In the past, people always had a prejudice against pop songs: as long as they have a good sense of music and a good voice, it doesn't matter whether they have a method or not. In this way, many of our singers don't study the position of breathing, articulation and vocalization, which leads to the dry bass; The high notes are dry and squeezed out of the throat. Although it can fool the layman's ears through the processing of the recording studio, it will show its original shape as soon as it arrives at the scene. Nowadays, famous singers, whether they are Mao Amin, Wei Wei and Liu Huan in Chinese mainland, Teresa Teng, Tong Ange and Youke lin li in Hong Kong and Taiwan, or lionel richie, Jackson and Madonna abroad, all know that they have undergone strict vocal training and have scientific vocal methods. As guitar lovers, we don't have high requirements for singing skills, but it is also necessary to know some ways to make our songs mellow and relaxed.

First, the breath of singing

We usually use natural breathing in our daily life, which is too shallow to sing. Singing breathing is a kind of deep abdominal breathing, that is, the breath should be sucked around the waist, and then the force fulcrum can be found by the confrontation between the expiratory muscle and the inspiratory muscle. Always keep this state when singing, and the voice is completely controlled by the breath. This is what people call "sound * air transmission".

Here are some effective ways to practice breathing.

1. inhalation

Imagine yourself in a beautiful garden and want to smell the exotic flowers deeply-this is the inhalation of singing, which makes you inhale deeply. After inhaling, hold it for a short time as before sneezing, and experience the swelling around the waist. Finding this feeling is the key to singing.

expiration

The way to exhale is to use the strength of diaphragm to keep the feeling of waist expansion. Exhale evenly and slowly. You can prepare a piece of tissue paper with the size of 10 square centimeter, stick it on the wall, 4-6 centimeters away from it, and blow it with your mouth to prevent it from falling to the ground. It takes more than half a minute to pass. You can also switch to a burning candle and make a "U" sound to the flame. The correct breathing is that the flame falls but does not go out.

3. How to train the strength of diaphragm

The strength of diaphragm is very important for the maintenance of breath and the strength of sound. Traditional training methods are:

(1). Count: Take a deep breath and hold it with the strength of your waist. Count from 1 and count to 60 to be qualified. Count evenly and rhythmically, don't steal gas.

(2) Blow: Take a deep breath, and then blow forward as if to blow off the dust on the table, one slow and two fast, and experience the power of the diaphragm.

(3) Do more sit-ups to strengthen the waist and abdomen.

Second, the singing of * * *

After breathing correctly, you can start singing. To make the song mellow and beautiful, you must sing it with * * *. We mainly use the chest cavity, throat cavity, nasal cavity and head cavity to sing. To have a good voice, when singing high, middle and low notes, you must have some * * * sounds above the chest, that is, "the high position of the voice."

1. The basic state of singing

To get a high-pitched position, you must relax your throat and retract your chin. These two organs can't exert their power in singing. Most people sing high notes by squeezing their throats, which is the wrong way to make sounds and can't get a beautiful voice. The larynx should be relaxed to make it a channel for breathing, and then lift the soft palate and smiling muscles (that is, keep smiling) to let the sound reach the nasal cavity.

2. The location of the * * * sound

Generally speaking, when singing, the bass is mainly sung on the chest. After the alto and treble, the proportion of * * * singing in the high position gradually increased, mainly concentrated in the nasal cavity and head cavity.

These are the basic essentials of singing. You must practice more, practice makes perfect, so that you can sing beautiful and moving songs. In addition, there are many techniques to express the charm of pop songs, such as vibrato, crying, breathing, choking and so on.

Singing and vocal music practice

The most frustrating thing about singing is that it is out of tune.

I thought it was easy to sing once with a microphone in my hand, but who knows that no one is present, it can be considered quite satisfactory. A person who knows how to sing in front of people will change his tune and will not even be ordered to breathe.

Practice the song slowly. Since you like singing, you must solve the problem of "out of tune". ? Article 1 of the Basic Law: To practice breathing, you must relax your throat with your chest and abdomen, and then once you close it, once you talk, once you just breathe. Go back and forth a dozen times, and you must sing a favorite song, and you must lip-synch like half a moon.

(2)? It is said that after the first trick, the second trick will be performed in black and pink. ? Method ━ ━ Relax all over, take a deep breath, then sing from I to I with a slight breath, and then take a breath to make a fast and smooth "Oh" sound. This method helps to increase the volume and make the sound bright. However, some singers sing in a shallow and narrow voice, and after "inspiring" exercise, they may find that their throats are tight and they breathe quickly. If this happens. Please pour a cup of warm water ... poem says: take a sip and pat your chest. Then massage the whole neck and throat by hand, which helps blood circulation and widens the chest and mouth.

(third)? It is said that after the "two moves", it should be the third one. Please put your hands gently next to the left and right ribs (a little waist) and inhale. When inhaling, you should feel the lateral expansion of both ribs. Please keep your hands intact, close your abdomen and exhale, and keep your ribs expanded when exhaling. Then relax all over, repeat once, twice and three times until you inhale seventeen or eighteen times. The purpose of this "one formula" is to enhance vital capacity and improve the tension of the human body. The first condition of singing is sound and spirit. Well, do you feel stuffy in your chest, even top-heavy, and your throat is dry? Add some rock sugar to a teaspoon of black tea and review what you wrote last time: "Take a sip and pat your chest. However, there are many places to pat the back today, even on the abdomen, which is very effective for practicing sound and gas.

(fourth)? The fourth kind. Looking into the distance, you can sing your favorite songs, and when you sing, you can gently press your lower abdomen with your hands, which is the so-called meaning of protecting your abdomen.

Why do you need to gently press the lower abdomen with your hands? This can lead to concentration. People's minds are very erratic. Pressing the lower abdomen is to ensure that the sound is "deep enough", that is, the sound is made in the abdomen.

Since the voice began to be voiced in Dantian, it shows that there is a higher requirement for practicing singing. So, so, please remember the first, second and third styles and don't neglect them.

Let's share a singing voice: Mao is not easy to teach you a video tutorial for people like me to use bass. If you want to learn, you can add me to get a singing tutorial.

(5) The voice of Dantian is the starting point of all mellow, bright and beautiful sounds. But it really takes a long time to taste the transparent and bright sound. Try to refuel and enter the fifth formula ── Hekou "Hum" 1234567i, and then return to the sound point from the high-pitched area "Hum". When practicing vocal music, the ribs on both sides are slightly expanded horizontally, and the voice should be from the lower abdomen to the bridge of the nose, and the throat must be relaxed. Objective: To develop the * * sound between nasal cavity and oral cavity. It's another old saying, review the past and learn the new.

(6) the sixth form, vibrato and bouncing sound-sound

1. Inhale and take a deep breath. 2. Play the 1 2 3 4 5 6 7 I scale with your lips. When vocalizing, the ribs on both sides expand slightly, and the lower abdomen bounces with the lips. 3. The mouth is open in a circle, and the "ha" sound is matched with the abdominal bounce, from 1 to i. Objective: To cultivate a strong and flexible voice.

(7) The key is to practice clear articulation. First, adjust the sounding part,

1. clap your chest and clear your mouth. ? 2. Inhale deeply. When inhaling, the ribs on both sides expand laterally to adjust * * *. ? 3. Spit out the words "open, neat, pinch and close" loudly. Reason ━ ━ Opening is to open your mouth wide; Qi, make a tooth sound; Pinch to concentrate pronunciation; Harmony means practicing lip sounds. This is the first step in practicing clear pronunciation. Please remember all kinds of exercises.

(8)? A friend asked, "When I sing out of tune, neither the treble nor the bass can reach.". I want to show my voice, but my mouth is ugly. What should I do? " 」

This is really a great singing regret. Let's make a topic of "out of tune" now. 1. Slowly dilate the diaphragm, inhale deeply, and support not to exhale. 2. When the breath of support reaches the peak, pat it quickly with your hands immediately; Clap your chest and shout with an irregular "ha" sound. 3. Massage the head with both hands, moderately, so that the head cavity can sing. Note: This is not a good way for beginners to sing. If you are new here, please start with the first singing method. See you later.

Nine? Practice continuous movement-inhale first. When inhaling, the ribs on both sides are slightly stretched, and you can inhale until you are seven minutes full, because inhaling too deeply and too full is easy to get discouraged. Sing the sound of FA, from 1-/2-/3-/4-/5-/6-/7-/i, repeat the above interval with the sound of MA, and breathe every four beats.

Remember to breathe in and out quietly when practicing scales, and don't let your voice tremble when you speak.

Objective: This formula is to train the penetrating power of singing. ? Friends who sing nine styles in a row and are interested in practicing songs; Can you practice singing step by step?

I use the name "goodbye"; There is a purpose. "Sound" is an invisible thing. To have a good voice, you have to go through many different training methods. Many times, you can go to the road of singing without learning books. It is a wise saying to teach students in accordance with their aptitude and judge the method of practicing vocal music according to their physiological conditions. My nine-style vocal music training method is dedicated to friends from all walks of life as a good way to lay the foundation for a good voice. Please persevere and practice each style again and again. Time will surely prove that your voice is bright.

Artistic characteristics of popular singing

1. Simple voice

The content and form of pop songs are extensive and popular, which makes its singers very well known, that is to say, most of them are people who have not received professional vocal training. Therefore, the use of popular singing between sounds is mostly close to nature, that is, simple and natural sounds. Even in the course of its development, it has absorbed and integrated a variety of vocal art methods, and it is constantly changing and sublimating, but its basic characteristics are still simple. In modern society, many professional pop singers push the level of pop singing to an unprecedented height, but they are very careful to maintain this important artistic feature of pop singing, which makes it different from Bel Canto, which has formed a set of scientific theoretical systems, and also different from various types of national singing with rich cultural accumulation. In a sense, the pure voice is not only a natural form, but also a deliberate pursuit of popular singing methods different from other singing methods.

2. Unique charm

Unique charm is also an important artistic feature of popular singing. Most amateur singers have not received vocal training, and their voice conditions are average, but they still have artistic appeal when singing pop songs. It is precisely because of the popularity and extensiveness of pop singing that they have a pure and moving charm. This charm can be the embodiment of the simple and straightforward singing style of songs; It can also be its unique vocal skills, including the control and release of sound, the contrast of strength and weakness, and the flexible use of air sound, dumb sound, crackling sound and shouting sound; It can also be the true color and essence of emotional expression. In a word, sculpture is a natural charm.

3. Exaggerated performance

In performance, popular singing usually requires clear rhythm, intonation and articulation, but it also often uses the enhancement of voice or body movements to express emotions, that is, it often relies on exaggerated performances and strong accompaniment of electro-acoustic instruments, which is often pushed to the extreme. The atmosphere created by this performance is not only the singer's own investment, but also expanded, which is extremely inflammatory to the surrounding audience. This is the reason why many young people fall for it.

4. Sing while playing, sing and dance.

Singers in popular singing generally pay more attention to the expression of external forms. Some people play and sing with the help of musical instruments (usually guitars), while others sing along with the dance movements. The choice or arrangement of dance movements is designed according to the style and artistic conception of songs. Most popular singers only use gestures or changes in their steps to assist their performances, while some songs are more dances and need to be specially designed for them. The body movements of popular singing are mostly based on some gait and figure of modern dance, such as break dance, Latin dance, disco and space dance. This artistic feature of popular singing can attract young people's participation most.

Three problems of * *

People's voice should be supported by various sounds, which I call the three-dimensional chest, mouth and head cavity. The lowest * * * sound is the chest * * * sound, and you can practice Cleisthenes's barking, which is very low and vigorous. If you hold your chest at this time, you will obviously feel its vibration, its * * * vibration. To make this * * * sound, we should lower our throat and combine the pitch of the throat with the vibration of the trachea and chest. Only by using this * * * sound well can you make your voice loud, vertical and have the characteristics of bel canto. Of course, if you learn folk singing and pop singing, you can turn down the bass a little. Attention, just turn it off, not without it. Only by doing a good bass can your voice have a foundation and a collection capital.

Oral cavity * * * is to open the oral cavity and release this part of the * * * sound. The specific method can be to open the space between the throat and the mouth by swallowing glutinous rice balls. Find * * * Ming again. The * * * sound of the mouth should be relaxed first. Relaxation means relaxing and flattening the base of the tongue. Some people say that the tongue is the enemy of songs, but the pronunciation mechanism of China people is complicated, and using the root of the tongue as an auxiliary language plays a great role. The pronunciation of China's plays is also based on clear articulation, which makes some singers lose their voices because of articulation. If you find someone has difficulty singing, nine times out of ten, his tongue is tight. The test method is to press the base of Bazhong tongue with my finger (I use my thumb) to see if it is tight.

There are many ways to relax the base of the tongue. My practice is: please spit out all your tongue and shake your head left and right to make it shake. It's tight if you don't shake it. Be careful to make your tongue square rather than sharp. With the relaxation of the tongue, practice high and middle notes. At this time, the tongue is no longer outside the mouth and cannot be taken back. Accustomed to singing without using the tongue, I put my tongue back into my mouth bit by bit, and finally my tongue completely returned to its original position. In order to prevent it from repeating the same trick, please press your tongue on your lower teeth when you speak to prevent your tongue from shrinking backwards and blocking the vocal tract.

It is worth mentioning that attention should be paid to using facial expressions to help lift the uvula in the mouth. Small tongue is above the pharynx, and sometimes he feels soft when he catches a cold. Small tongue should be mentioned consciously, so that the oral cavity can have room for upward development. It solves the problem of small tongue and is easier to make.

It is difficult for ordinary people to understand the voice of * * *. Some people say that we have many loudspeakers over our heads. If we open them, there will be a noise. This kind of speaker is located in our head cavity and cheeks, where there are some cavities, which can be used as the * * * box of head sound.

How to make yourself feel the subtle changes in sound quality? I'll give you a hint: the first time people listen to their own recordings, they will say, is that me? The root of this doubt lies in that you usually listen to your own voice through the solid (your bones), while listening to the recording is listening to your own voice through the air. This is your real voice, your voice that others have been hearing. We want to know the small change of our voice, so we'd better listen to the recording. Sometimes, we also use the method of "big ears" to listen directly, that is, our hands are pointed at the corner, the reflection of the wall and the "big ears" expand the auricle area, so that we can hear the true colors of our voice clearly.

The practice of * * * singing should be in the high-pitched area, specifically, it should be in the area above D2 to make the voice sound good. Mobilize all the organs on the face that help pronunciation, raise eyebrows, stare, shrug your nose, grind your teeth, and lift all the facial organs that emit high notes. After the sound comes out of the pharynx, it is led to the junction of hard jaw and nasopharynx, so that half of the sound is released from the mouth to form a pitch, and the other half is released upward from the nasal cavity, which drives the sphenomandibular sinus to vibrate to form a * * * sound. This kind of pitch with overtone reinforcement and support will make you feel that your voice is suddenly enlightened. This is the head cavity we are going to sing. At this time, when you touch your nose and eyes with your hands, there will be vibration, and sometimes vibration will appear on your head. Finally, we will turn on the speakers provided by each of us, and the wonderful head sound will make your singing more beautiful.

The * * * sounds of chest cavity, mouth cavity and head cavity cannot be used alone in their respective ranges, but should be mixed in a certain proportion. Open your head when singing bass, and leave a little chest when singing treble. This "stereo" has no transition, and others sound more natural, unified and smooth. Of course, special singing methods such as York harmony and treble singing are another matter. They artificially divide the singing areas to make them have special effects and serve special songs. This is different from the "three-dimensional" I mentioned above.

Vocal music teaching is a course to systematically cultivate students' skills, art and professional ideological education. Through years of teaching, scientific research and artistic practice, the author has made some discussions and studies on the skill structure, training, knowledge structure and research methods of vocal music major. I hope to inspire and help the students who are already studying or preparing to study vocal music, and also hope to discuss and exchange vocal music with the majority of vocal music teachers.

Methods and experience of specialized teaching.

One? Skill structure of vocal music specialty

Skills can be divided into two categories: mental skills and operational skills. Mental skills are mainly the brain's ability to analyze, synthesize and describe things. Its main feature is that this form of movement is realized inside the brain; Operational skills refer to people's ability to control and use certain objects. Its main feature is that this form of exercise is realized outside the brain. The skills required by vocal music major are mainly operational skills, which can be roughly divided into five aspects: singing organ control and application skills, hearing skills, music performance skills, language skills and drama performance skills. These five skills are closely related and relatively independent. Their division of labor and cooperation ensure the normal play of the singer's singing ability.

1 Singing Organ Control and Application Skills Training

The control of singing organs and the training of using skills are the central links of singing training. Its purpose is to improve some sounds with insufficient functionality, so that the sound can be freely converted up and down in the full range of about two and a half octaves through training, and the sound quality is pure and the volume is grand. This clearly puts forward the training premise, that is, a better voice is needed as the basis of vocal music training. Cook, an American vocal educator, saw a potential voice from the ultimate achievement. He believes: "There must be such a voice, which, after development, is enough to include all the great works created for it. It must be developed enough to resound through the volume and courage of the entire grand theater. It must have personal qualities that attract the interest of ordinary people in music. " Kaji, another vocal educator in the United States, has the following views on the low standard of beginners' natural voice: "Beginners who are going to take singing as their profession must have at least one and a half octaves before learning to sing, and their voices should not shake on the sustain, at least they should be able to produce a few sounds close to certain sound quality stability, that is, the kind of sounds that people expect from professionals." If we use this standard to measure the present situation and potential of China vocal music team, our potential is great, and there is hope to catch up with the world vocal music level. However, why do we have so much potential and so few really good singers? It can be seen that to become a singer, a good voice is only the basis of training and an important factor of success, not the only factor. Therefore, it can be seen that the success of vocal music major requires not only a good voice foundation, but also acquired efforts and all-round development of various skills and knowledge.

Another important aspect of singing skill training is to improve the ability to analyze and use the voice, or to imagine the voice. Its final result is to obtain sound images and patterns in various States in the whole range. Through the analysis of information, it is proved that the sound is good and the sound state is reasonable, so we must master and consolidate it through sensory memory in repeated practice. Only by observing, recognizing and experiencing the characteristics of human voice for a long time can this ability be improved. On this basis, it is possible to gradually master the timbre and sound characteristics corresponding to each sound area and their sound production rules, so as to establish a correct singing feeling.

2 Listening skills training

Music is an art of hearing, and cultivating keen and intelligent musical hearing is the foundation of all majors in music art. The main purpose of hearing skill training is to improve the inner ear's ability to command sound, which will eventually be fully reflected in singing, that is, to effectively complete the conversion process between hearing and vocalization. So, is this ability innate? According to experts' experiments and investigations, apart from a few real "tone-deaf" diseases, pitch discrimination ability is not innate, but can be improved through training. Its improvement has little to do with age, but has a lot to do with general intelligence and singing ability. Of course, because people have been exposed to music sooner or later and to different degrees, some people's ears are full of sounds since childhood, and even get absolute hearing. Although the ability to distinguish pitch is not innate, the later hearing training is a relatively arduous task after all. From reality, we can observe that singers have studied instrumental music (especially keyboard instrumental music) or been exposed to music more in childhood and adolescence. Generally speaking, after engaging in vocal music art, you will get twice the result with half the effort in the training of listening skills. On the contrary, it is often half the effort to start this kind of training from scratch after adulthood. If this person is born with poor hearing, there is little hope of success.

The author makes a rough statistics of 57 famous singers in the world. The figures show that 60% of them like music from childhood or adolescence, or performed the whole opera before 18 years old. For example, Keeley was a church boy when he was a teenager, and Kipnis sang a children's tenor when he was very young. As for those who studied instrumental music or had more exposure to music in their early years, the world-famous Maria Callas learned piano at the age of eight, sang the aria in Carmen at the age of ten, entered the Athens Conservatory of Music at the age of thirteen, and played Sangtuha in Country Knight at the age of fifteen. It can be seen that the reason why she achieved great success and became one of the three outstanding figures in the history of vocal music in this century is inseparable from her early interest in music and her ear for music.

3 Music performance skills training

Some people think that music playing skills have six elements: (1) pitch sense; (2) Sense of sound intensity; (3) sense of time; (4) sense of rhythm; (5) a sense of harmony; (6) Music memory. Some people think that music performance skills are composed of three aspects: (1) sense of melody, that is, the ability to distinguish the characteristics of melody, which is manifested in the perception of tone accuracy and emotional response to melody; (2) Musical representation, that is, the auditory ability that can reflect the relationship between pitch and sound intensity at will, can reproduce the heard melody, and realize the transmission and transformation between hearing and vocalization; (3) The sense of rhythm, that is, the ability to feel the rhythm of music, is manifested in the keen sense of the time relationship between notes and the accurate reproduction ability.

Whether it is divided into six elements or three aspects, there are basically three ways to acquire and improve music performance skills: (1) specialized unit training. For example: solfeggio, chorus, folk music, music appreciation and so on. (2) Engaged in actual singing, which is directly obtained in practice. (3) Learning instrumental music, especially piano playing. With the help of playing, you can improve your musical quality and expressive force, and at the same time promote the instrumentalization of your voice. Only in this way can singing and music be closely combined, because both the singing of artistic songs and the singing of operas need to be closely coordinated with the accompaniment (piano or band).

Among the 57 singers in the world counted by the author, besides 54% who have received strict training in this field in the Conservatory of Music, are there any others? Among the singers who have never entered a conservatory of music, 40% have a history of learning instrumental performance. Like Ferrier and Gino Becky. It is particularly noteworthy that seven of them are instrumental musicians. German who has been called one of the three wonders of music for decades.

Alto Fischer Dieskau studied piano playing with his mother since childhood, which is related to his brilliant achievements in vocal music, especially his great success in singing German and Austrian art songs. Domingo is not only a world-famous tenor, but also an excellent pianist and conductor. The achievements of these singers' early instrumental training have been fully reflected in their perfect singing in a wonderful way. This can be seen. A person engaged in vocal music art should attach great importance to an instrumental music, preferably piano playing art, and devote some time and energy to lifelong training, which will have an invisible but great influence and help on his vocal music art.

4 pronunciation and language skills training

The biggest difference between singing and instrumental performance is that singing is a combination of music and language, not just pure music. As people say, "Words are the soul of songs. Without words, there would be no singer. " The accuracy of language pronunciation is very important for singers, which is just the need to express the meaning of words. At the same time, good singing skills also need the accuracy of pronunciation, because in any singing method, language is the main factor that constitutes this style. Language and pronunciation training should first learn to use and control the pronunciation organs accurately. For the singing of foreign works, it will also bring great benefits to students' foreign language pronunciation. It is hard to imagine that after great efforts, people who still can't solve the problem of how to accurately use the pronunciation organs in their mother tongue will show special talent in foreign language pronunciation. Of course, no language can contain all the phonemes of human language. Therefore, even those who can correctly use the pronunciation organs in their mother tongue still need to work hard.

Besides mastering the correct pronunciation of one's own language, one must master at least one foreign language, and master the correct pronunciation of two or three foreign languages and some basic grammar. There can be no ambiguity on this point. A good foreign language song is generally good in words and songs, and the two are closely combined. Therefore, students should practice singing some classic works in the original text on the basis of knowing the meaning. Through this kind of training, students can master the characteristics and basic rules of a certain singing method in the process of singing, and learn something useful and regular for China's works. It should be pointed out that in the initial stage of training, students may use phonological memory to complete the singing of foreign works and strengthen their perceptual knowledge of specific styles. But in the long run, it will have bad consequences. (1) causes memory disorder and is easy to forget. (2) Memorizing the lyrics by the pronunciation of * alone, instead of understanding the lyrics word by word and singing sentence by sentence, will cause emotional blank in singing. If such works are sung too much, it will even affect the singing skills of China's works over time. (3) We can't grasp the relationship between words and songs, and we can't fully express the content of the works. In addition, according to the experimental research of psychologist Ebbinghaus, the efficiency of phonetic memory and comprehension memory is one to ten. It can be seen that the efficiency of speech memory is very low. Therefore, students should make a breakthrough in foreign languages, which can not only accurately sing foreign works, but also open a window to understand the world.

In addition to mastering the use of pronunciation organs to make pronunciation accurate, we should also learn to control the changes of intonation and voice. Learning to recite is an important way of this kind of training. First, it can promote the correction of incorrect pronunciation. Secondly, we can find the language stress and logical stress of poetry, so as to deeply understand and grasp the emotional tone and inner thoughts and feelings of the works. This is conducive to the combination of poetry and music, enhancing the appeal of poetry through music and enriching the effect of music through poetry. In view of the large proportion of chanting in Chinese traditional operas at present, the ability of actors to deal with language should be enhanced accordingly. Therefore, language training can not be ignored.

? 5 drama performance skills and their training

Actors who are engaged in traditional Chinese opera or singing songs in the future should pay attention to the training of performance skills. Even a concert soloist needs psychological experience, emotional communication, language expression and body movements with specific meanings. Stanislavski once pointed out according to the characteristics of opera singer's work: "An opera singer's work is not one-sided, he has to deal with three kinds of arts at the same time, namely vocal music, music and stage. On the one hand, there are difficulties, but on the other hand, there are advantages of his creative work. " This advantage lies in that opera singers have more and stronger artistic means to influence the audience than drama actors. At present, most China operas are closely related to the traditional opera art in China and the appreciation habits of China audiences, so they are better than European classical operas in asking opera singers to sing, read and do well. Therefore, as a opera singer, we should not only learn the performance system represented by stanislavski and Britain's withdrawal from the European Union, but also learn and master the performance system of China's opera represented by Mei Lanfang. In the singing of China's new songs, they are closely combined and learn from each other. Only in this way can the characters in China's new songs be more appropriately represented and shaped. Only in this way can we effectively promote the emotional communication between opera singers and China audiences.

Let's share a singing voice: Mao is not easy to teach you a video tutorial for people like me to use bass. If you want to learn, you can add me to get a singing tutorial.

In fact, all real opera singers have profound attainments in the art of drama performance. Stanislavski once spoke highly of the famous Russian bass singer Xia Yaping as "an amazing example of integrating the three arts of opera on the stage." Because of this, after Li Xia Yaping stepped onto the world opera stage, he was not influenced by the so-called Italian Bel Canto School, but absorbed its essence and was unique, expressing his delicate feelings for music with excellent singing and performance.