What is the original singing method of Burying Flowers?

After that, a group of famous actors who were brave in reform and innovation appeared. On the basis of inheriting the tradition, according to their own conditions, they constantly enriched the singing and performance programs of Yue Opera, created their own unique style, and gradually formed various schools of Yue Opera with artistic characteristics. The genre of Yue Opera is the sum of actors' performing arts, including repertoire, singing, reading, doing and many other artistic factors, which are reflected in the typical artistic images created. Among them, singing has the strongest originality, the most prominent characteristics and the greatest influence, so people call it genre singing. The aria of the school of Yue Opera consists of two parts: tune and singing. In the organization of melody, each school has its own unique techniques, and forms its own basic style through the changes of melody, rhythm and rigid eyes. In particular, the beginning tone, falling tone, drawling between sentences, ending of sentences, and the repeatedly changing melody and idiomatic sounds are the core and key to embody the artistic characteristics of various schools of singing. In singing methods, most of them focus on lyrics, aria, singing feelings and other aspects to show their unique personality, and form different charm beauty through the changes of voice, timbre and embellishment. Some nuances, including many special singing forms that are difficult to contain and record in detail, can better reflect the different colors of various schools. The richer the aria of a genre, the stronger its vitality, the more prosperous and mature the genre, and the wider its performance scope. At present, there are Yuan School founded by Yuan Xuefen, Yin School founded, Fan School founded, Fu School founded by Fu Quanxiang, Xu School founded by Xu Yulan, Qi School and Wang School, Lu School, Bi School, Zhang School and Lu School founded by Qi Yaxian.

1. Yuan School: Yuan School was founded by Yuan Xuefen. Most of her performances are kind, dignified and tragic female images, and her singing melody is simple and euphemistic. Yuan Xuefen's voice is not particularly bright, and the range is not particularly wide. She wins with true feelings, attaches importance to moving people with emotions, and her singing rhythm is changeable. In singing, she pays attention to moistening the cavity, using the air port and comparing the strength, so she is relaxed and has a strong charm. Yuan Xuefen has appeared in more than 100 plays, and successfully created many female images with different times and personality characteristics. For example, Zhu Yingtai, Cui Yingying, Sister Xianglin, Mulan, Liang Hongyu, Qiu Jin and so on. After the formation of Yuan School, more and more people learned Yuan School drama and sang Yuan School dialect, among which there were many famous actors with achievements, such as Qi Yaxian, Zhu Xi, Xiao Xi and so on.

Yin School: Yin School was founded. Yin Guifang plays a romantic, elegant and gentle scholar. Simple but not dull, intelligent but not frivolous, chic but not floating. Yin Guifang's vocal range is not wide, and his voice mostly runs in the alto, rarely using high notes; She has a strong nasal voice. When she sings, her words are clear, and she has a unique flavor according to the principle of "emphasizing words and ignoring sounds, and ignoring feelings with sounds". She is also good at expressing the ups and downs of characters' feelings with stress, timbre and speed changes. Yin School is characterized by profundity, smoothness and softness, and its representative works include Bridal Chamber in Pan Marry a Wife, Fortune-telling in The Prince of the Desert and Sighing Time in The Prodigal Son. The descendants of Yin School are,,, Song Punan,, Mao, etc.

3. Fanpai: Fanpai was founded by Fan Ruijuan. Fan Ruijuan has a wide variety of operas, and is good at playing upright, incorruptible and elegant ancient literati such as Liang Shanbo, Jiao Zhongqing, Zheng Yuanhe and Jia Baoyu, as well as loyal generals such as Wen Tianxiang, Han Shizhong and Li Xiucheng, and modern figures such as He Laoliu and Tashi. Her voice is solid, loud, full of enthusiasm, with a wide range, and she pursues strong male beauty in singing. As one of the founders of [Fen Ke Qiang], the standard of [Fen Ke Qiang] in her singing is unique, which has also become an important factor to show the characteristics of this genre. Fan School is characterized by simplicity and generosity, stable atmosphere, solid articulation, fluctuating melody, masculinity and masculine beauty. , Shao, Shi Jihua, Fang, etc.

Fourth, Fu Pai: Fu Pai was founded by Fu Quanxiang. Its main characteristics are: beautiful and changeable singing, ups and downs, expressive; The performance is passionate, exquisite, fascinating and touching. The representative works of Fu School include Zhu Yingtai in butterfly lovers, Our Lady of Huashan in Breaking the Mountain to Save Mother, Gui in Love Detective, Du Shiniang in Du Shiniang, Liu Lanzhi in Peacock Flying Southeast, Li Yaxian in Li Wa Biography, and Li Qingzhao in People are Thinner than Yellow Flowers. Fu Quanxiang's voice condition is very good, his voice is true and false, and his tune fluctuates. She pays attention to the opening and closing and polishing of coloratura, and her singing skills are beautiful. She is known as "golden voice" and "coloratura soprano of Yue Opera", which is an important school in Hua Dan's singing of Yue Opera. The successors of Fu School are Xue Ying, Xu, Hu, Hong Fenfei, Zhang Lajiao, Zhang, He Ying, Chen Ying, and Chen Fei. Among them, He Ying and Chen Ying, two newcomers, have had a certain influence at home and abroad.

V Xu Pai Xu Pai was founded by Xu Yulan. Most of her plays are charming, enthusiastic, generous and versatile people. Xu Yulan has a good voice condition and a wide range. In terms of melody, it absorbed the rough and tragic characteristics of Shao dialect, the rich and solid skills of Beijing opera, and the simple factors in the early male jade singing of Yue opera. He has unique creations in breath control, resonance application and plate conversion. Xu School is characterized by its elegance, free and easy, unrestrained and high-pitched, passionate, and ups and downs in tunes. Representative works include Liu Chen, the Northern King, Zhang Sheng, The West Chamber, Biography of Spring Fragrance, Li Menglong's Dream of Red Mansions, Jia Baoyu's Chasing Fish, Zhang zhen's Xiyuan Zhang Jihua. Xu Pai's descendants include Jin,,,, Weng,,,,,,, and so on.

6. Qi Pai Qi Pai was founded by Qi Yaxian. Style originates from Yuan School. Qi Yaxian's voice condition is not very good, the range is not wide, and the melody is mostly circuitous in the middle and bass areas. Style is characterized by sincere and strong feelings, simple melody, few coloratura and wide range, but it is closely organized, with distinct rhythm, concise and repeated changes, forming an impressive characteristic tone, which is easy to learn and remember. The representative works of Qi School include Wang Qianjin in Bloody Handprint, Su San in Yutangchun, Zhao Dancing Girl in Pipa, White Snake, Wang Xiuying in Tigers, etc. The main successors are Zhou, Zhu Zhufen, Jin Jing, Xu,.

Seven. Wang School was founded by Wang. Wang, a student of Zhu Su 'e, is famous for being good at expressing characters' demeanor and expressing inner feelings. His appearance is delicate, his expression is delicate and his movements are beautiful. Yao Shuijuan, Wang Xinghua, Zhi Lanfang, etc. Wang Bo learned from others' strong points and deliberately sought for innovation, and gradually formed a natural, smooth, simple, sincere and mellow style. Her artistic images include Lin Daiyu in A Dream of Red Mansions, carp essence in Chasing Fish, Chunxiang in Chunxiang Biography and Meng Lijun in Meng Lijun. The descendants of Wang Pai are all rich and love jade, money, and Lulu.

8. The Lu School was founded. Lu Jinhua studied under Zhang Fukui and was influenced by Ma Zhanghua. He gradually formed his own genre art and was good at pretending to be a Confucian scholar, a poor student and a towel student. Her singing is not gorgeous, and she doesn't like carving. She is simple, beautiful and natural. Her artistic figures are Vincent in Pearl Tower, Lv Mengzheng in Caita, Zeng Rong in Panfusov and Wang Kui in Detective. The rising stars of Cao, Lu, Xu Jie and Yue Opera are the main successors of Lu School.

9. Bipai was founded by Bi Chunfang. Bi Chunfang is good at comedy. Her voice is crisp and elastic, with a wide range. She is good at using the change of singing style to create characters. She absorbed the singing essence of Fan School and Yin School, as well as the playing skills of Yuan School, which was comprehensive and unique. Tang Bohu, zhou wenbin, Lin Zhaode, who created San Xiao, and Wang Jinlong, who stole the bride from the tiger, all made innovations. Yang Wenwei, Ding Lianfang and so on.

Zhang Pai was founded by Zhang Yunxia. Zhang Yunxia studied under Yuan Xuefen and worshipped the famous Kunqu opera. From imitation to development to innovation, she looked around and eclectic, and finally stood out. After the founding of the People's Republic of China, Zhang Pai's art was formed. His representative works include Qin Xianglian, Li Cuiying, Spring Grass, The Story of Diexin, etc. The main characteristics of Zhang Pai's singing are: delicate and euphemistic tunes and strong feelings; The timbre is soft, sweet and full of charm. Nowadays, many young people are learning the art of Zhang School, and Cai Feihe of Zhejiang Xiaobaihuayue Troupe is one of them.

Xi。 The Lu School was founded. Lv Ruiying first studied art with Yuan Xuefen, and then became a unique figure in the world with his colorful and beautiful singing voice. Lv Ruiying's voice has a wide range and bright timbre, and she plays mostly clever girls and heroines, such as matchmakers, Xue Baochai, Mu and Liang Hongyu. On the basis of simplicity, delicacy, euphemism and profundity, her vocals have expanded to be lively, immature, high-spirited, lively and passionate. She has a strong sense of singing music and is known as "the lyric soprano of Yue Opera". At present, many rookies like to learn to sing "Lu Pai", among which Wu Suying, Huang Yiqun and Chen Huiling from Zhejiang have exerted a certain influence on the audience.

The Golden School was founded by Jin Caifeng. Jin Caifeng studied under Yuan Xuefen and absorbed the essence of Silverflower, Fan Ruijuan and Fu Quanxiang. She is good at playing ladies, such as Yan Lanzhen in Panfusov, Li Xiuying in the Jade Hairpin and Cui Yingying in The West Chamber. Her voice echoed tactfully, cadence; Speak clearly and listen to every word; Luck is natural and full of charm. In particular, her representative works include some arias in Panfusov and the Jade Hairpin, which are widely circulated among the masses.

, Wu, and are all famous veteran actors. Their singing is rich and simple, full of emotion, vigorous and powerful, and their passion is high, which has made great contributions to the establishment of the old tune of Yue Opera. Today's outstanding young actors, such as Mao, Mao, He Ying, etc. Active in the stage of Yue Opera, it has had a certain influence at home and abroad. They have their own characteristics in performance and singing, and their styles are gradually taking shape.

How to shout, how to practice your voice

The first stage:

The research data of practicing qi before vocalization show that under normal circumstances, people breathe 16- 19 times per minute, and each breathing process takes about 3 or 4 seconds. However, when singing, one breath is sometimes extended for more than ten seconds, and the inhalation time is short and the exhalation time is long. Therefore, to master the essentials of storing qi in the lungs and slowly exhaling, we must first do the following:

(1) "Deep Breathing and Slow Breathing Control Extension Exercise".

The key points are: first learn to "store gas", first compress gas to discharge waste gas, then treat the gap between the nose and the tip of the tongue as "sniffing flowers", breathe freely naturally and lightly until it is full, then sink into the abdomen, slowly relax the chest ribs, and make the gas exhale slowly like a long stream of water, and breathe evenly. The longer the control time, the better. Repeat the exercise 4-6 times.

(b) "Deep breathing and slow dialing practice"

We call the first step "sucking and pushing". The breath of "sucking and pushing" is inward, and the breath of "pushing" is outward and downward. We do breathing extension exercises when we push. We recommend three training methods:

A. Counting exercise: "Suck" is the same as before. While "pushing", count the number "123456789 10" softly and quickly, and count it repeatedly until you run out of gas, and see how many times you can count it repeatedly.

B. "Counting dates" exercise: "Suck" is the same as before. At the same time of "pushing", I whispered, "Go out of the east gate and cross the bridge. There is a jujube under the bridge. Hit dates with bamboo poles. A jujube is more green and less red (full of breath). One date, two dates, three dates, four dates, five dates, five dates ... until this breath runs out, see how many dates you can count. Repeat 4-6 times.

C. "Counting the gourd" exercise: "Suction" is the same as before. While "pushing", say softly: "Golden gourd, silver gourd, one breath is no more than 24 gourds (full breath), one gourd, two gourds, three gourds ..." Repeat this breathing for 4-6 times until you are exhausted.

Count the numbers, "jujube" and "gourd" to control the breath, so the more you practice, the more you control it. Never run out of breath. There will be pain in the abdomen at first, and after a period of practice, you will consciously make great progress.

(c) "Deep Breathing, Slow Breathing and Long Tone Practice"

After breath practice, the voice began to join gradually. This exercise is still based on practicing qi, supplemented by vocalization. At the same time, choose a middle and low-pitched area, where boys pronounce "ah" gently (loud "ah" is consistent with practicing qi) and girls pronounce "yi" gently (small voice pronounces "yi" to make it. Hold it in one breath, and the sound outlet is cylindrical and wavy, which can be long or long and can be practiced repeatedly.

"breathing exercises"

This is an exercise with half a voice and half a breath. Put your hands in your waist or cover your abdomen, hold your breath in the abdomen and rush out to your forehead and throat at the same time. The voice is mainly low and elastic, and the abdomen and diaphragm pop out at the same time under tensile force. We introduce three exercises:

A. Hold your breath, quickly "clap, clap" (repeatedly) in your mouth, and make a "bang, bang" staccato at the end of this breath. Repeat 4-6 times.

Stretch your feet in one breath, first slowly, then quickly pronounce "haha" (repetition) (acceleration) hahaha ... "Practice has explosive staccato, and" haha ... "Laughter", "aha" and "cough" are commonly used in singing.

C. Stretch your feet in one breath, and then slowly and quickly pronounce "hey-rough, hey-rough" (repeated and gradually accelerated) and "hey-rough, hey-rough ..." until your strength is exhausted, and practice repeatedly.

After this stage of practice, qi is the foundation of sound, and qi is the handsome breath of sound. The "place where qi can accommodate" has been basically excited and active, while sound has been brewing protection. On this basis, you can begin to prepare for the sound practice.

The second stage: the practice of qi, sound and words.

Opera actors, especially Beijing opera actors, including opera lovers, are prone to make mistakes in singing. They wish they couldn't shout a loud and bright voice soon, and rushing to shout high notes, fierceness and even wildness often backfired. When we study vocal music practice, it is beneficial to practice the breath first, and we need to make clear a gradual law and persevere. In this third stage, we suggest that we should not rush to climb scales and shout high notes, but practice from the combination of qi, sound and words. The relationship between them should be arranged in this order: qi is sound, sound is cavity, cavity is word, word is word, and word is emotion. From this order, we can see that the position of the word is in the center, the sound and cavity are in front, and the word and emotion are in the back. If it crashes, the whole game will be lost. The truthfulness of pronunciation determines the roundness of sound, which is also the principle of "speaking with words". The relationship between words, sounds and qi in shouting practice should be that "qi" is fully supported, "sound" is accurately recognized, and "words" are truly bitten. The specific methods are as follows: enlarge and slow down the prefix, abdomen and suffix with Chinese pinyin, practice pronunciation with Chinese characters, and then speed up, while practicing the flexibility of mouth, lips, teeth, tongue and throat.

(1) lip sound practice: (first slow down, enlarge and read it again, and gradually speed up reading tongue twisters)

Eight, one hundred and one bid, one soldier and one rush-one slope in the north.

On the north slope, one gun and one soldier ran in a row-

One shot, one soldier, one fear, one mark, one soldier, one touch.

Mark a soldier, a fear, a touch, a gun, a soldier, a gun.

② Dental pronunciation exercise (method as above)

Four to four,

Ten-yes-ten,

Fourteen is fourteen,

Forty-yes-forty,

Don't say fourteen to forty,

Don't put 40, such as 14,

③ Tongue pronunciation practice (the method is the same as above)

Sixty-six-year-old Liu Laoliu, almost sixty,

Six big oil drums,

Sixty-six weeping willows,

Sixty-six monkeys were tied up.

④ Laryngolaryngeal exercises (method as above)

There is a tiger in front of the mountain.

There is a monkey at the foot of the mountain.

Tigers drive monkeys away, monkeys fight tigers,

Tigers can't get rid of monkeys,

Even monkeys can't beat tigers.

⑤ Practice of tongue pronunciation and tooth pronunciation (the method is the same as above).

There came a lame man in the south of the street, with a plate in his right hand and an eggplant in his left. Someone pouted in the street. The nail tripped the lame man, and his right hand dropped the plate and his left hand threw the eggplant.

⑥ Thirteen-channel pronunciation practice

Wind (Middle East) urges (ash heap) summer (Zhou Su) to go (17), a lotus (Sobo), a flower (in full bloom), and a thank you (embarrassed).

Autumn (from seeking), cool (Jiangyang), clouds (people), heights (far away), geese (as mentioned earlier), self (thinking) and coming (Huailai).

Joe (Yaotiao), Yi Jia (Fahua), (Ren Chen), (Yuqiao), Yi Chu (Gusu), (Jiangyang) and Yi Lai (Huailai).

East (Middle East), West (No.17), South (Preface), North (Ashes) and Sitting (Sobo)

With this exercise, you can tell which sound is round and which one is dry, and get it right. The exercises of qi, sound and words are very practical and effective.

The third stage: poetry singing practice.

The purpose of putting poetry singing in the fourth stage is to practice and tap the sound quality of "generous bass, mellow midrange and tough treble", instead of blindly raising and climbing, consolidating midrange and bass, making their timbre gorgeous and pure, maintaining a pleasant and easy-to-use voice, and exercising the toughness and elasticity of treble. At this time, chanting and singing are unaccompanied, and singing is more difficult and demanding. In the third stage, you have the spirit, sound and words at the bottom, and you climb up step by step. Your voice is not tired, and your practice is effective and you have a great grasp.

(1) Poetry-chanting: Generally speaking, you should choose fixed field poems from all walks of life. Because the role has just come to the stage, you should make a first impression on the audience, so that they don't talk and calm down. Therefore, the fixed-field poems should be high-profile, unhurried and unhurried, which is a self-analysis of the role's own interests and aspirations. The rhythm is very strong, you must practice well, and it is also suitable for shouting, practicing and practicing. For example, in Mi Fei's poem "Drumming Cao", "The mouth is like a river and the flow is like a stream. All rely on the tip of the tongue to suppress the princes. How can a man be a giant? He should look for a seal with a smile "; Another example is Yue Fei's pastoral poem, "Bright Ming Jia shoots the bullfighting palace, ethereal banners cover the sun, the tiger is towering in the same column as the generals of the Ming government, and the male corrects his horse like a dragon." In the morning when everything wakes up and everything is renewed, you can practice your voice to the fullest.

(2) Singing method: it has the characteristics of white singing, half singing and half singing coordinating with each other. It is more difficult than reciting poems, its emotions are more suitable for expression, its melody is more suitable for stretching, and it is only used for shouting and vocalization. Half-singing is like an introduction. For example, in the first half of "Cosmic Front", Zhao sang "The cuckoo cries branches, and blood and tears are dark and sad." Another example is Yang's "Cao Cao (semi-chanting)", "Alone (chanting) alone in the sky, Miao Rong was built early, (semi-chanting) helped Hanzuo exist in name only, (chanting) Wei moved the times." Sing directly, such as "Qin Qiong sells horses", "The hero of the Han Dynasty is trapped in heaven, I don't know when he will return to his hometown", or "Old, old and childless" in "Qingfengge", "Listening to his mother's whining, he must have lost his love for Joule".

(3) Bai Jing: (Putonghua) Reciting poems: practicing for modern drama performances, such as reciting the melody of poems and Chairman Mao's poem "The sky is high and the clouds are light, and you are not a hero if you don't reach the Great Wall". For example, reading some classic quotations of modern drama, such as "Rice seedlings meet the rain after a long drought, never forget" and "Chiba is bitter", are all good materials for shouting and practicing. Traditional large-scale chanting and some penetrating exercises can also exercise breath and sound at this stage.

The fourth stage: arc aviation acoustics practice.

This is a very unique vocal technique in Beijing opera. It's like jumping in dance, jumping up, squatting down and bouncing up, and also like shot put in sports, turning it up, taking it back and throwing it out. Breath and sound are pushed out to form a parabola, pulled back and thrown out.

Ru Wusheng: Ah/cough/

Old student: Ma/Lai/

Draw a face: wine/oh, come/

Ugly: ah/ha/

Tsing Yi: Bitter/Wow/

Allow/ask/

If the double-arc tone is not practiced well, it is very easy to produce "bifurcation", "turn" or "flower". The general points are: good luck-supporting words (decomposing pronunciation like "Chinese Pinyin")-throwing it out-putting it away-throwing it out again, controlling the breath and volume, and choosing the best timbre to complement each other. In particular, the "capacity-nature" chanted by Cheng School seems to be broken and delicate, and it stays at home. Yin Gui Guiyun needs hard practice and mastery.

The fifth stage: climbing scales and practicing difficult notes.

Ga tune, Van Gogh and Gao Qiang are indispensable in singing, which we call difficult tune. Practice this sound in the practice of shouting. Be careful not to practice more. The key is to find a way to find a position. If you shout hard, all the previous exercises will be useless and your voice will be hurt. When practicing this sound, it is forbidden to squeeze, jam, pinch, press, force or hit hard. The old gentleman said, "If you want to sing a high word, you don't have to shout it back (which makes it difficult for me to shout), but if you make the word narrow, sharp and deep, your voice will be high ... When you meet a high word, you will breathe out ... then the listener will be clear and bright, and the singer will not have any troubles." There are tips and methods here, which should be explored and explored according to your actual situation.