Practice "pharynx sound" Many people think that the width of range, the quality and color of sound are innate and difficult to change. Actually, it is not. Correctly mastering the throat technique and applying it to singing can miraculously change a voice with no quality and wide range. So there is no need to envy other people's voices, we can do it, as long as we work hard to practice this peerless martial arts. "Swallow voice" is called "chamber voice" in China traditional opera vocal music, which has metallic color, and it is a singing voice function that combines the real voice function, the intelligence of throat voice machine and the true and false voice functions. Have you ever heard of Beijing Opera or other national operas? Many of their vocals unconsciously apply the function of "swallowing sound", so they can sing enviable super-high notes. Coincidentally, "pharynx sound" has a long history abroad, and with the development of a set of professional scientific theories, it has become a specialized subject and a branch of Italian Bel Canto School. It was introduced to China in 1930s. At present, "pharynx training" has formed a set of vocal music training methods with theories, methods, norms, steps, visibility and touch in China. There are two main functions: 1, which can quickly expand the range, improve the voice standard and strengthen the singing ability. 2, can cure all kinds of voice diseases. Pharyngeal pronunciation method: stabilize the larynx, raise the back of the hyoid bone above the larynx, raise the epiglottis and make the epiglottis backward and form an inverted funnel-shaped pronunciation tube with the laryngopharynx wall. -It can be hard to understand without a chart. Now let me give you a simple example: when we read the words "beauty, green, bird and bright", we unconsciously form the sound action of "epiglottis leans backward and the throat wall forms an inverted funnel", trying to feel it carefully and find the feeling. . Of course, practicing "pharynx sound" can't be completed overnight. We must start with basic exercises-everyone must be mentally prepared. The basic exercises here are as boring as practicing the basic skills of guitar, and it takes a long time to get results. The first "Open your mouth" exercise requires you to open your mouth wide, stick out your tongue and relax your chin. To check whether the chin is relaxed, you can first check whether the chin is depressed, protruding, stiff and tense, and then check the muscles below the chin (the tension of the anterior abdomen of the digastric muscle and the geniohyoid muscle, and you can't feel the external parietal bone force). "Open mouth practice" can be divided into several stages, step by step, and you can't rush for success. 1. First, consciously and actively practice, relax the front abdomen of the digastric muscle and the geniohyoid muscle, and don't open your mouth. Practice this movement more than 500 times a day, and you can completely relax after 2 to 3 days. 2. On this basis, first fix the lower mouth (not absolutely fixed, "fixed" is what we feel), and then open your mouth with the action of looking up at the sky. When you open your mouth, you can't press down or extend your chin forward, nor can you lift your mouth forward, and lift your mouth together. -Check whether the action is qualified: put your thumb under your chin to check whether there is external force jacking, and put your index finger in front of your chin to help fix your chin. The second section "spit out your tongue" practice requires: stick out your tongue when doing the "open mouth" practice completely, and don't ask to stick it out at once, because it will cause jaw movement and muscle tension; You can stretch bit by bit. Practice until the jaw muscles are completely relaxed and you can stretch your tongue freely. -similar to the basic skills of practicing guitar. Press the fingers of the strings to exert force and relax other fingers and muscles. The basic movements of the exercise: relax and "fix" the chin, raise your head (with the help of the back skull and spine) to open your mouth completely, and then extend and retract your tongue. Still pay attention to the muscles of the chin can not be pushed out, the chin should not be stretched forward, and do not move. Keep practicing for 5 to 10 days. In the third section, the practice of "putting the tongue into the straight slot" is divided into two parts: chin opening practice and straight slot practice 1. The essentials of chin opening exercise are: open your mouth, raise the back of hyoid bone, extend your tongue as far as possible, swing left and right with the neck handle and spine as the axis and chin as the guide. When your tongue is loose, you should passively shake it from side to side. -ha ha! ! ! It's not like shaking your head like eating! The axis must be mastered, otherwise it may be dizzy. Instead of shaking all the time, do a mouth-opening movement and shake three or four times quickly. 2, the back of the tongue is concave to make the tongue form a straight groove-these exercises are hard work on the tongue and relatively tasteless. I hope you don't give up this exercise, because this exercise is an important practice means to clear the obstacles of the tongue to singing and obtain the high overtone vibration channel. Purpose of practice: No matter singing any consonant or vowel, no matter singing any vocal area, the tongue should always form and maintain the most obedient singing * * * vibration channel and ensure that the high overtone * * * vibration peaks of 500 Hz, 1500 Hz, 2500 Hz and 3500 Hz can be obtained. If the base of the tongue recedes, it will cause the tongue to get stuck with the throat and pharyngeal wall. And can't get the ability of high overtone. Practice essentials: 1, make the tip of the tongue sharp (the tip of the tongue is sharp, so you can practice in front of the mirror), then relax the tongue surface and stretch it horizontally outward. 2. The tip of the tongue is retracted and pressed against the lower root. 3. Then make the first quarter of the tongue form a horizontal groove. 4. Finally, in the case of transverse groove, the last two thirds of the tongue recedes backward. At this time, the middle of the tongue is recessed, and the two sides are raised to form a straight groove, and the chin is not tense or hard. The above four movements can only be qualified if they can do fifteen rounds in ten seconds. Note: It is a little difficult to master these movements of "Tongue Skills". It is best to prepare a chopstick to contact and help the tongue; Some people may have no obvious gains after practicing for three or four days, some feel nauseous at the beginning of practice, and sometimes even feel that their tongues are very painful. I hope everyone will be patient and have confidence. The practice of "dog breathing" in the fourth quarter is also called "toad breathing"-a bit like "frog kung fu" which is also a martial art of the upper class, hmm! ! Objective: To exercise respiratory muscles to realize "abdominal breathing" and enhance the ability and flexibility of controlling breathing. Before learning "dog panting", everyone should first master the scientific singing breathing mode "abdominal breathing". There are four common breathing methods: 1 clavicle breathing, 2 chest breathing, 3 chest-abdominal breathing and 4 abdominal breathing. The first two are recognized as unscientific breathing methods in vocal music. Most teachers advocate the latter two, and the most ideal way to breathe is "abdominal breathing", which is often called "abdominal breathing" in our national singing. Its superiority is like the "fishy-sucking method" recognized by Wulin people! ! ! ! ! ! ! To do abdominal breathing is to ask the chest to stand naturally and fully (not stiff) when singing, and never collapse. Practice essentials: "Dog gasps", as the name implies, means "shortness of breath" like a dog-ah! If you keep a dog at home, you must "learn from the dog" and learn its breathing style. Of course, you should do this exercise on the premise of abdominal breathing. Feeling is the action of "sucking loose, sucking loose (breathing)", and the key point is feeling "sucking". Section 5 "Bubble Sound" Practice Pharyngeal sound should come from bubble sound, starting from the biggest bubble, turning to small bubbles, and finally making sound through dense bubbles. Practice essentials: relax the muscles of the face, neck and chest to make them look lazy and sleepy. The key point is the trace support of breath, that is, you can't use too much breath, but the breath must be concentrated. If you move the vocal cords with a weak but extremely supportive and dense breath, you will also see a bubble sound (the sound of the vocal cords blowing open and closing), which will form many bubble sounds. Some people can find the sound of bubbles quickly, while others may take a while. A good way to play is to lie in bed before getting up in the morning, because the vocal cords are easier to relax at that time. By the way, this exercise is the most important basic exercise for singing training and the most important treatment for voice rehabilitation, because it can massage vocal cords. In the past, many singers were tired from using their voices too much and suffered from various diseases, all of which were cured in this way, including today's queen singers: Na Ying, Faye Wong and others. After the above silent exercises, we began to get into the theme-applying it to the singing practice in the sixth section: the hyoid bone is raised, leaning backward from the epiglottis to form an inverted funnel, and then the throat is closed to obtain a bright, concentrated and high-position head sound effect. Pay attention to high-quality and accurate singing posture, close your mouth, slightly loosen your upper and lower teeth, and exhaust all the air in your mouth. When you are laughing, the voice executives make a metallic, strong, bright, concentrated, high-pitched and penetrating closed grunt, and can practice five or eight degrees, rising, falling and various scales. Also note that the breath should come from the abdomen (abdominal breathing), and the chest and chin should be relaxed. The sound of flying overhead into the sky. The seventh section realizes the seamless transition between true and false sounds. The main points are as follows: keep the correct singing posture, make a straight groove with your tongue, open your mouth (don't spit out your tongue) and pronounce it in the pharynx, and pronounce "A-O-U" three sounds. You can read three tones accurately and clearly in the middle and low tones first. Then use these three sounds to prolong the duration of singing quarter notes, especially to pronounce the U vowel correctly, which is also a modification exercise for the real voice function. When this exercise is accurate and skilled, you can join the power of big breathing and practice singing U vowels with an octave jump. In fact, this is based on the modification of the real voice function, from the love step to the correct falsetto function. At the beginning of practice, you can improve the way of reading aloud, so that the voice sounds half-spoken, half-shouted and half-sung, shouting from a distance. The special emphasis here is to make the pharyngeal wall as still as possible, the chest naturally stands up, the chin is relaxed, and the breath comes from the abdomen; Even consciously open your mouth wide, leaving most of your teeth exposed, in order to achieve the effect of forming a "U" vowel completely by relying on the ability of the pharynx. Moreover, the U sound at this time doesn't sound accurate, but it doesn't matter. When the pharynx has the ability to open into a U vowel, join the front mouth to make it become a positive U vowel for artistic singing. Once the practice is successful, there will be no trace of the true and false sound conversion in the octave jump. Pay attention to prevent the throat from being squeezed and blocked when practicing. After the pronunciation practice reaches f2, the slender U vowel can't feel stiff. In short, the voice should be smooth and smooth, and sing at the top of your voice. Section 8 Opening the throat and vibrating the chest Purpose: The last section is mainly to broaden the tenor range, and this section is to broaden the bass range and strengthen the chest tone, so that the high and low areas can obtain full and round artistic effects. Essentials: Keep the correct singing potential, start from closing the throat, and turn the throat downward with big bubbles, so that the throat will be fully opened naturally, and the homophonic sound of mi-a, mi-o and mi-u will be emitted, and the loud and plump chest vibration sound wave will be emitted, making the sound louder, wider and thicker. I feel a mouth growing in my lower abdomen. It must be pointed out that not all of us sing with pharynx after learning. In fact, the pure pharyngeal sound is harsh and unpleasant to listen to, but it is just like salt used in cooking. Salt tastes too salty, while cooking is tasteless without salt. You must add the right amount of salt to taste. That is to say, when the song has the right throat composition, the timbre will be as crisp and bright as metal, and the sound will become beautiful. The above is a summary of a large number of "pharyngeal sounds" related materials I have consulted. I "condensed" them for everyone to share and communicate, and I don't use them for other purposes. It must be noted that throat training has become a specialized subject of vocal music singing, and it is difficult to practice without the guidance of professionals. If you are determined to practice singing well, you'd better not go to a regular college to take part in "throat training". I believe that when you practice these eight exercises to perfection, it is time for you to "greatly increase your singing skills". The first exercise of the four methods of laryngeal exercise is "holding your head up and opening your mouth", which is different from the general habitual opening your mouth. The natural habit of opening your mouth often moves down at the thought of opening your chin, and the muscles of your chin are tense. But it is realistic to open your mouth with the training of singing state: relax your chin and don't let it move up and down, but raise your head with the strength of the back of your head and the upper part, and let your mouth open naturally. Specific practice method: bend slightly and make your head lean forward slightly: then hold your chin with both hands, that is, you should look up at the ceiling, and focus on using the strength of the muscles in the back of your head to raise your head and let the lower part of your face and chin relax completely. When the head is raised, the chin does not press down or leave the hand holding it. Nature is like looking up to say hello to the people upstairs. Every time I open my mouth, I lift it up by the corner of my mouth and my upper lip extends upward, so my chin is completely passive and there is no tension. If you persist in this way for weeks to months and practice once or twice a day, you can get into the habit of holding your head up and pushing your mouth up. On this basis, you must practice the combination of "lifting qi" and "spitting tongue". The practice method is: stand up, bend slightly and let your head lean forward slightly. When the chest is fixed, lift the air from the upper abdomen to the back of the neck on the upper back (the feeling of lifting air is similar to that of inhaling, except that no air is inhaled). When you feel that the breath has reached the room behind your neck, raise your head, open your mouth wide and push out your tongue (the push out of your tongue is the result of lifting your breath and raising your hyoid muscle, not the result of your tongue's active force). After mastering the above actions, you can learn the action practice of "shaking your chin". This is a very important basic practice for pop singers in singing. Many singers say that they don't have enough endurance in singing, and they become hoarse after singing for a while. They want to talk loudly and love to split. The practice of this movement will help you overcome all kinds of problems and difficulties in singing unconsciously in the process of becoming proficient. Because most pop singers tend to exert their strength on the throat muscles, ignoring the breath, and shaking their chin and tongue at the same time, this only diverts your strength, interferes with the incorrect vocal state, and cultivates the muscle tissue that is conducive to vocal production: the back neck. Back, chest, abdomen and diaphragm. The specific methods are as follows: ① Head and neck lean forward; ② Open your mouth wide with the correct method of opening your mouth; 3 the tongue naturally sticks out of the mouth (if the tongue is stretched out, you can't make your chin nervous. If your chin is tense, it means that your jaw muscles are helping to pull your tongue, which is wrong. After your tongue is extended, the position behind the hyoid bone must be raised very high, which is correct and very important. When doing exercises, you can touch the back of the hyoid bone with your fingers at any time to check. If you look up and smile at the same time, you can let the pharynx improve the back of the hyoid bone and relieve chin tension. This is a good way to correct it. After doing the above postures, you can shake your chin and tongue to relax them. Swing your head and neck from side to side to relax your chin and protruding tongue. Only by shaking from left to right can you say that the method is correct: on the contrary, if you see your head swinging with it, it means that the muscles of your neck are not strong enough, and your neck and head are not strong enough, which is not correct. This kind of head swing often causes dizziness, so if we feel dizzy after doing this action in practice, we should pay attention to the shortcomings of head swing. This exercise can relieve the tension of chin and tongue. It is really a good medicine for those singers who have been choking for a long time and their singing skills have gradually faded.