How is Yang Zongwei’s singing skills, and what is his level in Chinese?

Chinese T2, husky and guttural voice, uniform timbre, high participation of chest voice, very tiring when singing chorus, and vocal inversion.

Yang Zongwei’s vocal range: G2-F4-G4-A4. True voice, mixed voice, pharyngeal voice. Owned C5 early on.

Yang Zongwei, considered by many to be a bitter prince, gave a new way of expressing love songs besides Zhang Yu. Personally identifiable timbre is the greater hoarseness. The rolling throat sound is very interesting, but the overall friction is tiring on the throat. His love songs are the best. "Onion" Live has never been sung well. The best Live is the song of C3-F4 represented by "Actually None". "Heavy Rain" also has a nice pharyngeal pitch towards the high notes.

But in fact, Yang Zongwei and Xiao Jingteng are very similar. Both of them debuted on the same program, and in the early days, they mainly had hoarse voices. The hoarseness comes at a cost. It essentially involves a certain degree of involvement of the sublaryngeal cavity, which can be due to friction of the vocal cords or less maintenance of the sublaryngeal cavities, which is often referred to as sublaryngeal closure. Whether it is friction of the vocal cords or sublarynx, it will lead to a certain degree of laryngeal inversion and regression of thyroarytenoid muscle ability.

Yang Zongwei’s real voice has lost a lot of thickness from the early days to now, and his vocal range ability has also dropped from C5 to G4 sublaryngeal and A4 pharyngeal. However, he made certain trade-offs, abandoning the lightness of abdominal support, and strengthening the chest participation of the mid-bass, using the characteristic articulation combined with the rolling throat sound of the chest voice as the carrier of emotion. This risks overloading the chest voice, so Yang Zongwei transforms the articulating rhyme into a kind of falling rhyme. This downward closed tail processing increases the true sound thickness of the mid-bass, which is a major feature of Yang Zongwei.

In addition to hoarseness, Yang Zongwei’s biggest problem is chest voice overload. People who have watched Yang Zongwei's Live will have an obvious feeling - Yang Zongwei's chorus part looks very tired, he is always out of breath, and once he bends down, he bends down to sing to the end.

The strong involvement of the chest voice, so much so that overloading the chest voice is a normal singing method, gives Yang Zongwei's mid-bass a relatively high-pitched tone. And in the CD, Yang Zongwei's recording effect is perfect, and the lack of sound pressure in Live can be made up for.

The following is an analysis of Yang Zongwei's singing skills based on three points: timbre, range and cavity; 1: timbre;

Yang Zongwei's core timbre is the hoarse texture with perfect bass sound pressure. It should be noted here that the sound pressure of Yang Zongwei’s hoarse texture is the key, because generally singers with hoarse smoky voices basically cannot sing high notes, but Yang Zongwei can.

The formation of his hoarse texture is a bit interesting.

Pronunciation point: Yang Zongwei’s pronunciation point is on the low side. This is a personal choice. The guttural component is larger, and the centralization of the singing point is lower. What is more obvious is that Yang Zongwei's A4 has two timbres, one is the pharyngeal type A4, and the other is the A4 that is closed on the throat. When the chorus sings the G4 that is closed on the throat, Yang Zongwei's timbre produces a certain sense of fragmentation, and also It is the early strong mixed metal core of Yang Zongwei.

Throat position problem: Yang Zongwei’s throat position is also low. A lower throat position is the prerequisite for hoarseness and turbidity. Because it can cause a relatively relaxed vibration state of the acoustic ligament.

Vocal ligament: Yang Zongwei’s main problem lies in the tension of the vocal ligament. According to the standard script of low articulation point and low throat position, the sound pressure of the mid-bass will be very low, because the core on the throat is* **Sound pressure provided by Ming. The point of articulation is low and the sound pressure in the larynx is low, so the sound cannot be raised. But Yang Zongwei's mid-bass sound pressure is much higher than that of ordinary male singers.

The secret lies in chest voice overload. To put it simply, when the larynx is in a low position, the chest muscles and throat muscles are actively used to increase the tension of the vocal ligaments. This does not involve the involvement of the thyroarytenoid muscles. , the thyroarytenoid muscle follows the position of the larynx, and it is more likely that the unconscious cricothyroid muscle group is severely overloaded.

In this way, the bass can achieve a higher sound pressure, and Yang Zongwei's mid-bass has the basic sound pressure of a hoarse opening.

Complete detail amplification under audible sound pressure, this is the core of Yang Zongwei's hoarse recognition. With the maintenance of sound pressure, Yang Zongwei can reduce the potential risk of vocal cord friction and throat collapse to a certain extent.

Because he does not need to increase the friction of the vocal cords and provide more auditory content like Xu Wei. Yang Zongwei's sound pressure amplification effect can amplify details.

On this basis, Yang Zongwei’s problem is two chronic processes of voice inversion caused by the degradation of cricothyroid muscle ability and vocal cord friction. It won't become a sudden loss of voice.

Based on the bass sound pressure and hoarseness, Yang Zongwei’s other timbre sculpting abilities are relatively lacking:

1: The vocal cords are marginalized; he has the ability to soften the hearing with better quality , but often seen on CDs, such as the first sentence of "Actually None". However, the level in LIVE is not good enough. This is due to the convenience of the low throat position and is also limited by the degeneration of the cricothyroid muscle.

2: Strong mixed metal core: only seen in perfect Live state when participating in early competitions. Not available today.

3: Weak mixing: Not available, serious jamming.

4: Pharyngeal: main high-pitched ability. Yang Zongwei's throat pronunciation ability is more demonstrated in Live. But the degree of completion was not enough, and there was a lot of friction in his throat. In one word: it ruined his throat. Good pharyngeal sounds protect the voice. The reason is that when Yang Zongwei sings pharyngeal sounds, he still ensures a high degree of timbre unity, and the essence of pharyngeal sounds is a sense of fragmentation. If you don't give up the tone, you can only resist the terrifying pull of the throat sound.

Generally speaking, in terms of sound quality, Yang Zongwei’s core focus is to make his skills stronger. Moreover, the unity of timbre is extremely amazing, even if the voice is reversed, it is not willing to give up the unity of timbre. He is a ruthless person. 2: Vocal range;

Yang Zongwei’s vocal range: G2-F4-G4-A4;

G2 is the lowest rolled throat sound, F4 is the highest true voice, G4 is stable pharyngeal sound, and A4 pharyngeal sound is approaching break. sound. In the early days, Yang Zongwei could sing up to C5 weak mix. For example, in "Onion" there are layers one by one, and the second "layer" is high C. As for Yang Zongwei, who had just debuted at that time, the weak mixing quality of C5 can still be regarded as very good in Live.

G2-G3: This is Yang Zongwei’s perfect vocal range. He is famous for his personal recognition of hoarseness. What is important is his bass sound pressure. He is probably one of the few people whose bass sound pressure is perfect. , of course, the price of this kind of perfection is also huge. In terms of sound range and musical aesthetics, bass represents the underlying musical emotion and tone. It is also the most touching music, which is why Bass is the core of the band's composition. The music of "The Godfather" is mainly bass. Rich and intriguing emotions, often of low pitch. It is also the source of Yang Zongwei’s love songs.

G#3-F4: This part is Yang Zongwei’s alto range. The alto range adheres to the low throat position and low articulation point, and has a certain sense of turbidity, but it is more emotional in nature. change. For example, most of the high notes of Yang Zongwei's chorus in E4 and F4 are at this stage. The single-tone quality still has a certain lack of ringing. I personally feel that the quality is not very good and lacks a certain ringing texture.

G4-A4: Pharyngeal/sublaryngeal area, early mixing area. But now it is no longer possible to achieve a good vocal cord closure and mixing state, firstly due to friction of the vocal cords and secondly due to the degradation of the thyroarytenoid muscle ability. Take the pharyngeal sound as the core tone. But if you look more carefully, you will find that the lower part of Yang Zongwei's high notes is beginning to increase, and the voice protection of the pharyngeal sounds is deteriorating. After all, he didn't sacrifice tonal unity. In the future, I personally speculate that Yang Zongwei may choose to focus on the fragmented timbre of the pharyngeal sounds, and choose to expand the range of his voice and give up the unity of timbre, because the state of his vocal cords is beginning to be unable to withstand it. 3: Cavity:

Yang Zongwei is most lacking in cavity sound.

1: Abdominal cavity;

This is the cavity ability that Yang Zongwei mainly gives up. In the mid-bass area, that is, the area below F4, Yang Zongwei’s support is basically completed by the chest cavity. . This is the guarantee of his hoarse voice pressure and abundant real voice background, but the support of the abdominal cavity is actually the most relaxed and scientific singing method. Without the support of the abdominal cavity, you will be out of breath, your breath will be loose, and the depth and audible thickness of your voice will not be enough. It's like the auditory difference between a grand piano and a finger piano. The grand piano is abdominal support, and the finger piano is chest support.

2: Chest; perfect;

3: Throat: Vocal cord closing ability is weak, thyroarytenoid muscle participation is high, the bass is high, but the high notes are sparse. The marginalization of the vocal cords is fair and the pharyngeal sounds are weak.

4: Mask voice: not available;

5: Head voice: not available.

Due to the lack of more abilities, Yang Zongwei has more of his own non-homogeneous singing aesthetic, but it deviates slightly from scientific nature.

I will wait for you to ask and answer your own questions to reveal the secret [laughing]

Please ask professionals for advice

Chinese T2 is a strong level. The mid-bass area has magnetic thickness, absolute pitch, and full emotion. The high-pitched voice sounds good in the chest cavity, but the frontal sinus cavity does not fully open, and the vocal cords are generally marginal. The weak mix is ??good, the metal core strong sound is not available, and the treble is generally average. The singing method is emotional, the style is outstanding, and the singing ability is high

Why have I never seen anyone else answer these questions like this? Is it possible that the subject is more professional than 99% of professional musicians?

Are you unable to bear the loneliness? All right? I’m all ears, and by the way, let’s talk about Uncle Ya, Brother Martian, Lennon and yourself [呲呲]

Only those who don’t know how to sing will believe that singing skills exist

People’s voices are innate

If a celebrity sings a different song

it will definitely not sound good

The treble is rather flat, indicating that the vocal cords are not functional enough. Wait for the questioner to ask and answer the question [呲呲]

There should be T2, right?

I don’t know how to sing, so I’m probably not a high-pitched singer