How to improve your singing skills? Make the song more beautiful and louder!

Learning European and American singing requires solid basic skills. A very important link in basic skills is breath. The fulcrum of breath should first be established in the lower back. Then find the strength of the lower abdomen. Because the waist needs you to actively expand or pull down, it will produce a force. However, the lower abdomen and diaphragm will naturally confront each other because of the pull-down of the waist fulcrum. If you only put the fulcrum in front, that is, the lower abdomen, then it is difficult to control the breath at the waist. Imagine, is it more effective to control the breath with the strength of the front, back and abdomen? Or is it more effective to rely only on the local strength of the lower abdomen? I hope everyone can understand the active and passive relationship between them.

There are many kinds of popular teaching now. If you can't master a correct breathing method, it will lay the foundation for the wrong breathing. The sound will lose its brilliant color, and naturally it will be more difficult to achieve the powerful control ability of European and American singers, and there will be no change in timbre, including strength.

It needs to be repeated that the breath is controlled by the waist and abdomen, and the maximum sound is obtained with the least strength. The greater the breathing pressure, the better. It is by no means a lot of misconceptions. Accurately speaking, the real flowing breath is a kind of ingenuity, not just strength at all.

The second talk about the state of vocal music practice

Breath is the driving force of any kind of singing, and the correct breathing method determines the right or wrong sound. For the training of pop singer's breath, I usually practice my voice by singing etudes in teaching.

Compose a few simple vowels into a ditty, and let the students practice their voice while singing, or choose a track with smooth melody, and then choose a track with light jumping for the students to try to sing, find out representative phrases, and let the students feel its singing and practice their voice with this feeling. It is easy for students to devote themselves to singing. In other words, don't treat vocal exercises as mechanical exercises. Otherwise, it will create an illusion of sound concept and state for future singing. Only by practicing with pleasant mood and touching emotions can we effectively find a relaxed and natural tone.

The third lecture on the relationship between standing posture and singing

When singing pop songs, good standing posture is very important. Don't mistakenly think that only bel canto and folk singing pay attention to posture. In terms of human physiological function and vocal state, any kind of singing is the same.

Some singers, the back neck can not be kept in a vertical plane with the waist, and the vocal tract will be oppressed and blocked. For example, if you bow your back and let your chest squeeze, your breath will not flow smoothly in your body. Chin warping will cause neck relaxation and weak pharyngeal wall muscles, making it difficult to sing high notes. At the same time, it will hinder the vocalization in the singing cavity, and the bulging of the lower abdomen will cause the breath to stop pressing down and destroy the support of the breath.

The correct standing posture should be that the center of gravity is in the first half of the foot. Only consider the upper chest, regardless of the abdominal state. Sure, don't be shy. The fulcrum of inhalation must be established at the waist, and then the final anti-pulling effect can be achieved. Because the waist needs you to actively expand or pull down, it will produce a force. However, the lower abdomen and diaphragm will naturally confront each other because of the pull-down of the waist fulcrum. If you only put the fulcrum in front. Which is the lower abdomen. At this time, it is difficult to control the breath at the waist. Imagine that it is more effective to control the breath with the strength of the front and back waist and abdomen. Or is it more effective to rely only on the local strength of the lower abdomen? The relationship between them is active and passive.

The fourth lesson is weak voice practice.

Some freshmen blindly pursue the volume when singing. In fact, students' voices may not be correct. If the sound is scattered in the mouth, the position will be lower and there will be no * * * sound. At this time, when the sound passes through the microphone, it will emit a sharp and unclean timbre. Especially when recording in the shed, singers will find it difficult to control their voices. Then, how to make students use scientific vocal methods to establish a smooth and orderly singing state?

First of all, I think it is easier to find the feeling of relaxation by practicing weak voice. Any kind of singing, only relaxation will produce beauty. When doing this exercise, you'd better use the humming state. That is to say, your mouth is open and you don't pronounce it, but you pronounce it with your nose. Students who have not received training will have their teeth clenched and need to practice opening their mouths every day. Hold your chin with your hands and practice stretching upwards. Don't hurt your oral joints too hard. Your mouth should not be too horizontal or too long. It is best to expose the upper teeth and slightly expose the lower teeth. This oral state is correct in terms of vocalization. One thing to note is that opening to the outside world is one of the first things to do, and the key is to realize that opening from the inside out is the most important thing. Don't form a horn state, it is difficult to get a smooth sound because it is big outside and small inside.

In the process of this exercise, we should consider the listening position with another way of thinking. The position of the sound changes with the pitch. Move from front to back. The speed of movement depends on the teacher's ears. When moving to the treble zone, the soft palate should be lifted moderately, because the lifting of the soft palate is the only channel that can produce treble. In terms of sound structure, it is impossible to emit high notes from behind the teeth. Only when the soft palate is lifted, the tension of the posterior pharyngeal wall is driven, and the back of the mouth is arched, will there be a nasal cavity. Only high notes can relax. At the same time, it generates vibration force. Of course, the sound direction can't go up, which will feel like bel canto.

Popular singing and Bel Canto folk singing are inseparable and completely different. It is important for teachers to learn from the advantages of European and American singing methods and combine the characteristics of national singing methods to train, which can solve the problem of students' low voice in a short time.

A good pop singing teacher should solve the problem of all students' smooth voices within one year, and should not let your students sing three or four octaves after five or six years.

Some students will ask, "Will the voice get louder in the practice of weak voice?" "Can't you let it out later?" Actually, it is not! It's hard to find a sense of relaxation by shouting. On the contrary, it is easy to find when the voice is small. In other words, pop singing should establish its own sound channel. It should be based on complete relaxation, and then the sound can be released more effectively. Therefore, the practice of weak voice is only a means, and the purpose is to get a smooth and magnetic voice.

The fifth lecture is how to grasp the directionality of sound.

When singing pop songs, it is very important to master the directivity of the sound.

Because in the process of singing, it needs to constantly move its position, including whether the mouth is in place or not, and it needs to carefully remove every note, so it is easy to notice the sound in the process of moving, especially when moving backwards, rather than forward. Whether you sing bass or treble, you should be very clear in your mind's consciousness, and the pronunciation of your voice will always be the same as before. Open the nasal cavity and keep it unobstructed at all times. When singing pop songs, don't put your words in the second half of your mouth. The voice is easy to fall, and it sounds like bel canto. You can't hear what you are singing clearly, and the voice is not easy to come out. The linear flow of sound is connected with the mutual rolling of sound and sound until the mood keeps advancing and enters the climax of the song. Everyone should keep the same thinking, that is, my voice moves forward.

top

Struggle published on: 2004/09/05 10:42pm.

The sixth lecture on the role of pharyngeal strength in singing

Pay close attention to the position where the voice moves when practicing opening your voice. The sound is empty when the moving position is large, and the sound is crowded when the moving distance is small. When doing this exercise, be sure to sing at a fixed point. In the middle of the sound, the starting sound should also be in the middle, so as to grasp the accuracy of the sound.

After mastering the accuracy of the voice, we can understand that when singing treble, the soft palate is used to promote the strength of the pharyngeal wall, forming a strong pulling force, which makes the treble have the ability to penetrate and produce the feeling of vibration.

But if the pharyngeal sound is used moderately, it is the key. When all the throat walls are tight, the voice will be too hard and too bright, lacking in singing. Without the power of pharyngeal sound, the sound will be hollow, without a sense of fulcrum and tension.

Personally, I think pharynx sound is an essential part of singing. But if it is magnified and lightened too much, the effect is not ideal. That would lack the charm of my real voice. Flexibility is not enough, dexterity is not prominent, and there is a lack of expressive force in different ways unique to popular songs. If we can meet the needs of songs with different strengths. Proper use of pharyngeal wall strength will play a icing on the cake in the performance.

Lecture 7: Visual Expression of Words

A good singer should have the most sensitive touch on words. When singing that sentence, he has the ability to completely penetrate the inner meaning between words and sentences. When singing, a singer should sing about himself, not others.

For example, in the opening part of the song "Qinghai-Tibet Plateau", we must first find the feeling that the valley in the forest is empty and bold, and then "Who brought the ancient call"? If it appears in the form of a question, the main difference between singing is "calling" and "expecting". The tone of "can you say" should be strengthened, and the feeling of being there is better. Song of Silence should feel pulled up. "Or that unforgettable attachment?" The words "for a long time", "forgetting" and "attachment" in this sentence should highlight the connotation of expression. My singer's own feelings, I am now in Tibet. You should have infinite affection for people in Xizang, deep admiration for the People's Liberation Army, and an overwhelming feeling of being there. Only in this way can you sing the deep feelings of the Qinghai-Tibet Plateau, the sighs of glaciers and green trees, the gaze of your hometown and the proud admiration of the Qinghai-Tibet people.

Lecture 8 Changes of Emotional Structure in Singing

The language of singing is the heart. When a singer stands on the stage, the only thing that can communicate with the audience is your sincerity and true feelings. If a singer can tell your joy, joy, sadness and anger like his own relatives. First, you won't be nervous. Besides, what you want to express to yourself will be true.

In addition, singers must learn to remember their feelings. Store personal feelings such as happiness, anger, sadness and joy in daily life in your brain, and mobilize them immediately when necessary to use them in the plot of your singing.

How is May's "blue sky" expressed?

"I woke up and fell asleep, struggling all night, and a few rays of light came through the window."

When you sing this sentence, you will feel unbearable heartache when you open your mouth, and gradually strengthen your voice and emotions to reflect the feeling that the light is from dark to bright.

"There are your photos in the empty room, and the feeling of happiness is boring."

Show the feeling that people are empty, and happiness is no longer around.

"I didn't want to sing at first, but I broke the piano and left everything for tomorrow."

Musically, this passage belongs to repetition. In dealing with repeated paragraphs, we should strengthen the tone no matter from the speed than the previous paragraph, giving people a sense of musical progress.

"Emotional impetuous, trying to hide, who can really say sorry"

This sentence expresses emotional frustration and injustice. The purpose is to connect with the climax of the next song. Therefore, singing should be in a state of climax.

"I am trapped in love, and my tired face can't seem to retreat into your world."

This expression is the climax of emotional catharsis, and it is also the final outcome of feelings that you can't accept.

"Through the heavy heart wall, there is a whole blue sky."

He said that he finally overcame his fragility and greeted the blue sky tomorrow with a happy mood.

Lecture 9 How to grasp the rhythm and sing?

Each song has its own unique rhythm singing and expression.

How to grasp the characteristics of the song is the key to sing it well. For example, May's "Can I Hug You" is composed of a small rhythm and a sense of division. The speed is shown as a little faster forward. However, the thinking and rhythm of words are completely different concepts. Lyrics mean to express a woman's psychology, helplessness, sadness and nostalgia by breaking up with her lover. So when expressing the meaning of this piece of music. One kind of thinking is singing, firmly grasping the rhythm after the bar, and the other kind of thinking is thinking about the meaning. "It's raining outside, as if my heart and blood are dripping. It's not easy to love you for so long." Then you need a singer to sing your inner sadness, disappointment and even the pain of breaking up with a slightly light and dull feeling, hoping to keep love. If you can't sing with two different ideas, it will inevitably lead to inaccurate rhythm or procrastination, or you can't devote yourself to the contents of the lyrics in singing.

top

Struggle published on: 2004/09/05 10:43pm.

[This post was last edited at 6: 5438+00: 44 on September 5th, 2004]

Lecture 10 What is a second creation?

A work created by a songwriter is called the first creation. Then the second creation depends on the singer himself. The same song, sung by different people, has completely different effects. Some works are simple in form and uncomplicated in structure, but after careful and proper handling by a good singer, what they sing will be very touching. This is what people often say about the second creation.

The second creation requires the singer to sing accurately on the score, sing all the symbols, the front and back sixteenth notes and syncopation accurately in time, and then sing well continuously. Generally, when you get a new work and can sing it hundreds of times, your brain will have an accurate structure. At this time, look for the characteristics of music structure. Where are the rhythm centers of 3/4 and 4/4? How to grasp? Then do paragraph analysis. Is it paragraph A, B and A? It's still paragraph a, paragraph a and paragraph b, so be clear. Then focus on the text and find out the state needed by the emotion. The analysis of the differences between each paragraph and each emotion in the text should be extremely detailed and accurate, and then the songs should be processed in sections and levels from the whole work.

Lecture 11 Emotional Experience in Popular Singing Art

The singing method of popular songs belongs to the category of vocal music art in a narrow sense, while it belongs to more performing arts in a broad sense. Therefore, after mastering the skills skillfully, the ability to express a song successfully becomes an important part of singing skills.

Throughout the world of Chinese music, there are not a few composers and singers who write independently, but also some who cooperate with others and perform by themselves. However, the most accomplished singers are often those who are familiar with singing skills and expression methods, because these people devote themselves wholeheartedly to singing art, making their performances perfect from inner experience to physical expression, from voice modeling to emotional processing.

top

Struggle published on: 2004/09/05 10:45pm.

(A) the writer's experience and singing experience

Song creation belongs to primary creation, while actor creation belongs to secondary creation. executant

When receiving a new song, the first task is to communicate with the screenwriter about the emotional feelings and ideas of the work. An excellent work must also be the expression of the author's true feelings. However, there is still a gap between the author and the actor in terms of experience, experience and feelings about things. The actor must try his best to bridge this gap, feel the author's feelings and understand the author's thoughts. When the feelings of an actor and a writer collide, there will be artistic sparks, and the creation of an actor will really begin.

Jiang Yuheng, a native of Shandong Province, grew up in South Korea and started his own business in Taiwan. After all the vicissitudes of the world and the indifference of the world, he came to sing Li Ziheng's Return to the Sail. His deep affection for wandering coincides with Li Ziheng's original intention of creation, reaching a quite high level. That's why I can't sing "I didn't understand until I was 30". But the far-fetched feeling of "worrying about new poetry" will make a profound work shallow.

Songs are the perfect combination of literature and music, and the rich content and broad theme of modern pop songs are beyond the reach of other music forms. This world. Secular desires cover almost everything and sing everything. Therefore, as a popular singer, we should strive to increase our life experience and cultivate our sensitivity and understanding of life.

(2) Life experience and artistic experience

Popular songs have profound inner feelings from early folk songs to modern times.

It shows that this evolution process shows the progress of human culture and the maturity of music. The metaphor of Bitter Fence for helpless rural women who can't break free under the oppression of feudal culture, and the feeling of loneliness behind the noise of the city in This Me (sung by Li) can't be understood by a person with simple culture and poor sensitivity.

However, this does not require you to have the same experience as a composer in order to sing a song well. You can't wander while singing, but wander; If you sing a prison song, you have to go to the prison to experience it yourself. The idea of doing it yourself is stupid and naive, and it doesn't conform to the law of artistic creation.

So, how do you feel an emotional world that you have never experienced before? This requires the actors to learn from and experience the emotions and feelings depicted in the songs according to their own emotional memories.

It is difficult for an actor who sings "Fireworks Woman" to have the experience of the woman in the song, but she can experience this emotion through the narration of others and her sympathy and feelings for the tragic fate.

The real achievement of an actor lies not only in his accurate feeling of the thoughts and feelings revealed by the writer in his works, but also in his uniqueness of the contents of his works. The same song, interpreted by different actors, will produce different emotional colors and singing effects.

The same "Looking Back", Jiang Yuheng is full of vicissitudes; The exhaustion revealed by Zhang Hang; Julie's maturity and firmness, which is hard to let go, must be released. Was strongly rubbed into the ingredients of personal feelings.

Actors' feelings and experiences of emotions must be sincere and sincere, and any false emotions will be seen through, but this does not mean that they must put their emotions into singing. You know, the emotions in an actor's experience are different from those in his performance. The emotion in the process of experience is the expression of the actor's true feelings. When we sing Mother by Candlelight repeatedly, we often burst into tears, but we must stop crying when singing. If the actor can't control it because of his deep feelings, so that the song can't go on, the consequences will be unimaginable. If you are recording at this time, you can stop and come back; If you are performing on the stage, you must be interrupted unless it is for artistic processing. For example, Teresa Teng sang "Goodbye, My Love" at a farewell concert in Hongkong. When she sang "I don't know when I can meet you", she choked up and stopped singing. At this time, the audience applauded, which had a dramatic effect. However, if this kind of emotional out-of-control phenomenon often occurs in the process of singing, the audience will turn off their appetite because they don't appreciate the tears. Actors often have this experience. When they first start singing a song, they are often moved by the content of the song, and their true feelings overflow. But unfortunately, because the emotions are too real, the voice is out of tune and the movements are rough. After repeated drills, the actor's emotions become thorough and meticulous, and his actions are orderly. Actors may choke and tremble because a lyric affects their emotions, but they will never get out of control. But in-depth expression to stimulate the feelings of the audience or listeners, which is the meaning of singing.

The emotion in the process of an actor's performance is a hypothetical and virtual emotion, and its source and real feelings are admissible. It is a state in which an actor keeps his first self clear and uses his second self to feel. It is a state in which an actor describes his feelings to the audience and sometimes falls into it.

For example, when singing "Fireworks Woman", the actors set out from themselves to feel the tragic experience of the fireworks woman, so as to gain an accurate life experience. But when expressing her experience, we should start from ourselves and describe her experience from this angle, assuming that I am a "fireworks girl". Because I sang it, it must have my emotional characteristics, and writing is also the key to the formation of the actor's style.

(C) the freshness of emotional experience

The actor's emotions should be re-experienced in every singing process. This kind of "

Freshness "or" first feeling "is not only for the audience, but more importantly for the actors themselves. Because the actor's emotional expression and emotional experience are an inseparable whole, each re-experience will produce different psychological feelings and different emotional States. Because this is an artistic state, the emotions in the experience will become more and more stable, more accurate and more profound.

Therefore, actors should not only study hard and practice more, but also pay attention to the quality of practicing songs, that is, they should further explore new things in the sense of "freshness" and "first time" in each experience.

The singing process itself is a process of experience, and it is also a process for actors to find their inner feelings. Emotions should be more concentrated and concentrated, not more dispersed and indifferent.

(D) Emotional experience and personal singing style

Among many singers, some people are right because of the differences in their emotional characteristics.

It is common that a certain emotional trajectory is easy for people to feel, thus forming a group of trajectories with their own style. It is precisely because of this reason that songwriters write songs for specific actors, and some singers write their own songs, which provide more favorable conditions for the establishment of actors' personality and style. The representative works and singing styles of each star are basically related to their own emotional characteristics.

Singers' intuitive preference for a certain kind of works is likely to be an emotional shock! This kind of vibration is the starting point for the formation of an actor's style. Of course, in addition, there is also the question of whether the conditions of the actor's timbre, sound quality and range meet the emotional characteristics. If not, it should be adjusted according to the situation.

If we carefully study the influence of emotional characteristics on actor's style, we will be more aware of its importance. If we compare the early works of some famous singers with his or her famous works, we will find that he or she is completely different. The main reason is that through long-term exploration, the actor has found the extremely special characteristics of his (her) emotional area, and based on this characteristic, he (she) has gradually formed his (her) style by singing songs, creating and perfecting his (her) works.

Thus, emotion is an inseparable part of an actor's personality. Wang Jiesheng

His life is quiet and he is good at feeling lonely, so his aloof indifference has formed a unique style; Yu Chengqing is good at feeling passion, which makes him warm and straightforward. On the other hand, Jiang Yuheng felt the hardship, fatigue, timidity and guilt of wandering in the fuzzy world. The surging passion will never pester him again, let him savor the feelings of this wanderer. It is this sense of taste that forms his delicate character and style; However, we appreciate George Lam, a Hong Kong singer, whose impressionable emotions and relaxed style. His tenderness and alcohol are refreshing, and his induction of fiery passion makes it difficult for you to restrain. This shows that. The emotional characteristics of actors are closely related to the formation of personality style.

(5) Emotional experience and voice expression

When we touch a song with our own nature and our own direct or indirect experience.

When the emotional curve of a song, our inner tremor will make subtle changes in facial expression, body expression and voice expression. Actors should be good at capturing this change, constantly feeling in exercise and constantly improving in feeling.

If actors only feel by inspiration and nature, but are not good at capturing and accumulating this kind of

Feel the change of voice expression, body expression and facial expression, then maybe this change has slipped away during recording and performance. Let's feel the song "In the Rain". This song sings:

I saw you off in the rain.

I kissed you in the rain.

Spring, I have you.

In winter, I leave you

There is reunion and separation.

Life is a play.

There are laughter and crying.

I don't know who can and who can hide.

I don't object to your saying that life is beautiful.

You say life is melancholy, but I don't talk.

I can only bear it silently.

Endure countless spring and winter.

The sixth note of the major scale ... the sixth note of the major scale. ...

Everyone's love experience and life experience are different, and their feelings about this song will be different. After an emotional failure, an actor saw through a truth that life is a play. He is also frustrated by this loss, but he still looks for his feelings with confidence. Therefore, he recalled the past in the rain, although bitter, but tender as water.

Another actor, after being hit, is full of sadness and may never love again in his life. So his attachment to the past in the rain may be painful and sad.

Both warmth and sadness are based on personal experiences and feelings, which will undoubtedly change the voice expression. A person's feeling in practice is

Warm, while the other feels sad during exercise. Voice expression changes with different personal feelings.

There is no doubt that a warm person's voice is clear and soft, while an injured person's voice will be dumb and hazy. Therefore, the verbs "send", "kiss", "have" and "leave" are not sung casually. The former is intoxicating, while the latter is heartbreaking and has different artistic appeal.

The lyrics of "gathering and parting", the former will make you indulge in the situation of gathering and parting, and life is like a play; The latter let out air in a sigh, expressing obedience to fate and helplessness to love.

Vocal music is a practical art, and its feelings cannot be completely described in words. work

As an ambitious person, we should try our best to understand the essence and characteristics of voice expression and their subtle changes in emotional experience. This is not for self-appreciation, but to arouse the experience of the audience and the audience with sound expressions, which is valuable.

(6) Emotional experience and facial expressions

As an actor, when you dedicate your songs to the audience, your emotional experience is given new content. Multicolored spotlights are projected on your face, and you can't avoid the audience's sight. You must calm the audience, be interested in your singing and accept your feelings. At this moment, the actor's facial and body expressions are very important.

If you are simply a radio and tape singer, it is basically enough to infect the audience with the rich changes in your voice and expression. However, with the continuous popularization of TV and the further development of various entertainment means, especially the emergence of karaoke and dance halls, actors have to regard singing art as a part of performing arts. Without this awareness, the beautiful image created over the years and all the efforts made for it will fall short. Once upon a time, many idol singers in the eyes of fans could not stand the test of stage and screen, and lost their idol status when singing face to face with the audience. This is a very painful lesson.

In fact, performing arts can't completely separate voice expression, facial expression and action expression, just because the recording studio is different from the environment on the stage and in front of the camera, with different objects and different means.

Facial expression is the brightest soul window from the inner world to the outside world, and it is always the most direct, vivid and vivid expression of inner feelings. People's happiness, anger, worry, thinking, sadness, fear, surprise and all other subtle inner emotions, even if he consciously hides them, will show shadows in his expressive face and gestures, either bright or dark, or thick or light.

So, what is an expression? Expression is the main tool of intangible emotion and the image expression of emotion. Generally speaking, the expression in life is the natural expression of people's inner feelings and a means of life communication. But as an expression in the performing arts, it has its own functions and functions. It is not only a means of natural expression and communication of inner feelings, but also a tool of artistic creation and performance skills. So there are two concepts: life expression and artistic expression, subconscious expression and conscious expression.

Artistic expression comes from life expression, and any melodramatic expression divorced from life will not be accepted by the audience. However, because the expression of life is natural, the forms of expression vary widely, and some are even ugly and harsh. Actors should choose the most typical state, the state that is the easiest for the audience to peep and accept, the state that can accurately reflect the psychology and the state that is the most aesthetic. The appearance of this state is that the actors deeply understand the inner feelings of the characters, study the characteristics of life expression and refine them.

Some people are born with a dull expression, some people smile without showing their teeth, and some people smile with gums.

Exposure, etc. Even though these people have strong inner feelings, they either leave no trace on their expressions, or distort their inner feelings or lack aesthetic feeling. This requires actors to fully understand their own problems and strengthen expression training in order to control the movements of expression organs freely.

Eyes are the most important part of facial expressions and the center of an actor's inner activities. There is a song that sings:

"Don't weave beautiful sadness.

Stop making far-fetched excuses.

Because your eyes have shown

This song accurately shows the importance of eyes, and nothing can hide it. Therefore, if an actor wants the audience to feel your inner activities, he must look through his eyes. Then, how to accurately convey their thoughts and feelings to the audience is an important skill for actors to walk onto the stage and enter the screen.

(7) Emotional experience and inner vision

An actor's inner vision is a means for an actor to convey his feelings. The so-called inner vision is

When an actor sings, he can see everything he sings very clearly, in detail and vividly in his eyes and heart. More importantly, you can let the audience see everything you sing through your vision.

For example, when you sing Annie, you will definitely see the beautiful girl who will never accompany you. Her voice, appearance, gestures, tone of conversation, eyes, headdress, hairstyle, clothes and figure are all clearly identifiable. Not only that, but also suppose the relationship between you. On a certain day, you finally fell in love. Annie is a mixed-race girl. You are on the same day. You're finally in love. After graduation, Anne returned to America, and you left your hometown for some reason, and I haven't heard from you since. You thought Annie's love for you would never exist, so you burned the correspondence between you. A few years later, you learned from a friend that Anne had died in a car accident and had been waiting for you, which broke your heart and drove you out. Although this is a true story that happened to Wang Jie, as an actor, he must sketch a true story for himself in his own songs.

An actor's inner vision