First, the composition of singing vocal organs
The formation of sound is a physiological phenomenon produced by the coordination of vocal organs, and it is a physical phenomenon formed by the movement of breath and the vibration of vocal cords. However, the vocal movement of singing is different from that of our usual speech, so singing is a physical acoustics and acoustic phenomenon. The practice of singing art is a complex and rich psychological activity process, so our singing movement can be said to be a trinity of physiology, physics and psychology. The vocal organs of singing are composed of four parts: respiratory organs, vocal organs, vocal organs and articulation organs. They are the material basis of singing and the main functional system in singing and vocal movement.
1, respiratory organs
The respiratory organ, or "source power", consists of mouth, nose, throat, trachea, bronchus, lung, chest cavity, diaphragm (also called diaphragm) and abdominal muscles. Breath is inhaled from the nose and mouth, passes through the pharynx, larynx, trachea and bronchus, and distributes to the alveoli in the left and right lung lobes (the lung is composed of two bellows of leaf-like sponge tissue, containing many gas-filled vesicles); Then the breath is collected from the trachea (bronchus) branched from the lung outlet in the opposite direction into two large trachea, and finally a trachea is formed, and then exhaled from the nose and mouth through the throat. The movements of muscle groups related to the respiratory system are also related to breathing ability, which is the guarantee of the strength and energy of singing "source". Our daily breathing is relatively calm and shallow, and we don't need to use all our vital capacity, but the breathing action when singing is different. Inhale quickly and exhale slowly. If you encounter long phrases, you must hold your breath. The change of a song's height, strength, intonation and intonation can only be accomplished by the vigorous and flexible movement of the inspiratory and expiratory muscles.
2. Vocal organs
Vocal organs, that is, organs that make sounds. It includes the larynx and vocal cords. The larynx is a delicate cavity, located in the middle of the front of the neck, and composed of muscles such as cartilage and ligament. The vocal cords are located in the middle of the larynx. They are two horizontally juxtaposed, symmetrical and elastic white ligaments, which are very solid in nature. The vocal cords are also called glottis in the middle, and the vocal cords are regulated by cartilage and muscles in the larynx. When inhaling, the two bands are separated, the glottis are opened, and breathing is inhaled; When making a sound, the two belts are close together to make a sound. When no sound is made, the vocal cords relax and open, allowing the breath to pass smoothly. The vocal cords are partly self-function and partly vocal movements assisted by muscles around the vocal cords. In vocal music training, we should pay full attention to the role of these muscle groups, use them rationally, form good habits, and avoid singing bad voices under incorrect vocal habits. There is also a very important cartilage between the upper part of the throat and the base of the tongue, called epiglottis. The function of epiglottis has two aspects. One is to protect the glottis. When we swallow food and drink water, it will instinctively and automatically cover the trachea to prevent food from entering the trachea when passing by. Sometimes we accidentally choke on drinking water, which is caused by epiglottis disharmony. The second function is that when singing, the weariness will stand up and form a channel for smooth sound output.
3, * * * singing organs
The vocal organs of human body mainly include chest, mouth and head cavity. The thoracic cavity includes the trachea, bronchus and the whole lung below the larynx. Oral cavity includes larynx, pharyngeal cavity and oral cavity. The head cavity includes nasal cavity, maxillary sinus, frontal sinus and sphenoid sinus. In singing, the proportion of using these * * * tunes is different because of the different music vendors. Generally speaking, when singing bass, the chest * * * sound plays the biggest role, when singing alto, the oral * * * sound is used more, and when singing treble, the main role is the head cavity sound. If we can make good use of these singing cavities correctly and reasonably and coordinate with each other, then I can get a mellow, pleasant, full and beautiful singing voice.
4. Vocal organs
Speech organs (that is, language organs) include lips, tongue, teeth and palate. The position of these organs when they are active and the different parts of their efforts form consonants and vowels (that is, language). When singing, the movements of various parts of the articulation and articulation organs are more agile and exaggerated than usual. Smart is to pronounce accurately and clearly, and exaggeration is to play vowels or finals smoothly after beautification. Therefore, language organs are the material basis for us to pronounce and pronounce words, and they are also important organs for us to pronounce, quote and rhyme when we learn to pronounce and pronounce words. Voice is the basis of singing. To train a good voice to sing, we must first understand the structure and function of the vocal organs involved. The feeling of singing is far less easy than the physical movements that can be seen and touched. For example, the training of piano and violin requires each singer to have a keen sense of self, and to train repeatedly under the guidance of a professional vocal music teacher to form a conditioned reflex to judge whether his voice is correct or not and whether it conforms to the basic laws of vocal organ movement. Another point to point out is that the above-mentioned organs and their movement forms are based on the physiology of singing, and the coordination activities of these organs are completed under the control of human nervous system. Any physical movement is guided or implied by psychology. Singer's will, emotion, desire, stage feeling, etc. , largely related to psychological factors. Sometimes psychological constraints are even more important than vocal skills. We should pay full attention to the importance of psychology. When we sing, especially when we perform on the stage, we need to focus on the content and emotion of the song, with emotion and sound, rather than on the position of specific organs.
Second, singing posture
Some people say, "posture is the source of breathing, and breathing is the source of sound." Singing training must first have a correct singing posture. People without professional training often pay insufficient attention to posture. Whether the posture is correct or not is directly related to the coordinated posture of various organs during vocalization. If the posture is correct, all parts of the sound can work normally, while if the posture is incorrect, it will often bring incorrect sound. This is just like our runners, if they don't have the correct running posture, it will directly affect the running speed.
The correct singing posture is: 1, and the body is naturally upright and relaxed. Relaxation here is by no means loose and paralyzed, but should present a positive state, that is, a state of full spirit. 2. Keep your head slightly higher in front of your eyes, your chest naturally stands up, your shoulders are slightly lower, your lower abdomen contracts, your arms naturally droop, and your whole body is in a state of active exercise. 3. After the feet are slightly separated, the front feet are focused, the body weight is stable, and the weight falls on the feet. 4, face, eyes should be natural and vivid, eyebrows, eyes, mouth are important parts of the five senses, eyes are the windows of the soul, so remember to open your eyes when singing, don't squint. 5, the mouth is a singing horn, it should be open and loose, remember to bite the bullet. 6, and the chin is retracted when singing. The correct feeling should be as if a straight line is formed between the lower abdomen and eyebrows, and the neck is connected with the back and waist, so that breathing is unimpeded. 7. When singing, you can give appropriate actions according to the inner feelings of the song, but the actions should be concise and generous, and avoid affectation and gilding the lily. The posture of sitting and singing is the same as standing, but pay attention to keep your waist straight, don't be stiff, and don't sit on the back of the chair. Be careful not to fill the whole stool surface with your hips, and sit in an area of about 1/3. Feet slightly apart, naturally bent. You can't sit with your legs crossed or cross your legs.
Third, the breathing of singing.
Learning the correct singing breath is the most important and necessary foundation of singing art, singing controlled by breathing is vocal music, and breathing is the driving force of singing. There is a saying in vocal music that "whoever can breathe can sing", which shows the importance of breathing in singing. It is indeed the basic skill that a singer must learn first.
Breathing when singing is very different from breathing when talking in daily life. In daily life, people communicate their thoughts and feelings by talking, because when they are near, they need relatively small volume and shallow breathing, and they don't need much strength or go far. Moreover, if we speak with our voices continuously for a long time, our voices are easily tired and hoarse. If we use this tone of voice in singing, it is incompetence. Singing is to express feelings, not to others. When singing, people often face a large audience, and songs must be spread to every corner. Therefore, it is required that the voice should have a certain volume, have a certain intensity change, and can be sung for a long time. The control and transmission of breath, whether long, short, strong, weak, high or low, should be based on the needs of the song. It is not a simple matter to do this. Therefore, breathing during singing, as an artistic means, has its own unique set of rules and methods. It's a technical problem. Training the day after tomorrow.
Respiratory movement includes inhalation and exhalation.
1, breathe in
Inhale vertically downward through the nose and mouth, and suck the air to the bottom of the lungs. Be careful not to lift your shoulders. When air is inhaled, the lower ribs will expand. On one side of the abdomen, the diaphragm will gradually expand, so that the abdomen will expand forward and left and right sides, and the lower abdomen will be forced to contract without expansion. The back should be upright, and the spine should hardly move, but both sides can move, and it must be extended downward and left and right. At this point, the gas is pushed to the sides and back and stored there, held there, and then exhaled slowly.
Step 2 diverge
When singing with air, you should still breathe in. This is very important, just like inflating a bicycle, you can't relax at once. There is also a problem of keeping breathing. To keep breathing, you must keep breathing all the time in the process of singing, control your breath to spit out slowly, save your breath and exhale evenly. This is called breath confrontation. In the process of breathing and inhaling, we should pay attention to the feeling of stiff breathing and take the initiative to relax the whole body expression. The tense part is the diaphragm and ribs, and the ribs are like a full balloon. We should let the sound sit on it and pull it down, so as not to let the balloon float, that is to say, we should pull the breath and not let it lift up, which involves the problem of a breath fulcrum.
3. There is breath support when singing.
Support point means that the sound should have a foothold, that is, the diaphragm and the lower rib are used as support points. When we cough or laugh, we can directly feel its support. People who have not been trained in breathing often blush, have thick necks, prominent veins, stiff singing, unable to go up in high notes, unable to go down in low notes and so on. These are all related to the failure to maintain the breathing support point. Instead, I mastered the breathing method and had the feeling of supporting point. Then when I flash and sing, I feel that the sound seems to fall on the breath we control, that is to say, the sound is supported by breathing, which is not only pleasing to the ear, but also free to make various changes.
4. Different phrases use different gases.
When we do thoracoabdominal breathing, according to the different requirements of the songs (or phrases) we sing, the strength of breathing momentum and the method of exhaling are also different. Below we will introduce several different breathing exercises.
1) Breathe slowly. Breathe slowly. This is a method that we often use in training and singing. That is, the chest naturally stands up, and the breath is slowly sucked into the lower part of the lung with the nose and mouth, the diaphragm drops, the rib muscles on both sides expand outward (that is, the waist circumference expands), and the lower abdomen contracts inward. This kind of inhalation needs natural relaxation, smoothness and gentleness, just like how we feel when we smell the flowers. The feeling of smelling the flowers makes us inhale deeply, just like doing deep breathing exercise, but don't inhale too hard, just hold your chest and upper abdomen gently, and then exhale slowly. Pay attention to keep inhaling when exhaling, and control the ribs and diaphragm, that is, control the breath to make it spit out slowly, steadily, evenly, continuously and coherently. There is a feeling that can help us understand the state of keeping the ribs and diaphragm when exhaling: it is the action of slowly blowing off the dust on the table after inhaling slowly. We need to blow long breath here, that is, we are doing long breath exercises. We often say: "Long audio video blows dust, short audio video blows wax", which is a feeling of exhaling.
2) Inhale, inhale, inhale is to quickly and deeply inhale the breath into the lower part of the lungs through the nose and mouth in a very short time, then keep the breath, and then exhale according to the requirements of slow breathing. We often use it in singing practice, because you have a long pause when inhaling between sentences and words, and you often inhale by "stealing gas" without being found. This is the function of fast inhalation and slow respiration. In order to cultivate the control of breathing, we can take some etudes and some phrases in songs to do word practice, and the effect is good. Caruso said that whether a singer can set foot on the road to success depends first on whether he has established a solid foundation for the manipulation and application of respiratory organs.
Fourth, the vocalization of singing
The vocalization when singing is not exactly the same as that when speaking. It is wrong to sing in a dialogue way or in an enlarged way. It will be colorless and musical. Therefore, the pronunciation can not meet the needs of singing. We must pay attention to the method of vocalization, and help people who learn to sing to grind ordinary vocal cords into beautiful, pleasant, lasting, scientific and artistic sounds.
1, larynx and vocal cords
Laryngeal and vocal cords are the vocal organs of singing, the core parts of singing, the fortress leading to the whole singing, and the golden key to open the treasure house of singing art. Therefore, it is very necessary to understand and clarify the position and state of laryngeal and vocal cords when singing. Generally speaking, the throat position is lower when singing than when talking (just like our throat feeling when inhaling deeply, because the throat position is slightly lower when inhaling than when resting). Many people refer to the throat position when inhaling as "horizontal position". In the transformation from word to word and from sentence to sentence when singing, the throat should always be in this position, and it can't move up and down from the horizontal position, nor can it move left and right. Of course, the stability of laryngeal position is relative stability in motion, not rigid stability. Just like a ball floating on the water is always stable on the water, if the ball is compared to the throat, then the state of the ball floating on the water is the same as that of the throat in the inhalation position. Therefore, when singing, the throat position should always be in a low and free stable position, and the throat wall is open.
2. Open your throat
Opening the voice is a very important central link in singing training, which directly affects the quality of the voice. "Opening the throat" means that the throat is stable in the correct position, the tongue flap is actively contracted upward into an arch shape, the base of the tongue is relaxed, after the lower teeth are leveled, the lower jaw is opened, the chin is relaxed, and it is naturally pulled down later. At this time, my throat opened. So how can we help beginners "open their throats"?
1) "yawning" state "yawning" state can make the mouth open naturally, relax, lift the flap and increase the space in the mouth. Therefore, when singing, don't clog your throat, open it and let the breath come out freely. The state of yawning is really a good way to open the throat, and it also ensures the singer's good singing state. In normal practice, you can also yawn with your mouth closed. When yawning with your mouth closed, your inner state is also open and upward. If we can keep this state when singing, your voice will not be "white" and "flat", but "vertical" and "round".
2) Open your throat with a smile. When we say "smile", we don't just laugh, but we mean to lift the "laughing muscles". The "smiling muscles" are lifted to open the nasal cavity and pharynx, open the lower jaw, and the smiling muscles (cheekbones) on both sides of the face are smiling, so that your throat can be opened and a high note can be made. "The state of singing is yawning and laughing", which is very incisive.
3. Good alto
Alto is the basis of singing. Without a good alto, there is nothing else. Pay attention to the practice of alto, work hard on alto, and don't rush to sing high notes. When practicing, you should start from the middle and low volume, after a considerable period of consolidation, and then gradually develop to a higher or lower range. Beginners must follow the principle of gradual progress from easy to difficult, otherwise they will not get the correct high notes at the beginning, but will destroy the vocal cords. The alto should be bright, relaxed, smooth and effortless, so as to develop upward and open the way for singing high notes. The voice of the alto should be natural and free, with beautiful timbre and flexible voice. The important sound area of each voice is the alto. The alto should take a deep breath, breathe naturally, be elastic, positive, have a strong point, and have a stable and relaxed throat. No matter how high or low the sound is, the feeling of the larynx is in one position, and the sound should be emitted, but the sound should keep the same shape and position from beginning to end. We often metaphorically say that "the sound should be put on a line like a pearl", and so on, that is to say, the sound should be coherent, unified and mellow.
4. About the voice exchange area
When you sing from the bass to a place, it will be more difficult and easy to get stuck. This is the voice changing area. At this time, you must continue singing on it in some ways. Singers should first basically master the singing method in the vocal area, and then make specific adjustments according to different people. There are several ways to practice:
1) The action of "panting" is that the singer makes a panting action when he sings a tone with inflection (while pronouncing vowels), which seems to be a kind of "startled" physiological state, making the larynx slightly downward and backward, fully opening the oropharyngeal cavity, and at the same time, the breath from behind the gums moves up gradually with the pitch when singing alto, and the mouth moves up gradually. At this time, the voice naturally entered the voice exchange area.
2) Vowel conversion technique is to let the voice cover up a little in advance when singing to the voice change area, the voice is darker, the air output is smaller, and the small tongue is raised a little. When you encounter a voice change point, one thing must be emphasized, that is, when you find the voice difficult to sing, or even feel that the voice is going to break, don't change the shape of the vocal organs, don't move around, work hard, just keep singing with the voice. In fact, the sound change point is always a "mixed sound" problem, that is, the combination of true and false sounds. Covering up some sounds is the composition of falsetto, but it can't be completely false. It must be mixed with the real sound, so that there will be no traces of sound connection and the sound will not be empty. Therefore, learning to change the transition of voice points will also learn the singing method of falsetto, and the position of falsetto is of great benefit to singing and solving the unity of voice.
How to practice vibrato RR
When practicing the vibrato of the tip of the tongue, the tip of the tongue is gently rolled up (light to no force), gently touched in front of the hard palate (light to feel little contact, in short, relaxed), and blown with the continuous exhaled air flow to make it vibrate by itself. After learning to blow the tip of the tongue, learn to vibrate the vocal cords at the same time. I'd rather let the tip of my tongue vibrate for a while when I first started learning. In practical language, shaking two or three times may be enough. The uvula vibrato can even make the uvula vibrate by gargling. It is conceivable that in the strong wind, the air will flow quickly on both sides of the tall chimney, and the chimney will swing. Because it is blown by airflow, it is said to be the result of Bernoulli effect. The principle of that kind of movement is different from that of flashing sound. The flash on the tip of the tongue requires people to use nerves to direct muscles to make the tip of the tongue move. Bernoulli effect makes the wings of aircraft generate lift and can fly into the sky. In other words, the streamline of the upper surface of the wing is longer than that of the lower surface. When the plane moves forward, the speed of air flowing through the upper surface is faster than that of the lower surface, so the negative pressure of air flow on the upper surface of the wing is greater than that on the lower surface, and the plane gains upward force. When two ships get too close, they will approach or collide with each other, which is also the result of that negative pressure. The vocal cords can vibrate mainly because of Bernoulli effect and elasticity, not under the command of nerve impulses. One more thing. At the beginning of practicing the tip of the tongue vibrato, the tip of the tongue gently rolls up and touches the upper jaw. At the same time, the edge of the tongue surface should also work to block all the exits in front of the mouth. The edge of the lingual surface is tightened with a certain force on the left and right palates and gums. They don't participate in vibration, but narrow the petals on the tip of the tongue and make the tip of the tongue elastic. In other words, the edges on both sides of the tongue surface are motionless. The pressure of exhaled gas will push the tip of the tongue away. If you can't blow the tip of your tongue, it may be that the tip of your tongue is too tense (silent), and it is more likely that the two sides are leaking (with the sound of H ...). If you hear a th when you blow, and then the tip of your tongue stops moving outward, it must be inelastic, that is, the two sides are too relaxed, or the tip of your tongue is too tense, or it may be that the tip of your tongue is not rolled enough. If you hear a tx, your tongue is too high and nervous. The tip of the tongue valve is adjusted to be smaller, which may be more prone to vibration. If you push the tip of your tongue up too tightly, you will hear trrr, and you will be very tired. Trjia…… ... is the driving style of drivers in Northeast China. The key is to learn to relax the vibration of rrrrr. There are two more points: 1. Add consonants with the same pronunciation as vibrato and experience the vibration of the tongue in syllables. Such as: du-/tru/. When practicing, lengthen the sound, pay attention not to the tip of the tongue, but to the experience of airflow. The vibrato at the end of syllables is difficult to pronounce. You can add a vowel at will according to your personal situation and then weaken it. Don't control it, and don't try to go from blinking, tongue rolling to vibrato. Especially don't control your tongue. Think of the flag in the strong wind.
To practice vibrato, you must first know how it comes from. There are only two ways. First, two tones with small interval difference appear alternately; Second, breath control makes the same pitch reappear intermittently. The "trembling Adam's apple" is closer to the second one, but it is not breathing, but the realization of glottis opening and closing, which is extremely difficult to control. Because the opening and closing must be highly consistent every time, otherwise the pitch can't be controlled. Bass is easy to say, but when tenor is high, the vocal cords are closed, leaving a narrow gap. It is unrealistic to control it so finely, and it is often vibrato.
So you should use breath control, because at that time, your vocal cords can keep a similar state all the time, regardless, breath intermittently impacts the vocal cords, so you have time to rest the vocal cords, so it lasts longer. But this method needs good breath control, how long to stop, how long to start and how long to keep. When practicing, you can slow down, practice slowly first, then speed up and vibrato. This is what many friends pursue, hehe! Many people will feel that without Tik Tok, they are not professional enough. I don't know that vibrato is just an expression in songs. Can't you sing a good song without vibrato? Actually, it is not.
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 shaking of the Adam's apple, such as "Andy Lau" and "Jeff Chang Shin-Che Xinche" in their throats. 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 to breathe word by word like singing folk songs, sometimes like whispering, sometimes like sighing helplessly, 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 the Adam's apple shakes and the voice in the throat can be controlled, as long as the whole atmosphere of the song is not affected.
If a friend without vibrato must be drooling over vibrato, let's start with imitation-listen to Andy Lau's songs more. I feel comfortable with his vibrato. I started by imitating him. You can also imitate the ambulance call. 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.
But you can also think so. I think 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 listening.