The soprano usually has a range from central C, that is, C in a small group to C in a small group. The following is the timbre control of vocal soprano that I shared. Let's have a look.

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First, the application of timbre control ability in soprano

Timbre control ability is the control of timbre change, which mainly causes different timbre changes through the effect of skills on cavity. If the player has a clear idea, he can control the timbre flexibly. Soprano is the most commonly used voice in opera roles, and different types of sopranos can shape opera roles with different images. In traditional Chinese opera performance, different roles have different requirements for timbre. Playing the opera role of a girl requires a coloratura soprano, and playing the role of a lady requires a lyric soprano. If the female characters created are more important, then a dramatic soprano is needed to perform them. It can be seen that roles with different needs need to sing with different voices.

1 The Application of Tone Control Ability in Lyric Soprano

Lyrical soprano is often used in opera performances, with soft, smooth and lyrical tone. Most of the songs that can be explained are mainly soothing and smooth. It is precisely because of such timbre characteristics that the roles played by lyric sopranos are mostly kind, beautiful, dignified and elegant. The heroine in the aria People call me Mimi introduced herself very shyly when she met the poet Rudolph. This aria shows the girl's purity and simplicity. This song is elegant and euphemistic, which requires a high level of singers. In terms of timbre, it is necessary to show a sweet feeling and keep it soft. This song is a classic lyric soprano.

Lyric soprano also includes light lyrical soprano, whose timbre is more transparent and suitable for performing more quaint roles. In Mozart's opera Don Juan, the role of Selina is more suitable for this timbre. Through the analysis of Selina's personality characteristics, we should use bright timbre to explain the flexibility of characters from the flexibility of timbre. In this aria, the tone changes quickly and the image of the heroine is very lively.

Application of timbre control ability in coloratura soprano

Coloratura soprano can interpret many roles in opera and has unique singing skills. In the case of flexible singing, it is suitable to sing with coloratura soprano voice. For example, coloratura soprano has its own unique charm, which can interpret decorative sounds and skipping sounds vividly. The cadenza in the aria is more suitable for coloratura soprano singing. The coloratura soprano is bright, concentrated, dexterous and flexible. It is widely used in arias. This kind of voice needs good breath flexibility and elasticity, and it has high requirements for singers. A coloratura soprano usually plays a young girl in an opera. Such sound characteristics perfectly interpret the girls' enthusiasm and show their passion and purity to the fullest. The aria Song of the Bell is very difficult to sing, which requires high vocal singing skills. It is characterized by fast scales, strong echoes and slow sentences. This aria is also one of the most difficult songs in coloratura soprano.

3 timbre control ability in the use of drama soprano

The dramatic soprano has the richest timbre, a certain metallic texture and a great singing voice. There is a degree of relaxation when singing, and this voice is often used when there is a big conflict in the drama performance. Therefore, the roles played by drama sopranos are generally female leaders such as heroines and strong women. The requirement for sound is loud volume and long singing endurance. In order to express the emotional changes of the role, the dramatic soprano often has the expressive force of instantaneous explosion. Wagner, a famous composer, has an in-depth study of drama. He believes that music should serve drama, and drama is more important than music.

The most typical performance of drama soprano is Turandot, the heroine in Turandot. Beneath the cold and noble appearance lies the heart of a passionate girl who longs for love. When she met love, all the unruly and cold vanished, and finally the cold heart was melted by love. Among them, the famous aria "In this Palace" tells the reason why she is indifferent to her suitors, with mysterious oriental color, slow rhythm and wide melody. When singing, the whole song needs to start slowly and gradually, and then suddenly it becomes a roar, so as to form a different contrast. In terms of timbre requirements, it is loud but not rude, because the opera perfectly interprets the two sides of Turan's character, which not only ensures his nobility, but also has a kind and true side. When performing, the timbre should be soft, showing different timbre changes, and at the same time, there must be some dramatic tension to be competent for this role.

Second, the diversified development trend of timbre control ability

In the art of vocal music singing, in order to meet the needs of emotional expression of songs, the timbre should also change accordingly. Singers should not be limited to traditional ideas, but should use vocal singing skills to adjust the timbre, rather than simply singing with their own voice conditions. If we simply consider the timbre from our own conditions, it will lead to unclean timbre and tense voice, which is not conducive to better performance of singing level. If you don't understand the meaning of regulation, then the singer can only sing one tone, and it can't better explain the rich angular color of emotion. In the study of vocal music skills, the most important thing is to learn how to adjust the timbre flexibly. When performing works, we need to use a lot of vocal skills, which puts forward many requirements for the performer's timbre control ability. Players should fully mobilize their flexibility and realize the rapid response of the brain to timbre. Only by using vocal music skills correctly can we really explain the changes of the role's feelings and truly understand the composer's intentions. When a singer sings, in addition to the use of skills, the second is to strengthen emotional input, and the emotional position can make the role interpretation more real and appropriate.

Third, the significance of diversified development of timbre control ability

Vocal singing is usually divided into three singing methods, namely Bel Canto, national singing and popular singing. For a long time, singers have made a strict distinction between these three different singing methods. However, with the development of the times, more singing methods have merged together to form a new singing method. For example, the fusion of bel canto and pop has formed the art of American singing, the fusion of nation and bel canto, and the art of national singing. These new singing methods have played an important role in the historical process of vocal music development and made new breakthroughs. This fusion of different singing methods makes the singing methods of songs more colorful. The main reason for these changes is not the simple singing fusion, but the singer's better timbre control ability. For decades, these three singing methods have existed independently and are considered to be incompatible. But today, many singers have new views on the classification of singing methods, and they have also broken through our traditional teaching thinking and made breakthroughs in the liberation and development of singing art.

Taking Chang Sisi as an example, she combines folk singing with bel canto, so when listening to her works, the audience can not only feel the style of folk singing, but also taste the characteristics of bel canto. Therefore, her timbre changes are very flexible, and the emotional color changes are rich when her works are expressed. To achieve this cross-border integration, we need to have a correct basic singing method, switch to other singing methods flexibly on this basis, and deeply understand its expression form, rather than simple imitation. Liao Changyong, a famous baritone singer in China, can realize the integration of Bel Canto and popular singing in artistic creation and deduction, and can switch flexibly, so the tone control is more flexible. In the singing of Bel Canto's Homecoming Poem, the timbre is rich, the emotion is rich, and the performance is smoother. In the singing of the popular song Acacia, the timbre is natural, the articulation is very clear, and the emotional expression is more real.

Their success can't be accomplished by single or simple exercises, they need to have more abilities and qualities. We should be flexible in timbre control, accurately grasp the connotation of works, dare to innovate and break the shackles of traditional thinking. In language expression, we should also have outstanding ability. In order to realize the natural conversion of different voices, the most important thing is the ability to control the timbre. Only by freely controlling and adjusting the timbre can we show more different forms of works. Forming diversified performance forms is the development trend of vocal music performance today, and it is also the road and direction of the development of singing art. Performers should work harder to innovate, challenge tradition, break authority and constantly expand. When defining the singing form, we should not simply divide it, but scientifically classify it according to the characteristics of the voice. We can't simply deny the new singing form, but need to put it into practice to test it. Only in this way can vocal music be achieved? Let a hundred flowers blossom and a hundred schools of thought contend? Field.

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