How do boys sing high notes?

1. Open your voice in the shape of "half yawning", commonly known as opening your voice.

2. Master the conversion of true and false sounds, sing more scales, find the limit of your true voice, find your true and false range, and switch skillfully.

3. Practice abdominal breathing more, that is, the way we breathe when lying flat. Breath is the basis of supporting tenor and singing.

Talking about technology without practicing is brushing hooligans. There are skills, but more practice is needed to support them.

Detailed explanation of boys' skills in singing high notes;

First, the "put down your throat and open your throat" in the mid-bass area is the basis for boys to sing high notes well.

Tenor beginners in this state must first experience the feeling of opening their voices in the middle and low voice areas. This feeling of opening one's voice is like the "half yawning" state compared by the vocal music teacher.

It is important to realize that in this "half yawning" state, the throat is naturally lowered, and the posterior pharynx is open up and down in this state, and the chin is also relaxed and contracted at this time, which is consistent with the singing state.

At the beginning of tenor learning, it is better to take this state, and it is more beneficial to put down your throat and open your throat to practice singing U or lowering the hair in the scale.

At this learning stage, don't rush to sing works with a wide range. You can even choose an excellent song that is easy to catchy and has more opening sounds as an exercise, such as the first sentence of Huang Zi's "Flowers are not flowers" (the bass is practiced from the central C).

Practice singing these phrases in different tones. The lowest tone starts with C' and then falls at the highest tone "e2". Repeated practice in this way, while experiencing the open state of the larynx and pharynx, sings the phrase beautifully with emotion until the larynx is stable and the pharynx is open, which has become a singing habit in the middle and low voice areas. Then consider expanding the range and gradually transition to the "sound change point" in the high-pitched area.

Second, use "reverse focus association" to solve the transition of voice-changing male voice points.

One of the major difficulties in tenor singing is the transition from mid-low range to high range, which can also be called the transition from "chest cavity", "throat cavity" to "head cavity". This transition point is generally around the "F artistic sound". For some tenors, especially those with wide mid-bass range, it is difficult to solve the problem of "sound changing point"

In order to sing "voice change point" well, we should first solve the contradiction of "seven", "bottom" and "* * * transition with" reverse association "on the basis of" half yawning "in the first stage. When the tenor sings in the interval C`-e2, he uses the singing state of * * * with "chest cavity" and "throat cavity" as the main parts.

This effect of singing "low" and thinking "high" and "reverse association" will make the mid-bass area brighter, more penetrating and more metallic. At the same time, it paves the way for the singing state of * *, which is dominated by "head cavity" and "nasopharyngeal cavity" after the sound change point, so that the timbre of the middle and high-pitched areas can be connected freely. For example, singing the first half of the Italian song "Back to sorrento".

It is very important to sing the first half sentence well with high overtones, which is directly related to the unity and cohesion of the tone color of the second half sentence.

If the first half of the sentence is sung dully from E to e2, the arrival of the second half will make people feel very sudden, and it is easy to form a sense of inconsistency from the timbre. But it was different from the beginning. Thinking about the key points of * * * singing, singing with the concept of the existence of head cavity and nasopharyngeal cavity, makes the voice charming as soon as it enters the song, and makes people feel comfortable and natural when the treble comes.

In addition, this kind of "backward association" adds more charming charm to the singing of lyric songs, makes the voice soft and moving, and better expresses the creative intention of songwriters. For example, the previous sentence "Teach me how not to think about him".

If you sing in a nasopharyngeal cavity, it means lyricism. Another example is Liyinghai's adaptation of the Tatar folk song "Under the Silver Moon", which is even more nostalgic.

When singing this song, you should have a soft and bright high overtone * * *, and think about the focus of the sound in the nasopharyngeal cavity, which will not only make the song more lyrical, but also prepare for the next sentence.

The above example is the reverse association between singing "low" and thinking "high". Then, when singing the notes around the inflection point of f2, we just need to turn on the high overtone * * * with the throat and think about the focus of the sound downward and backward. This is because when the voice change point occurs, the use of the * * sound cavity will change, and the "chest cavity" and "laryngopharynx cavity" in the middle and bass area will dominate the * * sound cavity.

This shift is based on tighter vocal cords and a more upright throat. At this transition point, a slightly unbalanced force will produce a "crackle" or lead to uneven timbre.

To sing "change the voice point", we should strengthen the tension of throat and vocal cords. At this time, we should focus on "Xia" and "Hui" while maintaining "high overtones". The "inferior" and "posterior" here mainly mean that the more stable the throat is, the more erect the posterior pharyngeal wall is.

This kind of "association" also plays a mixed sound effect when singing high notes, without completely losing the "throat cavity" and leaving no traces of the transition from low notes to high notes.

For example, the second sentence and the third sentence appear one after another, and it is difficult to sing well if the vocal cords and larynx cannot be effectively still. This kind of standing posture, when singing, should think about the key points of the voice on the basis of the bass area of the previous sentence, so that the two voices will not be unbalanced and the timbre will not be connected with the bass area of the previous sentence.

This "reverse association" of singing "high" and thinking "low" and "low" thinking "high" will pave the way for solving the problem of "voice change point"

Extended data:

Singing skills:

Practice breathing step by step, persevere, and practice for ten minutes every day. You can inhale through your chest and abdomen, then spit it out slowly, then combine with the dog to gasp, and finally practice long and short sounds.

Radical treatment of pentatonic insufficiency;

Many people sing out of tune. In fact, they are out of tune mainly because of their ears, and singing is not allowed mainly because they can't hear. Therefore, people who sing out of tune can focus on cultivating their listening ability first, listen to the original song before singing, or correct their pronunciation by listening to the piano and practicing their ears.