When you get a song, you should pay attention to the following artistic links in the second creation of singing:
First, the understanding of connotation
The so-called connotation mainly refers to the inner meaning of the work, that is, thoughts and feelings. Understanding the connotation of the work is the basis of singing. When you get a song, don't sing it in a hurry, but recite the lyrics several times, so as to understand the background, specific environment and the thoughts and feelings of the protagonist. No matter whether a song is long or short, it embodies the composer's strong feelings, and every note contains the composer's deep affection, which needs the singer to explore and understand seriously. The deeper the understanding of the work, the deeper the feeling, and the purer and more perfect the expression when singing. The depth of an actor or singer's literary accomplishment will directly affect his understanding of the connotation of his works. Many people who learn to sing often talk about singing performance simply from vocal skills, so the contact surface is usually narrow. They don't read novels, paintings, poems and music, even newspapers. Their horizons are not broad and their knowledge is not rich. It is impossible to learn to sing in this way. If you have a deep understanding of the connotation of the work, the result will be very different, because only on the basis of understanding the work can you express your true feelings.
Second, the imagination of artistic conception
The imagination of artistic conception is to stimulate the imagination of music as much as possible. Singers should turn themselves into a moving picture, a writer, a poet and the protagonist of a work according to the content and musical image of the song. In other words, as a dramatic actor, you need to immerse yourself in the scene. If you imagine the basic artistic conception and artistic conception of a song very concretely, then you will be very real and vivid when you express it. Imagination and artistic conception will soon help you establish a correct musical image or the image of the hero of the song. The image of the hero of the song is complete and unified, and the theme of the song is distinct, so that you can achieve true feelings. Of course, the singer's ability to explain music is not built in a day. It is a kind of accumulation of life, memory and emotion. The more this accumulation is, the richer the "inspiration" will be. Therefore, as a singer, we should always use our eyes and ears to collect and listen to pictures and sounds of all kinds of life and feel life, so as to enhance our understanding and imagination of life and characters and understand the connotation of our works more deeply.
Third, the use of sound.
When we sing a work, what kind of voice can we use to conform to the ideological content and emotion of the work, which is worth studying and designing. As a singer, besides having a beautiful voice, it is particularly important to be able to control the changes of various voices and timbre, such as choosing a majestic voice when facing a March, a bright and gorgeous voice when facing a waltz, and a soft and sweet voice when facing a lullaby. Here, the sound should also have an imaginary process. For example, for a lyric and gentle tune, the sound can be imagined as "soft scarf floating in the breeze" and "leaves falling gently on the ground" and other sound controls; For example, when singing a soft and brisk song, the sound can be compared to "transparent dew", "raindrops on a spring night" and so on. In short, we should be good at mobilizing the most suitable voice in the vocal library, singing the auditory effect needed by the song content and expressing the work properly.
Fourth, grasp the style.
The style of works or music is good or bad, and the effect of singing is very different. We often listen to some personal concerts. Some people have beautiful voices and excellent singing skills, but the whole concert, from China folk songs to European classical art songs, sounds good in voice, strength and charm, and they are all the same, with a unique flavor, which makes people forget after listening, lacking soul * * sound and artistic aftertaste, and lacking artistic accomplishment and cultural accomplishment. The main reason for these phenomena is that the singer did not carefully analyze and understand the style of the times, national style, regional style and personal style of the work before singing, and did not properly express the style of the work with his own singing skills. Therefore, in order to accurately express the connotation of the work, the singer must also study the style of the work in advance (that is, the singing style). Of course, compared with other sister arts, the music style is more abstract. Music is an intangible time art, while painting, sculpture and architecture are tangible space arts, so their styles are often easier to see at a glance than music. The depth of a singer's literary accomplishment will directly affect his understanding of his works and his grasp of style, because the formation of style is mainly based on the deepest understanding. A mature singer can express the composer's creative intention and the style characteristics of his works incisively and vividly, and make the overall meaning of music "clear at a glance" to the audience.
Fifth, the embodiment of charm.
The second creation of singing is a complicated labor process, and the requirements for singers are various. A good singer can not only accurately understand and convey the artistic conception of the song, but also tap some potential things in the song that even the composer did not expect through his own re-creation. A work, the composer can not provide charm, it must be experienced and created by the singer himself. A good singer is not satisfied with the notes recorded in the music score, but will definitely work hard on the extra-sound cavity (cavity is also a charm) and use it properly. After you sing a new song, according to the characteristics of language and emotional needs, you will naturally add some other sounds to the melody of the tone, making it decorative, vibrato, slippery, oblique and so on. Singing will be more touching and natural, and it will be more tasteful and aesthetic. This is the new vitality that charm brings to the work.
Sixth, the handling of art.
With the true feelings of songs, we must have a comprehensive overall idea of song processing, including the speed, intensity, volume, timbre and accompaniment of the whole song. Of course, these ideas are not blind or arbitrary. The structure, style and mode of the song are ups and downs until the rhythm and harmony give the singer general inspiration for artistic expression. They can guide the singer's inner emotions and find the climax and level of the whole song. In singing, we should especially grasp the artistic contrast, such as the difference between narrative and singing of a song, the change of strength and weight in a song, and the most important thing is to find the high point (climax) and low point of the song. Generally speaking, to highlight the high point, we must lower the low point, and there must be a process of paving the way, otherwise the strength will not reach the artistic effect. When dealing with songs, the finishing touch is often some key sentences and words. The key words should be focused on pronunciation and emotion, and we should work hard word by word, even tone by tone, practice singing repeatedly, explore carefully and find the most suitable expression. In other words, the singer must overcome difficulties repeatedly according to his overall design until his handling becomes the embodiment of true feelings.
Seven, forget my singing
To move the audience when singing, we must first put ourselves in an excited singing state. "True or false" is a specific artistic expression. "Fake" is to express "artistic truth", and "fake" is an artistic skill to express "truth". Only when the truth enters the fake and the truth comes out can the unity of artistic authenticity and expressive authenticity be brought into play and the powerful role of artistic appeal be brought into play. Therefore, when we sing, we must grasp the relationship between the two and properly express art. In normal times, we find that some people are still highly nervous when singing, afraid of wolves before and tigers after, full of selfish ideas. This state of singing is absolutely not good for singing, let alone moving the audience. So what we call "selfless singing" is to ask the singer to throw away all the burdens from his thoughts or voices, eliminate all the nervous factors, and enter the singing in a passionate and relaxed state. You know, only when emotions are liberated can we get natural and comfortable sound effects and have more perfect emotional expression. The art of singing should be "sound and music".
Eight. Technology and art
Technology and art, that is, voice and emotion, have always been two parts of singing. Pronunciation, articulation, articulation and emotional expression constitute the whole of singing, which are inseparable. Singing is based on the whole human body as a musical instrument to engage in singing, not just by sound, breath or * * *. Singing is a performing art in which you participate wholeheartedly, not only your whole body, but also your soul. Singing should be a gripping and perfect art that combines various factors, that is to say, only by combining voice with emotion and skill can singing reach a touching realm and produce touching artistic achievements. Voice and emotion are dialectical unity and complement each other. Whether a professional singer or an amateur, in the usual training, we should strengthen the overall awareness of singing, at the same time achieve the expression of singing voice and emotion, achieve the trinity of voice, words and emotion, and develop the habit of singing with heart.