Even people who can't sing well can sing good songs if they sing often?

Of course you can. I know a netizen who used to sing ok, but later his voice was broken and he had to pin it ... After that, his voice was terrible. But he kept practicing for 10 years, which was very good. Vocal skills are as follows:

1, about sound conditions-timbre is determined by nature, sound quality is acquired, and sound can be practiced! ! ! ! !

I often hear people complain that their voice is not good, whether it is high or low, or singing is dry, which is not good at all. In fact, to tell the truth, in today's pop music world, your voice condition is not a problem at all. It is impossible to decide whether you can sing a song or not, only what song is suitable for you! Therefore, everyone who likes singing must have confidence. If you want to sing, just sing, don't worry about the sound. Meaningless. In fact, when it comes to sound conditions, no matter what Bobo thinks, a cat is very savvy, because when I was a child, my voice was really poor, and the teachers who participated in the school chorus didn't want me very much, but I got in smoothly, because I had a good sense of music, and Captain Su didn't want me? I don't need anyone to help them organize. In fact, when I was five years old, my voice was completely broken. Because of the foreign body in my voice, I recovered in nearly a year (giving my throat an injection every seven days), but because I had a bad voice since I was a child, no one thought that I would have anything to do with songs. Just when I began to like opera and sang it every day, no one around me thought my voice was not bad. What's the story? However, the sound of broken gongs is still persistent. I sing every day, and I specialize in learning Yue Opera. There is a school called coloratura soprano. Of course, the consequences are bleak. I can't sing at all. It's just a buzz. I can't even hum ... ||| It hurts!

Then after more than ten years of spring and autumn, a persistent cat can finally sing, excited and excited, happy ~ ~ ~

2.* * * The problem of singing-singing depends on "vibration", not "shouting"

Cut the crap and let's get down to business.

Singing is actually a technical job (not to mention the problem of singing with emotion). If you stand by and watch a good singer, especially a bel canto singer, a folk singer and a dramatist, you will feel that there is a large stereo around you, because their voices are all "through", "through" and "bright" ~ ~ and they feel very shocking and three-dimensional, and that kind of singing will win everyone's applause even if you do nothing.

Therefore, if you want to sing, you must pay attention to the "sound quality" of the voice, have a three-dimensional sense, have penetrating power, have a certain sense of weight, and avoid being frivolous.

How can I make such a noise? Singers must strive to make their bodies into large vibrating bodies, because the sound vibrates, not shouts. This awareness is very important. Singing a song needs to go all out, and the breath goes down to the abdomen and reaches the top of the head. This channel must be unobstructed to sing a good song!

So everyone can sit and sing, because when recording a song, you must sit at the computer, but you must sit upright and sit up, otherwise-you will definitely not be able to sing a good song. It is suggested to stand up when singing at ordinary times and try to feel the feeling of * * *.

* * * Vibration has three basic forms: thoracic cavity * * *, nasal cavity * * *, and head cavity * * *.

Chest singing is the absolute support of bass. If you don't master it well, you won't appear "emboldened" If you want to finish the bass slowly and smoothly, you should sing in place. Of course, there are also experts who can demonstrate bass through the nasal cavity, so we novices don't want to. It's really incredible.

Nasal cavity is an important technology to make your voice transparent and bright. Throughout my Shaoxing Opera, I have been using the nasal cavity continuously, and I have been vibrating with my nose ~ ~ ~ ~ Actually, when I first started to find the position of the nasal cavity, I basically sang with nasal sounds ... Later, I found that the original nasal pronunciation position was much earlier than that of the nasal cavity. The nasal cavity * * * sound is used at the top of the palate, and the mouth should be naturally opened and "round". There is no need to exaggerate your mouth when singing Bel Canto, but if you try to sing well with a strange mouth or don't intend to open your mouth at all, you will find a small crack. If you don't want to sing well, the former voice will inevitably have uneven timbre or strange timbre. I don't think anyone can hear what you are singing unless you are close to your mouth. Judging from a regular singing preview, these are not desirable. Sure, is there any special case? Yes, but ... it is estimated that one in ten thousand people can be a special case ... please weigh it carefully.

Finally, I sang in a * * * voice, which was amazing. If you want to sing a high voice, you have to rely on this. However, because singing with the head cavity is mainly for the treble, singing with the treble is definitely not something that can be done by mastering the head cavity (the chest and nose cavity will be easily integrated into their own singing, but compared with the head cavity,! !

I had an experience. Sometimes I feel that I can't find a place to sing (nasal cavity), so I bury my head and sing a few words. At this time, the vocal position is actually a little close to the nasal cavity, so it is obviously better to sing while washing your hair than normal.

~ ~ ~ ~ ~ = ||| A typical rookie's trouble, he can't even wash his hair.

3, gas sinking in the abdomen-gas and gas ~ ~ What should I do if the gas is not enough? What should I do if I'm so angry? Finding the right phoneme-an issue as important as breathing. Is the pronunciation position correct?

People often feel out of breath when singing. Some people rap songs are very weak, very weak, and so on ~ ~ ~ That means your breath is not enough or your breath control is not in place. ...

4 pitch problem-running is a headache! In fact, out of tune can also be corrected!

(It is my net friend who said these words)

Also, say a few more points:

Singing skills

The interpretation of songs needs various expressions.

First of all, of course, the sound. This is a very professional knowledge, including breath, voice, mouth shape and the way of pronouncing words. In future articles, I will try my best to share what I know with you.

The second is emotion. This requires a singer to have a better understanding of words and melodies. When many friends sing, they focus on the voice and ignore the emotion, so they can never sing a good song. The reason for paying too much attention to the voice is that the singer's strength is limited, and it is inevitable that he always thinks about where to pay attention to the breath, where to breath, and when to approach the treble. Therefore, it is very important to practice when singing. When practicing your voice, you will pay attention to your emotions when singing. There is a saying that songs are not sung with the mouth, but with the heart. If the vocalization is practiced to the point of thorough breath and perfection, the concert will inject emotion more freely and have a stronger appeal to the interpretation of songs.

The third is feeling. Here is the same sentence, the feeling of music is born, how much you have, and the feeling of making up the day after tomorrow is very few. Pop songs need the feeling of pop songs, and folk songs need the feeling of folk songs. For example, if you want Yan Weiwen to sing "Nothing", I promise you will laugh at a lot of people! Singers have different feelings, and the songs they sing are handled in different ways, some are very dull and some are very exciting. These treatments are very subtle, such as a little breathing, an emphasized accent, a long drawl without breathing or a sudden ending ... these can only be understood.

The fourth is the sense of rhythm and intonation. Have you ever seen a 3-year-old child play the rhythm of adding flowers when he hears a melody? Have you ever seen a 3-year-old child singing live, and his father accompanied him with an accordion, changing his tune at any time? Are all his tones accurate? Have you ever seen an 8-year-old child hum the pronunciation of "1" in any tone such as "E-flat" and "C-flat" at any time without hearing any sound, and then press the key on the keyboard to check whether it is completely accurate? This is talent. Singing needs such a foundation. Although not as outstanding as they are, they must not be weak.

The fifth is quality. This is the difference between amateur singers and professional singers. In fact, many amateur singers are as good as professional singers in voice, mood, feeling, rhythm and intonation. The gap lies in quality. Do you know your body and expression when you sing? You may have a vague image, that is, when you are engaged in singing, you imagine yourself, and this image is probably the original image of the song you sing. But these are all your imaginations, and your imaginary image is almost perfect. Do you know what you see? Have you ever filmed your own formal singing with a video camera? In fact, you can tell whether you are an amateur or a professional at the first glance or the first sentence. The qualities mentioned here also include an understanding of music theory, musical instruments, music history and common sense. Of course, many professional singers are not comprehensive, but I personally think that if you want to become a professional singer, you must implement these well and be worthy of the word "professional".

Understand the lyrics

How many times did you read the lyrics in your head before learning a new song? How many times have you tried to figure out the mind of the lyricist and the artistic conception he expressed? For a song, whether there is a word or a song first, both authors carefully ponder the artistic conception and thoughts that the other (lyricist or songwriter) wants to express. If you come here, you should completely ignore their kindness and just sing with your own feelings. I don't think it's appropriate. Some personality singers like to express themselves according to their own understanding, which is also good (I like it), but I will understand the author's intention before playing. Besides, not every song is suitable for you to play casually, and you can't find a more suitable expression for some lyrics, such as the national anthem.

After you deeply understand this song, your emotional handling will be much better. If you have a strong perception, you can't help singing a voice, a voice will be taken over gently, and a passionate long sound will be full. ...

Is there a difference between talking and singing except melody, rhythm and breath? Yes, that's how you spit. Please read "Let me love enough once" in your casual way, and then sing with your heart ... You will find that your mouth is open to both sides when you sing, which should be exaggerated. If you think it's almost the same, then there is something wrong with your spitting. Therefore, singing is more exaggerated than lip-synching, so that the words will be clearer, the breath will be smoother, and it is more suitable for expressing emotions.

Singing Chinese songs is still standard. For example, the differences between "Z, C, S" and "an, ang" and "L, N" are easily confused. Singers in Hong Kong and Taiwan sometimes deliberately sing individual words without rolling their tongues, or they can't move their tongues, or they don't feel good, or they don't know the pronunciation at all. I didn't have a clear idea when we covered their songs. In order to imitate them, we can not correct them. But if you want to sing your own style or competition, you have to correct it.

As for Cantonese songs, I advise you to learn them well before singing, otherwise it will be very funny. Just like I used to sing Cantonese songs, I thought it was very standard, but now I know there is a gap. There are subtle differences between Cantonese and Mandarin, such as "z, c, s" and "an, ang". You can't learn well without studying hard.

smell

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. Below I will express 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 sound, because leaning against the wall can touch your back and spine, which makes it easier for you to find the feeling. The sound of chest cavity can vibrate with the wall, which makes it easier for you to find the feeling 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 * * *).

In addition, I also want to mention the vital capacity. Singers need large lung capacity, 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.

I can only say so much here, it depends on my feelings. However, I want to remind you that vocal music training is the basis of singing popular songs. Never use vocal music training to directly interpret pop songs, because it will be too artificial, and you will sing "nothing" like Yan Weiwen.

With regard to the use of voices in popular songs, my opinion is that it is ok to shout "broken" as long as it conforms to the artistic conception of songs, 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 practicing "Ma bu" or "Ma bu" or "Ma bu" or "Ma bu" or "Ma bu" in martial arts. 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. Personally, I think that as a female singer, you should listen to "May" more, because she is naturally transparent. Male singers should ponder "Man Wenjun" more. He really sings by breathing. In addition, Jacky Cheung has a good atmosphere, but Man Wenjun is more suitable for teaching.

triple

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?

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.

Sanctity and style

First sing more, open your voice, then grow a song that suits your range, sing the sound smoothly, improve the range as much as possible, find the feeling of breathing with your abdomen after the midrange is stable, and then slowly add some vibrato skills.

I'll tell you a few times. Many people feel short of breath when singing long notes. At the end of the day, when they don't have enough breathing, they will release some breathing very loudly. In fact, don't let out all the air at once when you feel like you are going to disappear, but balance the intensity and volume of the sound.