1, breathing control 2, mouth control 3, throat vocal cord control 4, * * * vowel control 5, vowel homing 3, initial consonant, vowel, tone 4, tone sandhi 5, light and heavy word format 6, voice correction

1, the basic method of preparing the manuscript 2, scene presence 3, inner language 4, sense of object 5, interruption and stress 6, emotional and rhythmic shouting, decorative tone, sliding sound, sobbing, falsetto, including some special air sounds, to interpret sadness, crying, sincerity, euphemism, passion, etc ... In songs, use the expression form of body language rhythm fusion and use A very important link in basic skills is breath. The fulcrum of breath should first be established in the lower back. Then find the strength of the lower abdomen. Because the waist needs you to actively expand or pull down, it will produce a force. However, the lower abdomen and diaphragm will naturally confront each other because of the pull-down of the waist fulcrum. If you only put the fulcrum in front, that is, the lower abdomen, then it is difficult to control the breath at the waist. Imagine, is it more effective to control the breath with the power before and after? Or is it more effective to use only the local strength of the lower abdomen? I hope everyone can understand the active and passive relationship between them.

There are many kinds of popular teaching now. If you can't master a correct breathing method, it will lay the foundation for the wrong breathing. The sound will lose its brilliant color, and naturally it will be more difficult to achieve the powerful control ability of European and American singers, and there will be no change in timbre, including strength.

It needs to be repeated that the breath is controlled by the waist and abdomen, and the maximum sound is obtained with the least strength. The greater the breathing pressure, the better. It is by no means a lot of misconceptions. Accurately speaking, the real flowing breath is a kind of ingenuity, not just strength at all.

Practical state

Breath is the driving force of any kind of singing, and the correct breathing method determines the right or wrong sound. For the training of pop singer's breath, I usually practice my voice by singing etudes in teaching.

Compose a few simple vowels into a ditty, and let the students practice their voice while singing, or choose a track with smooth melody, and then choose a track with light jumping for the students to try to sing, find out representative phrases, and let the students feel its singing and practice their voice with this feeling. It is easy for students to devote themselves to singing. In other words, don't treat vocal exercises as mechanical exercises. Otherwise, it will create an illusion of sound concept and state for future singing. Only by practicing with pleasant mood and touching emotions can we effectively find a relaxed and natural tone.