In the past, my understanding of breathing training in singing was that it was physiological to breathe well before making a sound. However, the breathing mode based on this "natural state" lacks control, so it is difficult to keep the length of singing, and it is easy to hold your breath, collapse your chest and exert force on the throat muscles. When Mr. Zhong applied Dr. Lin's "pharynx exercise" to the silent exercise, that is, the "toad breathing exercise", he emphasized that breathing should be controlled by keeping the posture of inhaling, keeping the chest open, contracting the abdomen and expanding the tendons, so that the inspiratory muscles and expiratory muscles really worked at the same time, and the singing and breathing requirements of chest and abdomen combined breathing were achieved. This practice method exercises and strengthens the inspiratory muscles that are rarely used at ordinary times, and makes us enter a "supernatural" breathing and singing state, so it is a very valuable and meaningful singing breathing practice method.

Another example is the "breathing exercise" that Mr. Zhong often teaches me to do, which is the method of making [Ho] sounds in the posture and state of inhalation, which solves the problem that the throat can be relaxed and opened when inhaling, but it is tense and lifted when vocalizing. This vocal exercise is simple in principle and ingenious in means, but the effect is obvious. I used to practice opening my throat by yawning and sighing. Although my throat is a little open, the effect is not as direct as that of aerobics. I think this may be due to our different understanding of yawning and sighing, so the posture we make is different, or it may be related to the unclear state of singing function required by yawning and sighing. The method of "breathing exercises" can solve the problem of throat blockage and throat lifting, and at the same time reduce the oppression of vocal cords by muscles outside the larynx, so it is a method worthy of popularization and promotion, and it is also a "good medicine" for ordinary voice users to restore voice fatigue.

The solution of treble is related to practicing "pharynx sound". It was after studying silent reading exercises for three months and doing a lot of "breathing exercises" that I really learned the pronunciation of "pharynx sound". At that time, I also blamed Mr. Zhong for not teaching me to pronounce "pharynx sound" at the beginning, because my vocal cords were wide and thick, and it was difficult to pronounce high notes. At first, I could only send them to g2, but practicing "pharynx sound" really made me feel a lot easier to pronounce high notes, and I could practice to # C3. But Mr. Zhong thinks that "throat sound" is the backbone of singing voice, and its function is just like putting salt and monosodium glutamate in dishes. Without it, there is no taste; But I ate too much. The vocalization of "pharyngeal sound" must be based on the relaxation of external laryngeal muscles, and the throat must be kept in a state of "bubble sound" when vocalizing. That's great. No wonder I heard people say that some people practice "pharynx sound" and their throats are broken, which may be related to their ignorance of the principle and specific requirements of "pharynx sound", and putting this "guilt" on "pharynx sound" really wronged "pharynx sound" and Dr. Lin. To this end, I would like to remind some vocal music lovers not to practice "swallowing sound" blindly, but to master its essentials, not only to imitate its sound, but also to master its functional state, otherwise it will not improve their skills, but will ruin their voices.