How to practice singing

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 good intentions 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 certain sound. If you are lighter than a certain sound, an impassioned 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 voice should be positive. 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, put down your breath, expand your lower abdomen, exert a little force on your lower abdomen, and make a sound just now. When the male voice is under the pressure of Adam's apple and the female voice pays more attention to the position of the voice behind your head, you will find that the voice is much louder than before. It is helpful to practice the * * wall regularly, because the * * wall can touch your back spine, making it easier for you to find the feeling. The * * * sound in the chest can vibrate with the wall, making it easier for you to find the feeling of the * * * sound in the chest. 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, which is understandable. 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 is really singing. 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 needs a lot of breath and methods, but no matter whether the voice condition is good or not, the voice is sung through breath, just like a cigarette passing through a filter, and the voice will be more beautiful after being filtered.

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 the * * * of the chest and the 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 you sing bass, you should 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

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.

Let me give you another example: 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-like appearance after singing; 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.

This is what many friends pursue, hehe! I don't think Tik Tok is professional enough. I don't know that vibrato is just an expression in songs. Can't you sing a good song without vibrato?

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 of pop songs is completely prominent. Sometimes it is ok to shake the Adam's apple and control the voice in your throat, as long as you are in the atmosphere of the song as a whole.

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.

Finally, I want to express my views again. If we set our sights higher, the singing method that emphasizes vibrato is popular in this historical period, and it may not be popular in five years. Why is there no vibrato? Although vibrato can effectively render the atmosphere of songs, it is deep and penetrating, but I also like to listen to some simple and pure sounds. So, just sing with your heart, and maybe you will be more distinctive.

Stage 1: Practice breathing before making a sound. The research data show that under normal circumstances, people breathe 16- 19 times per minute, and each breath lasts about 3 or 4 seconds. When singing, one breath is sometimes extended by more than ten seconds, and the inhalation time is short and the exhalation time is long. Therefore, it is necessary to master the essentials of keeping the breath in the lungs and exhaling slowly.

(1) "Deep Breathing and Slow Breathing Control Extension Exercise".

The key points are: first learn to "store gas", first compress gas to discharge waste gas, then treat the gap between the nose and the tip of the tongue as "sniffing flowers", breathe freely naturally and lightly until it is full, then sink into the abdomen, slowly relax the chest ribs, and make the gas exhale slowly like a long stream of water, and breathe evenly. The longer the control time, the better. Repeat the exercise 4-6 times.

(b) "Deep breathing and slow dialing practice"

We call the first step "sucking and pushing". The breath of "sucking and pushing" is inward, and the breath of "pushing" is outward and downward. We do breathing extension exercises when we push. We recommend three training methods:

A. Counting exercise: "Suck" is the same as before. While "pushing", count the number "123456789 10" softly and quickly, and count it repeatedly until you run out of gas, and see how many times you can count it repeatedly.

B. "Counting dates" exercise: "Suck" is the same as before. At the same time of "pushing", I whispered, "Go out of the east gate and cross the bridge. There is a jujube under the bridge. Hit dates with bamboo poles. A jujube is more green and less red (full of breath). One date, two dates, three dates, four dates, five dates, five dates ... until this breath runs out, see how many dates you can count. Repeat 4-6 times.

C. "Counting the gourd" exercise: "Suction" is the same as before. While "pushing", say softly: "Golden gourd, silver gourd, one breath is no more than 24 gourds (full breath), one gourd, two gourds, three gourds ..." Repeat this breathing for 4-6 times until you are exhausted.

Count the numbers, "jujube" and "gourd" to control the breath, so the more you practice, the more you control it. Never run out of breath. There will be pain in the abdomen at first, and after a period of practice, you will consciously make great progress.

(c) "Deep Breathing, Slow Breathing and Long Tone Practice"

After breath practice, the voice began to join gradually. This exercise is still based on practicing qi, supplemented by vocalization. At the same time, choose a middle and low-pitched area, where boys pronounce "ah" gently (loud "ah" is consistent with practicing qi) and girls pronounce "yi" gently (small voice pronounces "yi" to make it. Hold it in one breath, and the sound outlet is cylindrical and wavy, which can be long or long and can be practiced repeatedly.

"breathing exercises"

This is an exercise with half a voice and half a breath. Put your hands in your waist or cover your abdomen, hold your breath in the abdomen and rush out to your forehead and throat at the same time. The voice is mainly low and elastic, and the abdomen and diaphragm pop out at the same time under tensile force. We introduce three exercises:

A. Hold your breath, quickly "clap, clap" (repeatedly) in your mouth, and make a "bang, bang" staccato at the end of this breath. Repeat 4-6 times.

Stretch your feet in one breath, first slowly, then quickly pronounce "haha" (repetition) (acceleration) hahaha ... "Practice has explosive staccato, and" haha ... "Laughter", "aha" and "cough" are commonly used in singing.

C. Stretch your feet in one breath, and then slowly and quickly pronounce "hey-rough, hey-rough" (repeated and gradually accelerated) and "hey-rough, hey-rough ..." until your strength is exhausted, and practice repeatedly.

After this stage of practice, qi is the foundation of sound, and qi is the handsome breath of sound. The "place where qi can accommodate" has been basically excited and active, while sound has been brewing protection. On this basis, you can begin to prepare for the sound practice.

The second stage: the practice of qi, sound and words.

Opera actors, especially Beijing opera actors, including opera lovers, are prone to make mistakes in singing. They wish they couldn't shout a loud and bright voice soon, and rushing to shout high notes, fierceness and even wildness often backfired. When we study vocal music practice, it is beneficial to practice the breath first, and we need to make clear a gradual law and persevere. In this third stage, we suggest that we should not rush to climb scales and shout high notes, but practice from the combination of qi, sound and words. The relationship between them should be arranged in this order: qi is sound, sound is cavity, cavity is word, word is word, and word is emotion. As can be seen from this order, the position of the word is in the middle, the sound and cavity are in front, and the word and emotion are in the back. If it crashes, the whole game will be lost. The truthfulness of pronunciation determines the roundness of sound, and it is this principle that "words speak for themselves". The relationship between words, sounds and qi in shouting practice should be that "qi" is fully supported, "sound" is accurately recognized, and "word" is truly bitten. The specific methods are as follows: enlarge and slow down the prefix, abdomen and suffix with Chinese pinyin, practice pronunciation with Chinese characters, and then speed up, while practicing the flexibility of mouth, lips, teeth, tongue and throat.

(1) lip sound practice: (first slow down, enlarge and read it again, and gradually speed up reading tongue twisters)

Eight, one hundred, one bid, one soldier, one rush-one slope north, one slope north, one gun, one soldier, one platoon, one run-one gun, one soldier, one fear, one bid, one soldier, one touch.

Mark a soldier, a fear, a touch, a gun, a soldier, a gun.

(2) Dental practice (method as above) 44, 10, 144, 40, not 1440, not 44.

③ Tongue pronunciation practice (the method is the same as above)

Sixty-six-year-old Liu Laoliu is pushing sixty-six big oil baskets, sixty-six weeping willows and tied with sixty-six big horse monkeys.

(4) Laryngeal exercise (method as above) There are tigers in front of the mountain and monkeys at the foot of the mountain. Tigers drive away monkeys, and monkeys beat tigers. Tigers can't drive out monkeys, and monkeys can't fight tigers.

⑤ Practice of tongue pronunciation and tooth pronunciation (the method is the same as above).

There came a lame man in the south of the street, with a plate in his right hand and an eggplant in his left. Someone pouted in the street. The nail tripped the lame man, and his right hand dropped the plate and his left hand threw the eggplant.

⑥ Thirteen-channel pronunciation practice

Wind (Middle East) urges (ash heap) summer (Zhou Su) to go (17), a lotus (Sobo), a flower (in full bloom), and a thank you (embarrassed).

Autumn (from seeking), cool (Jiangyang), clouds (people), heights (far away), geese (as mentioned earlier), self (thinking) and coming (Huailai).

Joe (Yaotiao), Yi Jia (Fahua), (Ren Chen), (Yuqiao), Yi Chu (Gusu), (Jiangyang) and Yi Lai (Huailai).

East (Middle East), West (No.17), South (Preface), North (Ashes) and Sitting (Sobo)

With this exercise, you can tell which sound is round and which one is dry, and get it right. The exercises of qi, sound and words are very practical and effective.

The third stage: poetry singing practice.

The purpose of putting poetry singing in the fourth stage is to practice and tap the sound quality of "generous bass, mellow midrange and tough treble", instead of blindly raising and climbing, consolidating the midrange and bass, making their timbre gorgeous and pure, maintaining a pleasant and easy-to-use voice, and exercising the toughness and elasticity of the treble. At this time, chanting and singing are unaccompanied, and singing is more difficult and demanding. In the third stage, you have the spirit, sound and words at the bottom, and you climb up step by step. Your voice is not tired, and your practice is effective and you have a great grasp.

(1) Poetry is usually composed of fixed field poems from all walks of life. Because the role has just come to power, it is necessary to make a first impression on the audience, so that they will not talk and be quiet. Therefore, it is necessary to be high-pitched and calm, and it is a self-analysis of the role's own interests and ambitions. It has a strong sense of rhythm and must be practiced well, suitable for shouting, practicing and practicing. For example, in Mi Fei's poem "Drumming Cao", "The mouth is like a river and the flow is like a stream. All rely on the tip of the tongue to suppress the princes. How can a man be a giant? He should look for a seal with a smile "; Another example is Yue Fei's pastoral poem, "Bright Ming Jia shoots the bullfighting palace, ethereal banners cover the sun, the tiger is towering in the same column as the generals of the Ming government, and the male corrects his horse like a dragon." In the morning when everything wakes up and everything is renewed, you can practice your voice to the fullest.

(2) Singing method: it has the characteristics of white singing, half singing and half singing coordinating with each other. It is more difficult than reciting poems, its emotions are more suitable for expression, its melody is more suitable for stretching, and it is only used for shouting and vocalization. Half-singing is like an introduction. For example, in the first half of "Cosmic Front", Zhao sang "The cuckoo cries branches, and blood and tears are dark and sad." Another example is Yang's "Cao Cao (semi-chanting)", "Alone (chanting) alone in the sky, Miao Rong was built early, (semi-chanting) helped Hanzuo exist in name only, (chanting) Wei moved the times." Sing directly, such as "Qin Qiong sells horses", "The hero of the Han Dynasty is trapped in heaven, I don't know when he will return to his hometown", or "Old, old and childless" in "Qingfengge", "Listening to his mother's whining, he must have lost his love for Joule".

③ Reciting poems in Beijing and Bai (Putonghua): practice reciting words for modern drama performances, such as using the melody of the poem "Poems of Chairman Mao", "You are not a hero if you don't reach the Great Wall". For example, reading some classic quotations of modern drama, such as "Rice seedlings meet the rain after a long drought, never forget" and "Chiba is bitter", are all good materials for shouting and practicing. Traditional large-scale chanting and some penetrating exercises can also exercise breath and sound at this stage.

The fourth stage: arc aviation acoustics practice.

This is a very unique vocal technique in Beijing opera. It's like jumping in dance, jumping up, squatting down and bouncing up, and also like shot put in sports, turning up, retracting and throwing. Breath and sound are pushed out to form a parabola, pulled back and thrown out.

Ru Wusheng: Ah/Cough/Lao Sheng: Ma/Lai/Hua Lian: Wine/Oh/Lai/Ugly: Ah/Ha/Tsing Yi: Bitter/Wow/Glory/Treasure/

If the double-arc tone is not practiced well, it is very easy to produce "bifurcation", "turn" or "flower". The general points are: good luck-supporting words (decomposing pronunciation like "Chinese Pinyin")-throwing it out-putting it away-throwing it out again, controlling the breath and volume, and choosing the best timbre to complement each other. In particular, the "capacity-nature" chanted by Cheng School seems to be broken and delicate, and it stays at home. Yin Gui Guiyun needs hard practice and mastery.

The fifth stage: climbing scales and practicing difficult notes.

Ga tune, Van Gogh and Gao Qiang are indispensable in singing, which we call difficult tune. Practice this sound in the practice of shouting. Be careful not to practice more. The key is to find a way to find a position. If you shout hard, all the previous exercises will be useless and your voice will be hurt. When practicing this sound, it is forbidden to squeeze, jam, pinch, press, force or hit hard. The old gentleman said, "If you want to sing a high word, you don't have to shout it back (which makes it difficult for me to shout), but if you make the word narrow, sharp and deep, your voice will be high ... When you meet a high word, you will breathe out ... then the listener will be clear and bright, and the singer will not have any troubles." There are tips and methods here, which should be explored and explored according to your actual situation.