation of words. We have a lot of Chinese characters, and we need to analyze and select them based on their pronunciation, meaning, and properties. So,

What kind of words are most suitable to solve the problem of voice change? Using nasal words to solve the "voice change" is most beneficial to expanding the range of sounds.

The nasal category includes four kinds of sounds: Renchenzhe, Yanqianzhe, Jiangyangzhe and Zhongzhongzhe. These four ruts include a lot of characters. The best results can be obtained by focusing on the characters of "Middle East rut". Among the characters for "Zhongzong Zhe",

the four characters "empty, clear, loose and dense" are mainly used for training. These words belong to the nasal category, and these words themselves

have natural nasal sounds, such as the word "tong", which is made up of "t and ong" , when singing the word "通

", the initial bite of "t" will quickly enter the "ong" sound, and it will be prolonged to get the feeling of empty head, and the sound will naturally enter the head. The voice was ringing. Because the "ong" sound itself contains the natural ringing factor of the head cavity, in this way, in the head cavity, ong produces a ringing vibration, giving people a wide feeling< Refers to the timbre>.

Physiologically speaking, the word "Zhong Zhe" means that the larynx naturally moves downwards without raising the base of the tongue, which increases the space in the oral cavity and pharyngeal cavity

and allows the voice to flow freely. Circulation is unobstructed, and voice changes are naturally easy to solve. Therefore, the characteristics of "Zhongzhong Zhe" are: the middle tongue is centered, the throat feels loose, the mouth is half-closed when uttering words, and the sound is made through the nose when closing words.

In addition to taking advantage of the natural superior conditions of the "Middle East Tunnel", it must also be coordinated with the pulling training of human muscles. The method is:

Set a fixed onset point A . Use A as the fixed starting point to pull the muscles. The higher the sound, the farther back and downward the muscles are pulled, pouring out of the pharyngeal tube space.

Note: A is the starting point. 1. Start at point A, start to pull the muscles toward the lower back, and the diaphragm moves elastically to both sides. 5

On the basis of step 1, pull the back muscles backward and downward. The psychological feeling is that the muscles are pulled out of the space. 1 remains at 5.

Treble 1 is more muscular than midrange 5.

With A as the fixed point, pay attention to singing upwards and downwards, and keep the downward movement steady.

Note: 1, 3, 5, i/ are ascending scales, 1 must be placed at a fixed starting point, 3, 5, i/ are ascending, a pitch ratio

One tone is to push downwards and backwards, that is, to slightly pull the muscles downwards and backwards. The purpose is to open the pharyngeal cavity and move the larynx downward.

During vocal exercises, the muscles of the entire back, lower back and back of the head feel like they are being pulled backwards and downwards, and at the same time, they are performed according to the pitch.

These three Each part needs appropriate adjustment. For example: C major 5 to 7 focuses on pulling back the muscles around the waist, that is, the diaphragm. 7~3 It is necessary to pull the back, especially the muscles of the posterior pharyngeal wall backward and downward. 3~1 It is necessary to strengthen the pulling of the neck muscles.

Therefore, the rhyme characteristics of "Zhongzhong Zhe" are used to practice the voice. It has the effect of empty head and loose throat, as well as the sound of chest opening.

As long as you give full play to its strengths and practice in accordance with the three requirements, you will break through the obstacles of changing voice areas, expand your voice range

and unify your voice areas. The purpose of "changing voice points" is to expand the vocal range and unify the vocal area. Singing vocal training is to achieve the unification of the three vocal areas. When singing, make the singing voice smooth, soft and free, without showing any trace of voice change.

The whole song can be sung with complete expression. To unify the three vocal areas, we must also pay attention to the training of the middle vocal area. From the training in the middle vocal area, a beautiful mixed sound can be obtained, and then gradually develop to the high vocal range and the low vocal range. In this way, according to the main and secondary proportions of the three vocal zones,

use the primary and secondary proportions of the vocal cords, and perform focused exercises to adjust the vocal cords. The kind that is full of musical expression, beautiful and has a three-dimensional sense