1, what is a voice exchange area? When singing, from bass to treble, or from treble to bass, there is an uncontrollable "crack" sound suddenly, and it suddenly feels that the upper and lower voices are not unified. This unpleasant sound is "voice change". There are many reasons for the change of voice, and we should mainly analyze the reasons from the physiological aspects. Because the two vocal cords are unbalanced, one vocal cord is not tight, and arytenoid cartilage is out of balance, resulting in broken voice. In other words, when making a "true voice", the vocal cords are very close together, and the vocal cords are "tightened" by the throat muscles. When making falsetto, the vocal cords should not be close together, the throat muscles should not be too hard, and the vocal cords should be more relaxed. When singing, these two voice forces need to be well connected to unify the voice. If the connection is not good and the "* * * volume" is not adjusted in time between the brakes, there will be a weak tearing sound or interruption sound immediately. Staccato is generally easy to appear in the high-pitched extreme tone and the tone with adjacent timbre changes. High notes are generally produced in E2, F2 and #F2. A "tone change area" is generally an interval consisting of three semitones, and the tone with the greatest change is called a "tone change point". Because the physiological conditions of each person's voice are different, the position of the inflection point moves. Soprano: Some sopranos are not clear about voice change, but it is difficult for dramatic sopranos to change their voices. Change the sound up and down at #F; Mezzo-soprano: This kind of voice is more complicated, with a wide range and great changes in timbre. Generally, there are two voice exchange areas. One is above and below F2. Second, from #C to F2. Dramatic and low mezzo-soprano are in E2 and G2, while lyricism is in E-flat. Tenor: Most of the voice changing areas are in #F and F2, and some are in G2 and A2. Baritone: high baritone sandhi in E, E2 and F2, and low baritone sandhi in D2 and #C2.

2. Solve the problem of voice change.

Solving the problem of voice change with "closed singing" Italian "Bel Canto" uses vowel change to solve the physiological phenomenon of voice change; . Add "o" and "OU" to the variant. For example, if you sing A in a normal alto, add O in the tone sandhi area, and add a sound after the tone sandhi area, the word "horse" is a vowel. After such a change, the virtual sound brought by the sound change gradually appeared bright sound. When solving the problem of sound change, we must master the preparation work of sound change in advance. When the transition from one vocal area to the next is about to happen, it is necessary to use the * * * method that different vocal areas change immediately to avoid the disharmony of vocal areas and the generation of laryngeal and nasal sounds. For example, when a soprano changes from a midrange to a treble, generally speaking, the switching point is at the F2 pitch. At this time, it is necessary to move forward with a two-flat E2 note, stabilize the E-flat tone of the larynx, and adjust the changes of vocal cords. And using the method of vowel change, singing is controlled by weak voice, and singing is mainly adjusted by the * * * sound of the head cavity. When you sing F2, the sound will naturally break through the inflection point, and the high-pitched area will gradually appear bright, which will promote the unity of the whole sound area. Closing the singing method is to use a brighter A in the midrange, then bring in O to round the sound, and start using Y in the voice change area. In tenor, you should use more A-zone, which can make the sound bright and round. Bass o should be used more to make the sound rich and deep. Training with vowels A, O and I is the main method to unify the sound area.