Training methods for opera actors from no voice to having a good voice

The training method for opera actors from having no voice to having a good voice

As the saying goes, "A good singer should adjust his breath first", how to practice a controlled singing atmosphere?

First, practice breathing silently

Practice breathing quickly by "sobbing"; Practice inhaling slowly and deeply with the method of "smelling flowers" and sink the breath into the lower abdomen (that is, dantian);

Practice exhaling (exhaling) by gently blowing the dust, slowly and evenly.

Second, practice breathing with sound

Use the traditional Chinese opera voice-shouting method to drive the lower abdomen and two ribs with the prefix nozzle, and the lower abdomen carries the breath and hits the flap to make long sounds such as "Yi" and "Ah" in a line-throwing way;

pause practice: practice singing short and powerful pause, that is, sing a simple phrase with the words "mi" and "ma" respectively, and don't breathe in one sentence. The speed of sound increases from slow to fast, the pitch increases from middle to high, from middle to low, and then from low to high, from high to low. When singing, you should have a feeling of sighing, and you should quickly use the words formed in your mouth to convey your breath.

Through long-term training, I can skillfully use and control my breath. I feel that when I sing, I can't breathe too deeply or too lightly, too deeply, which is easy to hold in my chest, and it can't produce strength and elasticity. All of them should be based on people's natural breathing and adjusted according to the needs of singing. Adagio should breathe deeply, while Allegro and bright minor should breathe shallowly.

The pronunciation position is beautiful and mellow

The correct pronunciation position is that different vowels have a concentrated point on the flap. Tian teacher told me an arrangement point of sound positions:

Hit the upper teeth door according to the breath of "Yi Yi Qi Zhe";

Hey-(Huailaizhe) breath hits the hard flap of the palate;

An-Yi breath hits the middle of soft and hard palate;

The breath of "Ah-Yi-Yi" hits slightly in front of the junction of soft and hard palate;

oh, the breath hits the back of the junction of soft and hard palate;

Ang-(Jiangyang Zhe) breath hits the mouth;

woo-(gu suzhe) relax the larynx, raise the soft palate, enlarge the pharynx, and make the sound form in the pharyngeal duct.

The advantage of this arrangement makes me visualize an invisible and intangible vocal part in my mind, which helps me find a good feeling psychologically and enables me to train clearly. The relationship between breath and sound position is like the relationship between gong hammer and gong boring, the position on the mouth cover is like gong boring, and the breath conveyed by the lower abdomen is like gong hammer. Using gong hammer to ring the concentrated point of each vowel (that is, gong boring) can produce bright and full sound. In other words, if the gong hammer doesn't hit the gong boring correctly, but hits the gong side, the sound will be dark and stuffy. If you understand this truth, you will know how to hit the correct position of the sound with your breath in singing.

The sound has a * * * reverberation.

If the cello is not equipped with a * * * sounding box, the sound will be thin if you use a bow to pull the string. Because of the * * * sound box, the sound is bright and full. If an actor doesn't have to sing * * *, his voice must be thin. There are many singing organs, and the main singing cavities are oral cavity, head cavity, pharynx cavity and chest cavity. The oral cavity is loud, the head cavity is bright, the pharyngeal cavity is far away, and the chest cavity is generous. How did I get these songs in my study and practice? With the correct position of the sound, you can get the solar cavity * * *. For example, when I sing the word "Qian" with the word "wife" as the prefix, the lower abdomen will be driven by the prefix of "wife", and the lower abdomen will continue to carry breath, and it will hit the concentrated point of "Yi Qi Zhe" (the upper tooth door), and the oral cavity will ring * * *. If you can't master this feeling, you can also use your body to help you find the head cavity. Generally, the "seven styles of clothes" take the lead. When I sing the words "heart" and "Jin", I spread my legs apart, bend my waist 18 degrees, and put my head on the ground. I grasp the feeling of singing with my head bowed, stand up and sing again, train repeatedly, and feel repeatedly, and I can get the head cavity.

"Gu Su Zhe" is my greatest fear. Every time I sing sounds like "Solitude" and "Bitterness", it's hard to hear. Because there is no throat cavity, tian teacher asked me to understand the barking of dogs, so I barked like a dog. I only felt that my throat was relaxed, my soft palate was raised, and my throat was enlarged. The sound naturally formed in the pharyngeal canal, and the sound was How to get the chest * * * sound? Grasp the feeling of "groaning" when people are sick, and slow down, lengthen and sigh. For example, when I sing the word "bore" of "stabbing the chest with a knife", I sing the word "bore" with the feeling of crying according to the emotional needs of the characters. At this time, I sing with my chest instead of my mouth, only feeling a slight vibration in my chest, and the sound is generous and powerful, so that I can get a good chest sound.

In training, when these vocal cavities need to be sung individually, they should be skillfully combined and comprehensively used. For example, when I sing the word "chest", I use the nozzle of the prefix to drive the lower abdomen, and the lower abdomen continues to send breath to the head cavity and turn to the pharynx cavity, and then slightly close the mouth and send it to the nasal cavity. A word is completed with a variety of cavities, and the word is clear and round.

The mixed vocal range of true and false can be expanded

With the development of society, modern Chinese opera has greatly expanded its vocal range. The traditional singing of our local operas in the past is basically about an octave; On the basis of tradition, modern Chinese opera creates many new songs and new tunes, and it is difficult to perform without a wide range, so I must broaden the range and adopt the method of combining true and false sounds.

At the beginning, the concept is unclear and the method is not accurate. Singing the bass with the real voice (loud voice) seems to be empty and thin. In the practice of learning and performing, I found out that the voice change zone of my true and false voice (that is, the scale in which the big voice and the small voice fight) is the "5" tone in A key, and I began to use mixed voice singing. When singing high notes above "5", I mainly used falsetto, mixed with real voice, and aggravated the chest cavity, so that the voice would not appear empty and thin; When singing the sound below "5", I mix falsetto with truth, so the sound is wide and bright. There is falsetto in the real sound and true sound in the falsetto, forming a mixed timbre.

proceeding from reality, combining learning with application

I am an opera actor, and I have no chance to study vocal music theory systematically like vocal music students in art colleges, so I can only study in my spare time without performance and rehearsal. According to my specific situation, tian teacher adopted the method of combining learning with application, and chose Wu Qinghua's aria of "Keep this fighting youth forever" and "Find the savior and see the red flag" in the Chu drama Red women soldiers, and gave me word-for-word training. During the training, he taught me not only the use of breath when singing, but also the combination of position * * * and true and false sounds when singing, which made me firmly grasp the breath and * * *. I learn and master the theory of vocal music through aria training, and use the theory of learning and mastering to guide my training and singing, and regard the difficulties in singing as the focus of training. From practice to theory, from theory to practice, I have basically mastered the knowledge of scientific voice, and created a historical record of starring in two large-scale costume dramas "Sister Yang rushes to Youzhou" from 5: 3 to 11: . Always pay attention to the scientific use of voice in continuous performances, so that the whole performance does not fall in tone, steal ingenuity, vent strength or fade color, and maintains the vitality of artistic voice. Even my incurable disease of vocal cord insufficiency for many years has healed without treatment.

learning scientific vocalization is a very difficult road. However, as long as we find the right way, we can get through it. For eight years, I have been climbing this thorny mountain road tirelessly. Eight years of golden years have passed in the pursuit of dreams, eight years of ups and downs have disappeared in the exploration of beauty, and eight years of amateur vocal training and practice have given me valuable artistic life. ;