What if singing is always interrupted?

The way to prevent it is to use correct pronunciation.

● Breathe

Speaking of this topic, I am a little confused, 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. Describe 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 sound should be upright and backward. Please find the feeling that you take a big bite of the apple, expose 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, the breath sinks, the lower abdomen expands, and the lower abdomen exerts a little force. When the male voice is depressed by the Adam's apple, the female voice pays more attention to the position of the voice behind the head, and you will find that the voice is much louder than before. Practicing against the wall often helps to make sounds, because leaning against the wall can touch your back and spine, making it easier for you to find feelings. The sound of chest cavity can vibrate with the wall, making it easier for you to find the feelings of chest cavity. 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 * * *).

Another thing to mention is lung capacity. Singers need a lot of lung capacity to sing, 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 you are nervous, your heart beats faster and your breathing is more unstable.

However, it should be reminded that vocal music practice is the basis of singing popular songs. Never use vocal music practice to directly interpret pop songs, because it will be too artificial and will be like Yan Weiwen's "Nothing".

As for the use of voice in pop songs, it is ok to shout "Break" as long as it conforms to the artistic conception of the song, but these are absolutely forbidden in Bel Canto, so we should learn from each other's strong points, because we practice Bel Canto not for singing, but for singing well, just like martial arts needs to practice "Ma bu". Have you ever seen anyone squatting and fighting?

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.

● High notes

This is my friend's favorite question, in their words, because the treble is "enough to drag", 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 the song, but advise friends not to just know the value of tenor and ignore the bass. In fact, a full bass is also very infectious.

When singing high notes, the breath must be based on the lower abdomen and Tian Dan, and the "Tian Dan breath" emphasized in Beijing dialect 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.

Feeling 2: Have you ever seen a rubber hose? What should I do if I want the water in the pipeline to skyrocket further? Tighten the front end of the water pipe, the gap becomes smaller, the pressure increases, and the water flows farther. Actually, high notes don't have to be big. Some singers are very loud when they sing high notes. We say that they are singing with strength and vital capacity, not with breath and skill. Imagine the faucet theory, and you should be able to realize some truth.

Feeling 3: There is a big stone on the ground. Lift it. As soon as you bend down, count: "One, two, three, go …". I think you must have used the word "go". I won't say much, just feel what's heavy around me ... hehe! These are just some ways I created to make you feel the breath. They are informal, but very effective.

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 relies on a lot of breath and methods, but whether the voice condition is good or not, the voice is sung through breath, just like a cigarette passing through a filter. If the voice is filtered, it will be more beautiful.

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?

Low bass

Generally speaking, the bass should be full and affectionate. But like the treble, many people lack the * * * sound of the middle and low notes. Bass can only be embodied by chest tone and 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!

When singing bass, relax your chest and throat. You can strengthen some * * * sounds by sighing, or you can add some breath to a really low place to produce oral * * * sounds, which will make you feel richer. But in any case, people with rich voices have much more room to play.

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 sentences and the details of sentences, and put the details of singing on the top of "sentences" instead of the whole song.

Draw an undulating line for the whole song, and you will know where to keep a low profile and where to keep a high profile. Set your sights high, just like a sense of position on a football field. How can you effectively cooperate with the long pass attack by staring at the local area?

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.

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-style songs; 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 performance of pop songs is completely out of breath. Sometimes the Adam's apple shakes and the voice in the throat is controlled well, as long as the overall atmosphere of the song is not affected.

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.