How to practice singing ...

Exercise vital capacity, swim more and run more! Watch more music videos, watch more mouths of other singers when singing, and imitate more! Sing more and practice more.

It's best to find a professional teacher for guidance, so as not to go astray and damage the vocal cords. When singing, be careful not to use vocal cords more, so that the sound can spread far and steadily, and pay attention to the use of breath, otherwise it will cocoon the vocal cords.

Singing is an art. In order to improve children's ability to express songs, children should be trained in singing skills, including singing posture, breathing, vocalization and articulation.

First, the posture of singing

Correct singing posture is not only the expression of the singer's good mentality, but also related to the use of breath, the adjustment of singing and the effect of singing. During training, students should develop good singing habits, so that their eyes are straight, their jaws are adducted, their necks are not tense, their spines are straight, their lower abdomen is slightly contracted, and their waists are stable.

Second, breathing in singing

First, breathe in. When doing breathing exercises, do a good job in singing posture, keep your waist straight, relax your chest and shoulders, keep your head free, keep your eyes far away, and your expression on your face is full of affection from your heart. Then, you can relax your chest by sighing happily. When inhaling, the mouth is slightly open and the hard palate is lifted. With the eyebrow lifting action, it is excited to take precedence over the back, and the waist line is relaxed outward.

But don't exhale too deeply, or your chest and abdomen will be stiff, which will affect the flexibility of your voice and the accuracy of your pitch. Don't make any noise when inhaling. On the contrary, it will not only affect the artistic effect of singing, but also make it difficult to inhale deeply and affect the support of breath. Therefore, in daily life, we should develop the habit of rib expansion and abdomen miniaturization.

3. Vocal music practice is a comprehensive basic singing training. Learning to sing must start with the most basic vocal exercises.

1, do exercises to get the fulcrum of breath, experience the coordination of sound absorption and sound production, and use scientific humming methods to understand and adjust your singing.

2, learn to open your mouth to sing, the upper and lower teeth are loose, and the chin has a loose "falling feeling."

3. When singing an octave, from low to high, the vowels are not broken and the oropharyngeal cavity is opened from small to large at the same time.

4, the breath is smooth, and the sound is smooth and smooth.

Fourth, the pronunciation is accurate and clear.

In the final analysis, the purpose of pronunciation practice is to sing songs more perfectly, so we must pay attention to the clarity of pronunciation and articulation, correctly grasp the echo of language, clarify the structural laws of Chinese, and practice with the combination of song tunes, pronunciation and articulation. When practicing singing, each word should be read several times according to the pronunciation method, and then combined with vocal music practice, the words should be accompanied by sounds, so that the words are clear and mellow, and the focus of vowels should be as close as possible to the concentration point of the vocal area when singing, so that the * * * sounds of the three vocal areas can be connected and adjusted flexibly.

The art of singing is the art of combining sound with literature. When we sing a good song, we can't just talk about the voice without feeling, and vice versa. It is necessary to comprehensively understand and analyze the ideological content, expression technique, songwriter and creative background of the song, and then make appropriate treatment to accurately and completely reproduce the artistic image of the song, so as to achieve the purpose of bringing emotion with sound and full of emotion.

How to sing high notes

First, human singing instinct.

Have you ever heard the sad song of a blind girl on a rainy night? Have you ever heard of happy folk songs sung by men and women? These people have no vocal training, and all their songs have touched you, because they give full play to their natural singing instinct. The breathing, vocalization, * * * singing and treble I mentioned earlier cannot escape from natural conditions, and all physical conditions are naturally produced. Regrettably, we often abandon this natural condition and struggle to find some "shortcuts" and "secrets", which is very sad.

When a singer sings, the function of the throat is subordinate, but the heart can also be controlled. When singing, the movement of the throat is completely spontaneous. When a singer sings, what sound he wants to sing, the tension of vocal cords and the number of oscillations will be exactly the same as his thoughts. Of course, when you make a sound, you need to use the diaphragm, abdominal muscles, ribs, mouthpiece and other fast forces. A newborn baby doesn't know these things at all, but he can make good use of those powers. When he cried, he cried very sadly; When he laughs, he makes a pleasant tone. This proves that life has a natural ability to use our voice freely and expressively.

Second, shout high notes first.

When we do any kind of sports, such as shot put, we must first have the power to lift the shot put. In order to increase the strength of hands and feet, Wushu practitioners practice carrying water first. Only when your hands and feet are strong can you not fly out when dancing broadsword.

In order to pronounce, our vocal cords must be able to resist high pressure from below. Someone asked, under high pressure, will the vocal cords make a sound, and will they break the vocal cords by shouting? No, as long as you keep the correct breathing and singing posture, you won't scream. As for the position and cover-up of treble, how to locate your treble before it is called out?

Shout from the bottom first, go up half a tone, and stop at # F2, g2, # G2, in groups of five tones. Don't shout too much at first, because your breathing and singing posture may be wrong from the beginning. You should correct it while singing. When all aspects are coordinated, it is better to shout more. #g2 After singing, a2 is another way to breathe. We know that when singing high notes, we should use high pressure to press the breath up. In fact, waist qi is needed at this time (see the next section). After we shout a2 with waist gas, we shout b2 with the same gas.

Generally speaking, people who sing high notes are born with high notes, but we just don't use them. A girl has no vocal training and can only sing to f2, but when she suddenly meets a horrible thing, she can't help screaming, which may reach f3 of HiHC, but she won't make such a high voice anyway. So don't worry, be bold and shout high notes. Just shout more.

Third, breathing and posture.

If we also have a chance to scream when we meet a very unexpected thing, we must remember the shouting posture and use it to sing high notes. That's right.

Singing high notes is different from singing low notes. It is to press the air into thin lines and impact the vocal cords. When the diaphragm strength has been used to the apex and can not be pressurized, the waist strength must be used. As mentioned earlier, the lung lobe is larger than the lung apex, that is, the lower part is larger than the upper part, and the upper part of the lung apex expands outward from the ribs. With waist strength, first put your hands on your hips (don't pay attention to the abdominal muscles at this time, it will naturally work when inhaling), suck in the air around your waist, feel the front and back waist bulging, then put in the air (with your mouth wide open, see Figure 7), and put your waist and ribs in hard, so that your chest will stand up, and you will feel the pressure to hold down your upper jaw. This is how waist strength is used.

As mentioned earlier, F2-# G2 we use the contraction of abdominal muscles to increase pressure. When we reach a2, we use waist strength. In b2, because only a small amount of gas is needed (but high pressure gas is needed), you only need to open your upper lip like yawning, revealing a little upper teeth. When the tip of the tongue is flat on the lower teeth, we can sing b2. From below b2 to above highC, the method is the same as below b2.

Here's another example to illustrate singing high notes with the power of waist production.

Singing high notes with the strength of the waist is equivalent to inflating a long balloon. If you pinch the lower part with your hand, the upper part of the training will swell up, as if the diaphragm has risen to the top and can't rise any more. We inflated the waist, and then the whole waist and the open ribs below contracted inward, and the chest protruded, just like holding a balloon with our hands, creating a strong upward airflow, which is exactly what we need to sing high notes.

Fourth, close and cover up.

When I used to learn to sing, I had to sing high notes together! At that time, it was really "like falling in the clouds and fog." And this word is still used in China. Because I don't know the true meaning of closeness, I don't know how many tenors have been hurt and how many good voices have been ruined.

My view of Close is: close the lower resonance box and open the upper resonance box. We need to sing loudly when we sing high notes, so we should raise the soft cover. We open the upper lip to improve the soft cover, and at the same time we need to push the soft cover away with the strength of the waist. As for the word "cover up" used by some people in China today, I think it is better. It means that the treble should not be too white, but should be covered, just like a bowl covered with treble.

I have asked many teachers to explain the approach problem, but I can't get the result. Then I went to Italy and asked a teacher. The answer is: we have never heard of this word in Italy. How to sing when "off" As for today, it is very wise for us to explain proximity by "covering up" instead of "approaching". When we sing high notes, the upper jaw is lifted, the flexible flap is lifted (yawned), and the air pressure is pushed up and gathered on it, forming a dome-shaped space like a church, which is to let the gas fill this space, so as to make a beautiful high note. If the top doesn't open and the air can't get up, where is the treble? So "covering up" also means that the sound is concentrated upwards. We can do another experiment to find this feeling: when we yawn, we will feel a chill feeling in the upper jaw (which we can't feel at ordinary times), that is, there is a space above, and the breath has entered.

Fifth, the higher, the easier it is.

At b2 level, it should be said that we have broken through the difficulty of high notes and can easily sing b2, c3, # C3 and d3, because there is no difference between singing these notes and singing b2 level. My throat is smaller when I sing b2 Ping, because the bigger my mouth, the smaller my throat. So, I don't need to be afraid of higher notes. What I need is shortness of breath to support the treble. Shortness of breath comes from hard practice at ordinary times.

Six, fulcrum and confrontation

If we lift a pair of stone shoulders with our hands, our feet will step down and the land will play the role of lifting our feet; Our hands push up and the stone bear presses down. So, there are four forces here, the foot and the ground, and the hand and the stone bear. Our human body is equal to the air column, and the lower abdomen and vocal cords are the two fulcrums of breathing. The upward breath is blocked by the vocal cords, and there is also the problem of "force" confrontation. So, does the fulcrum of the lower abdomen change when singing? If there is a change, is it an increase or a decrease? This question is controversial.

When singing, the breath keeps flowing out, the air column is getting shorter and shorter, and at the same time, the lower abdomen is also taken in, which helps to inhibit the gas in the lungs from flowing and exhaling. Under such circumstances, how can you always put the "fulcrum" in a fixed place without moving up with the use of breath? However, we should not forget that although the "fulcrum" is constantly moving upward with the exhalation of breath, we must keep the downward pressure. Imagine that if we want to get a tall thing, we can't reach it, so we have to put a box under our feet. If you still can't reach it, you can only add another box, so that the "fulcrum" will not be improved. How is it possible to stop there?

I once heard a soprano solo in Singapore. She travels around the world on behalf of Canada. But when she sings high notes, her neck is stretched out, which makes people feel uncomfortable. It turns out that she specializes in singing German Lied, and the German singing school advocates that the "fulcrum" will never change in the abdomen. How can you lengthen the sound tube so long by singing high notes?

Let's take a look at the principle of the inflator mentioned above. When the piston handle is pushed upward, the piston will gradually move upward to maintain the pressure of the cylinder, and the breath will be ejected from the cylinder mouth. If we compare pumping to the singing activity of human body, that is to say, the distance between diaphragm and vocal cord is getting shorter and shorter, so the fulcrum gradually changes position, how can we stay in a fixed place all the time?

Seven, use tools to test.

Use a piece of wood, which is wider than our shoulders and slightly wider than the length of our shoes. Make a hole in four corners and use two ropes to pass through the hole, the length of which is flush with our hanging fingers (see Figure 8). We stand on the board, take a breath, then hold our breath, open our mouth and pull the rope, and we can feel what confrontation is. At this time, our feet have increased the confrontation with the ground, and at the same time, we have increased the confrontation between the breath in the body and the vocal cords, so that the treble is easier to come out. We can also use Coca-Cola's empty aluminum cans (empty beer cans) to cut aluminum sheets the size of stamps, and put the two aluminum sheets together (bend the aluminum sheets slightly by hand), so that the combined aluminum sheets have a crack. Then put an old silk around one end of the aluminum sheet (it can be folded as wide as three matches), and then tie the aluminum sheet with iron wire to make a whistle. You try to play the bass first and then the treble. From this contrast, you can feel the breath and posture of singing high notes.

How to sing

First, 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. 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 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 * * *).

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.

Second, 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?

Third, the method of exercising vital capacity

There are many reasons for the decline of vital capacity test value year after year, among which the main reasons are: lack of effective physical exercise methods and insufficient physical exercise time. There are many ways to exercise vital capacity. There are three ways.

Method 1: Do some bare-handed exercises such as chest enlargement and arm vibration regularly.

Method 2: Endurance running practice, pay attention to regular running and breathing coordination, appropriate distance and unfavorable intensity.

Method 3: Practice diving or swimming. In the water, you should not only keep paddling, but also overcome the resistance of water to breathing. It is a good way to exercise and improve vital capacity.

There are many ways to improve vital capacity through exercise: playing football, playing basketball, running back and so on. It should be noted that no matter which method you choose, you must persevere and practice frequently to be effective.

The mechanism of these exercises is to increase the strength of respiratory muscles, improve the elasticity of lungs, increase and deepen the depth of breathing, improve and improve the efficiency and function of lung breathing, so as to achieve the purpose of improving the detection value of vital capacity.