Singing Lessons.docx
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Singing Lessons.docx
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SingingLessons
SingingLessons歌唱的奥秘
Lesson1第一课
ComprehensiveLesson歌唱概述
Whenteaching,itisbesttofirstteachanoverallcomprehensivelessontoletthestudentsknowthewholepicture,andthenafterwardsgointodetails.Otherwiseifonestartswithdetails,thenthestudentcan’tpickupthemeaningandsignificanceaswell,andlosesinterest,andslowingdownthelearningprocess.教导歌唱前,最好先对歌唱这门学问进行概述,让学员对此有一个整体认识,然后再作详细分解。
否则,若一开始就进入细节,学员可能很难抓住要领,因而失去兴趣,而不能坚持下去。
a)Anyinstrumenthas3parts任何乐器都有3大组成部分:
1)发声主体(vibratingbody,e.g.astringonaguitar);
2)共鸣体(e.g.thesoundboxonanacousticguitar,oran
amplifier);
3)动力体(thestrengthusedinplayingtomakeasound);
b)Insingingthereare5parts歌唱的乐器却有5个部分:
1)发声主体:
声带以及相关联的喉肌(vocalchordsandthroatmuscles);
2)共鸣体:
口腔、喉腔、咽腔、胸腔、鼻腔和头腔(alltheresonatingcavities);
3)动力体:
呼吸器官(windandwindorgans);
4)语言器官:
vocalorgans(tomakewords);
5)辨音器官:
Discerningorgan,todiscerntheaccuracyofnotes);
Tosingwellall5mustbeinplace若要有优美的歌唱,以上5个部分都必须发挥正常又正确的功能。
The5partsandtheirmainfunctions歌唱乐器各部分的功用
1)发声器官—thevocalchords,throatmusclesandbone.
Construction:
a)VocalChords
Thevocalchordsaretwopiecesthatareelastic,like2ligaments,orlike2stringsonaninstrument.
Thelevelofthevoice,thequalityofthevoiceincoarsenessorfinenessdependsonthenaturalthicknessofthevocalchords.E.g.thickvocalchordsarelikethebassstringofaninstrument(bassvocalchordsarelongerandthicker).
So:
length,thickness,andwidthdeterminethesoundofthevoice.
InmakeupthevocalchordsareFLAT,notround(seefig.1).
Thevocalchordscannotadjustthemselvesinlengthtomakedifferentnotes(likeontheguitaryoupressonthefretswhichaltersthestringlengthtogetdifferentnotes),thealterationisdonebytheTHROATMUSCLES(喉肌).ThethroatmusclesarelikethetuningpegsandbridgeofaguitarthatSETthevocalchordsinposition(seefig.2),infrontisthe甲状肌andbehindisthe环状肌.The 环状肌makestheEDGESofthevocalcordvibrateonly,creatingtheFALSETTOsound(ratherlikejustonestringofaguitarplaying).The甲状肌makestheWHOLEvocalcordvibratefromthecenter,creatingthe真声(likeall6stringsontheguitarplaying)—butthevoicecannotgohigh.
Thelowerthenote,thelooserthevocalcord,andthehigherthetighter.Ifyouonlyusethe甲状肌thenyouwillgetacroakyvoiceasyougohigherupthescale.Onlyusingthe环状肌willcauseeverythingtobefalsetto.Whenyouhitthechangebetweenrealvoiceandfalsettoitsoundsclumsyandobvious,sobothsetsofmusclesmustbeusedtokeepthesoundevenfromlowertoupperendsofthescale.
2)共鸣体
Therearefiveareasofresonance:
a)Chestcavity(胸腔)(BassNoteslikeBassGuitarinbackground)
b)Lowerthroatcavity(喉腔)(BassNoteslikeBassGuitar)
c)Upperthroatcavity(咽腔)(BassnoteslikeBassguitar)
d)Mouthcavity(口腔)(BothBassandSopranonotes—likeanacousticguitarthatplayscontinuously)
e)Nosecavity(鼻腔)(Sopranonoteslikealeadguitarcominginandout)
f)Headcavity(头腔)(Sopranonoteslikealeadguitarcominginandout)(seefigs.5and6)
The共鸣腔体areseparatedinto2types:
1)固定腔体:
Chestcavity,nosecavity,headcavities.
2)可调解的腔体:
Lowerthroatcavity,upperthroatcavity,mouthcavity.
Thesecavitiesarelikesixrooms.Theycanbealteredtoaccentuateoneortheotherlikethefrequencycontrolsonamixeroramp.
EachroomhasitsownENTRYPOINT,soifyoulearnhowtoopenupeachone,thenthatparticularroomwillWORKandproduceresonance.Themysteryofresonanceisfoundhere(detailslater).
Themouthisaspecialcavitywhereyouneedtolearnhowtonotletitleakair.Theothersdontleakair,butthe动力partmakesthemworkbysendingsoundintothem—sothemouthmustbecontrolledtolettheairandsoundbeprojectedintotheothercavitiesandnotwasted.Avoicewithgoodpotentialcansoundbadbecauseofthisproblem.
Theresonancechambershave2mainfunctions:
1)Tomakeasmallsoundbeamplified
2)Mostimportantisthattheycanprocessbadandmessysoundsout,andprojectthevoiceoutwardintoagoodandfullsound.
Forthesereasonswemustlearnhowtousethem,learninghowtoletEACHcavitybefilledwithsound.HenceEVERYentrypointmustbeopened.
Thethroatcavity’sends(exits)aretheentrypointforalltheothers.Soitisakeyandwemustletitoperatewell.Itisratherlikethetubeofatrumpet.Theopeningandcurvingofthesoftpalateisakeytoopeningthenoseandheadcavities.ThepalateislikeaLID,thatifnotopenedwillnotletsoundintothenoseandheadcavities.(seefig.3)
Themouthcavity,oncesoundentersit,iseasytocreateresonance,butitcanalsowastethe动力,asithasabigexitandcanmakethevoicesoundflat.Peoplewronglythinkthattoforcingairoutofthemouthisthewaytogetvolume,butthiswaysoundsFLATandthevoicewearsoutandgoescroakyfast.SPEAKERSalsoneedtousethesameprincipleinusingtheirvoices.SotheairmustbekeptINratherthanleakingoutofthemouth—itneedstobeforcedtocirculateintoalltheothercavities.
3)动力器官
a)呼吸器官
Thepartsinvolvedinbreathingarethenose,mouth,windpipe,lungs,diaphragm,andlowerbellymuscles.
Whataretheirkeyfunctions?
Themainpurposeistoproject动力orbreath,theyarethecarrierofthebreath.Withnobreaththevoicecannotprojecttotheresonancecavities.Thekeyofgoodsingingisgoodresonanceandthekeytogoodresonanceisgoodprojectionthroughbreath.Thebreathisliketheairportconveyorbelt,madetoMOVEthings,andthevoiceisliketheLUGGAGE.Thisisthemainpurposeofbreath—toSENDthevoicetotheresonatingcavitiestocreateagoodsound.SowemuststudytheBESTwaysofusingthebreathtoachievethispurpose.
Structure
a)Lungs.Thelungsaretheaircontainer.SothefirststepistolearnhowtogetthelungsFULLofairtomaximumcapacity.
b)Windpipe.Thisistheentrypointforthechestcavity,soonemustlearnhowtousethewindpipetoactivatethechestcavity.
WemustlearnthebestBREATHINGTECHNIQUEtoachievethese2goals.
Thereare3breathingtechniques:
1)Chestbreathing 胸式呼吸
2)LowerBellyBreathing腹式呼吸
3)Combinedchestandlowerbellybreathing(胸腹呼吸)
1)Chestbreathing
anduntrainedpersonnaturallyuseschestbreathing.Whenbreathingonlythechestmovesinandout.Thismethodcannotexpandthediaphragm,andisreliantonthechesttoprojecttheairwhichmakesthechestconstantlychangeinsize,whichcannotcreateresonance.Itisratherlikeatentthatballoonsoutandthencavesin,notholdingawidesetspace.Thechestcavityisakeyresonatingcavity,soitsspaceCANNOTchangeandvary.
BecausethechestmusclesarebigandbroadtheycannotcompressthelungswelllikeaLOCALIZEDandSMALLpressure—themorelocalizedapressureisthemorepowerfulitis.Asaresulttheairdoesnotallheadoutupthewindpipebutgoesintoallcornersofthelungs,andsowhatcomesoutthemouthisweakened—ratherlikesqueezingatoothpastetubeinthemiddle—thetoothpastegoesinalldirectionsandonlypartgoesoutthemouth.AsaresultthevoiceisweakcostheCARRIER(air,breath)isweak.TodealwiththisneedsDISCIPLINEtosingwell.
Nowthatwecannotusethechestcavitytocompressthelungs,whatdoweuse?
2)LowerBellyBreathing
Thisislikesqueezingthetubeoftoothpastefromtheverybottom.Whenyoubreathe,thelowerbellyexpands,andthenisusedtoEXPELtheair.Thismovementpullsthediaphragmdown.ThiskindofbreathingwastaughtascorrectinthepastasamethodtoimproveontheChestBreathingTechnique,butitisalsowrongandcreatedfailure.Itisclumsyandunnaturalcosthebellyisnotaveryactivepartofourbodies.Also,thegoalshouldbetoOPENthechestcavity,butthepullingdownofthediaphragmactuallycavesinthechestcavityratherlikepullingdowntheslideofanumbrella,andthewholeclothpart(chestcavity)allfoldsup.
3)BellyandChestBreathing
Thisisthecorrectmethod.Itletsthechestexpand,andwhenfull,allowsthechesttoremaininanexpandedposture.
Whenbreathingin,thechestfullyexpandsouttothesidesandexpandsthediaphragmdownandout.Thediaphragmislikeandupsidedownumbrella’sclothpart,andthehandleslidelikethechestcavitypushingitdownandout.
ThehardpartofthisstyleisbreathingOUT.ThechestmustremainOUTisifitwerefullofair,andthemouthmustnotbeabletofellaircomingoutofit.Thekeytothisistousethelowerbellytopushtheairout,andlettheairgointoallthecavitiesandresonateinthere.TheairmustnotbeallowedtoRUSHOUTofthemouth.ITisallcompressedintoonesmallexitviathevocalchordssothatitattainsmaximumpower.ThemindsettohaveistoNOTWANTtobreathOUTbutatthesametimehavingtobynecessityofsurvival,sothetwoactionsareOFFSETagainstoneanother(i.e.youAREbreathingoutbutCONTROLLINGittobeasslowaspossiblewithaslittleairaspossiblecomingout).Thiswaymorepowercomestothevoice,itislikeyouarebreathingINandOUTatthesametime,creatinganopposingforce(seefig.4).
c)MouthCavity
Breath+Sound=voicepillar
Themouthcavityisaresonatingcavity,andalsoaswitchthatcanopenupthenoseandheadcavitiesviathesoftpalate.MedicallyspeakingthesoftpalateislikeaPLUGthatstopsbadstufffromthenosefromgoingdownintothestomachandlungs,andcanalsostopbreathfromgoingoutthenose.Butinsingingthethingisanobstructiontohindertheuppercavitiesfr
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