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Humai's Practice Skills and Diversified Expressions

Humai (also called laryngeal sound) is practiced and sung by all vocal organs such as lungs, larynx, tongue, maxilla, teeth, Adam's apple, lips and corners of the mouth. * * * With special pronunciation skills, one person can sing two parts at the same time, forming a rare single multi-part form. Singers use breath-holding skills to make the breath violently impact the vocal cords, making a strong bubble sound and forming a bass. On this basis, skillfully adjust the oral * * * sound, strengthen and concentrate overtones, and sing transparent and clear high-pitched parts with metallic sounds. "

Generally speaking, the bass part of Humai is a continuous bass, and the pitch changes from time to time; The high-pitched part is a melody line, which is divided into words and no words. The pitch of treble is directly related to the mouth shape: the mouth shape is flat and the sound is high; His mouth is round and his voice is low. When singing, the distance between the high and low parts can sometimes reach six octaves, while the melody timbre of the high-pitched part is like whistle or metal sound, which can often achieve the effect of instrumental accompaniment, so that its playing form is not limited to solo. In fact, Humai is vividly called "Ma Touqin of Human Voice" by Mongols. In many works of art

Humai Learning Tutorial 2008-04-2215: 281.1Basic Steps

1, keep your body in a normal sitting or standing position, relax, pull your mouth back as far as possible, open your mouth wide, naturally show your teeth, relax your tongue and naturally hang it in your mouth, exert pressure on your lower abdomen, slightly tense your throat, and pronounce "A" loudly (Chinese pinyin pronunciation, that is, "Ah").

2. According to the pronunciation of Chinese Pinyin, after the sound of "A" is issued, try to keep the mouth shape unchanged (such as containing things) and the lip shape change as smoothly as possible, so that the pronunciation changes from "A" to "O" (sound "Oh") and then to "U" (sound "Wu"), and stay on "U" for 3 ~ 5 seconds.

3. Continuous A-O-U (ah-oh-wu) vowel changes. Practitioners can listen attentively to their own voice changes, from which they can capture tiny metallic overtones, like whistling sounds, as if walking back and forth. This is overtone.

1.2 technical points

1, the whole process of vowel change, we should try to keep our mouth as wide as possible (such as containing things), but naturally and not too hard, so as to make our mouth as big as possible. The change of vowels begins with "a", which is also the main purpose.

2. Vowels can be pronounced when the throat and vocal cords are relaxed and natural, or they can imitate the "squeezing" sound that Humai singers often make (squeezing the throat, but not too much). In the former case, the tongue body is slightly tense, the root of the tongue naturally retracts slightly, and the tongue remains in a natural state between the upper and lower jaws and does not reach the upper and lower jaws. In the latter case, the tongue retracts more (caused by squeezing sound) and is closer to the upper jaw, but it still does not resist.

After capturing the overtone, please continue to practice to make the overtone more stable and louder. When the practitioner utters pitch and overtone at the same time in a natural and soft way, this is actually the narrow sense of "Humai" in the three categories.

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1.3 Description and Notes

Note 1: It is suggested that practitioners take the video demonstration of "Song of Overtone" as the main practice template, and then practice according to the key points mentioned in this tutorial. Thanks again to the netizen Jamblue (the owner of the blog "Born in Northwest China, Died in Kuitun") for providing the download link (flashget is recommended, and if the link fails, you can contact Philopoena, the author of this tutorial):

Song of overtones

Harmony hymn

Song of harmony

RTSP:// 195 . 83 . 182 . 68:554/35 17/real/canalu/science/ 1440745852/ 1440745852-0 . RM

RTSP:// 195 . 83 . 182 . 68:554/35 17/real/canalu/science/ 1440745852/ 1440745852- 1 . RM

RTSP:// 195 . 83 . 182 . 68:554/35 17/real/canalu/science/ 1440745852/ 1440745852-2 . RM

Note 2: Vowel change: A-I-U (ah-e-wu) or A-O-U (ah-oh-wu) is acceptable. Mr. Zhong Minghai also introduced the I-Yu-U (Yi -Yu-Wu) movement.

Note 3: When practicing vowels, you don't have to imitate the squeezing sound of tight throat. The author suggests using vocal cords to relax the throat and exert yourself naturally, because the throat and vocal cords are not easy to get tired and can be practiced for longer.

Note 4: Zhong Minghai's article introduces Chen Guanghai's method, which is slightly different from the author's own practical experience. Listed here for practitioners' reference:

Chen Guanghai, a Vietnamese-born French folk music scholar and singer, is one of the pioneers in the western world to rediscover Humai. When teaching or performing, he often promises that as long as you follow his instructions, you can sing overtones in only one minute-is it really that easy to become an overtone singer? Professor Chen didn't lie. Interested people can hear the first clear overtone in life in a short time as long as they practice according to the following three steps:

1. The throat is tight, and with the help of the strength of the abdomen, a loud "ah" (a) sound is made, and it is repeated three times.

2. In the same way, pronounce "e" (i) and change the mouth shape to "e" (u). Repeat several times in one breath.

3. With nasal sounds, the tip of the tongue touches the gums. At this time, in addition to the long sound of "e" or "e", there should also be overtone groups alternating up and down. "

Note 5: If you can't find the implication at first, please continue to practice and make minor adjustments to your mouth, lips and tongue. When you pronounce the "U" sound, your tongue can shake slightly or move back and forth (it can touch the upper jaw). At this time, the pitch is unchanged, but the overtones will change greatly, so it is helpful for the overtones to stand out from the pitch and help the practitioners to catch the overtones wandering back and forth.

Note 6: The author understands that in vowels, the function from "a" is mainly to help keep the mouth open; The main pronunciation of overtones is "u"; The conversion from "O" to "U" helps to capture the overtones in the sound changes. Therefore, when overtones have not been found, we should pay close attention to the sound changes in the process of "O-U"; After finding the overtone, the vowel should be stabilized on the "U" after changing it to "U" to improve the overtone sense.

Note 7: After overtones are captured, they will be found elusive and uncontrollable. The only way is to keep practicing. When practicing, focus on the sound and gradually strengthen the sense of sound.

Whether Note 8 can emit metallic overtones has no strict requirements on pitch, intonation, relaxation and tension of throat, and even lip shape. The key lies in the part of the tongue and jaw that determines the shape of the acoustic cavity in the mouth. As long as you keep practicing, practitioners will naturally understand. This feature is very beneficial to daily practice. Even when I take the bus, I practice softly, so that I can use this kind of practice to improve my oral overtones quickly in the shortest time. But it must be emphasized that practicing loudly is still the main means. After the overtone can be emitted stably, you can freely change your mouth shape and lip shape to a considerable extent, and even if you completely grin, you can still emit a stable overtone. Shut up and make a bright sound, which often makes people who are not used to Humai feel incredible, but it is not surprising for Humai practitioners.

Note 9: The initial overtone may be weak and boring, and it is in the middle and low frequency, which can be improved through continuous practice. In the practice of continuous vowels, you will jump from middle and low overtones to purer and brighter high-frequency overtones. Practitioners should be highly sensitive to the occurrence of overtones in this overtone (actually another overtone), and should stabilize and strengthen the overtones in this overtone through constant practice, thus expanding the scope of overtones.

Lesson 2: Kargyraa: Start with a throat sound similar to Tibetan.

After Humai overtones have stabilized for two weeks, you can enter Kakira's practice.

2. 1 basic steps

1. Sit up straight, tuck your knees (or other supports), lean forward, raise your head as far as possible, pout your lips, open your mouth (like an orangutan snoring), keep your tongue in a natural state, relax your throat, and exhale forcefully from your abdomen through your throat, making a long "ho …" (the voice is also like an orangutan snoring). You should speak as loudly as possible, but you can feel the sound particles are very large, which seems to have a great sense of bubbles. This is the prototype of the so-called "bubble sound".

2. Keep practicing for more than 2-3 days, and pay attention to keeping the throat loose during practice to make the bubble sound more and more continuous and stable.

3. On the basis of stabilizing the bubble sound, the throat gradually increases the tension to make the vocal cords sound. At the same time, false vocal cords and vocal cords are emitted. After 5-7 days of general practice, the true vocal cords and the false vocal cords can be freely combined, and the vocal conditions of Kaqila are completely satisfied.

4. Practice the standard kacila. The vocal mode is: open your mouth, let the sound come from the depths of your throat, and make an "A" (ah) sound. Then the lips slowly contract and transition to the sound of "ao-". Your mouth wraps the whole sound like something, and you keep humming, and at the same time you make real sound and false vocal cord vibration. At this time, you can adjust your mouth again to brighten the overtones.

2.2 technical points

1. The first step, you should feel the abdominal cavity, throat and mouth are straight columns and breathe smoothly.

2. The strength of exhalation should come from the abdomen. The voice should not be confused with the vocal cords, which should generally be tense and hard, so pay attention to keeping your mouth wide open and your throat open and relaxed.

3. People with good skills or conditions don't have to exhale loudly. Breathe with moderate and low intensity, and you may also find the sound of bubbles. If you can't find the feeling of bubble sound at first, you can also try a softer middle and low breath. After finding the bubble sound, practicing loudly should still be the main practice.

4. When the real voice adds the bubble sound, the throat will start to exert its strength, and the mouth shape does not have to be pursed and wide-mouthed, but it can also transition to the standard kacila mouth shape.

5. There will be a slight tingling in the throat during practice. Under normal circumstances, you can take a short rest (for example, 5 minutes) before practicing without affecting the sound quality and aggravating the itching. However, if the larynx is not slightly itchy and inflamed, we should pay attention to whether the voice is too hard, the practice time is too long or there are other technical problems.

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2.3 Description and Notes

Note 1: It sHould be noted that the timbre of "ho" should be deep and dull, while the vocal cords are usually loud and bright. The vocal cords can be identified by the following methods: continuously and rapidly making the sound of "ho ho ho ho ho ho ho ho ………", and the correct vocal method requires that the abdomen and chest vibrate greatly at the same time, otherwise the vocal cords cannot be effectively produced; The vocal cords only need slight ups and downs in the abdomen and chest, and even the chest and abdomen can make sounds without moving.

Note 2: Kakila's main vocalization principle is "phonation with false vocal cords". Laryngeal pseudovocal cords are slightly closed, half open and half closed, and emit continuous bubble sounds with obvious granularity through respiratory impact, which are combined with vocal cords. So the usual way to practice Kakira is to start with the bubble sound and then gradually add the real sound. Generally speaking, there are two main obstacles for practitioners: 1) I don't know how to make a "bubble sound" or what kind of sound is the real "bubble sound", and it is easy to regard vocal cord sound or nasopharyngeal sound as a bubble sound; 2) In the bubble sound, when the real sound is added, the bubble sound is easily lost.

Note 3: The posture of practicing bubble sounds introduced by the author in step 1 comes from imitating the posture of leaning forward, raising your head and stretching forward as far as possible when cycling downhill (similar to the unconventional riding posture of cyclists). This is because for the first time, the author accurately grasped the large particle sound state of laryngeal bubble sound (false vocal cord bubble sound), which was obtained when riding a bicycle on an empty road one night. Sit and lean forward, or sit and look up at the sky ... The most important thing in common in all available training postures is to keep the abdominal cavity, chest cavity, throat and mouth in a straight column, so that the abdominal cavity breath can directly impact the false vocal cords and naturally hinder the interference of vocal cords. The author has experienced that cycling on the open road is a good recommended choice among various postures that meet this feature.

Note 4: Before practicing khaki, you should accurately master the sound characteristics of khaki through various sound materials. Mr. Zhong Minghai's article introduces Kakila: "The key is that the false vocal cords must vibrate regularly ... Kakila's throat skills are actually no strangers to us. When we are clearing our throats, even when we are pretending to be monsters when we are young, we will inadvertently use this part; That's our fake vocal cords. " . Before entering Kakila's formal practice, you should clear your throat, cough or pretend to roar to experience Kakila's vocal feeling. However, it must be pointed out that "clearing throat" and "coughing" are not effective practice methods to master kachira. To master kachira, you should do it through regular practice.

Note 5: The author's practice method here is largely inspired by Mr. Zhou Risheng's introduction of "hidden throat sound". It can be concluded that practicing Tibetan laryngeal sounds is one of the effective ways to quickly master bubble sounds and Kakira's vocalization. Attached here is the relevant part of Teacher Zhou's article, which practitioners should take as a key reference: "In Tibetan Buddhism, there is another kind of throat, which we call Tibetan tantric throat singing. Although it is the same throat as Humai, there is a difference between them. This difference is mainly manifested in: Tibetan tantric throat singing: as lucky as the lead singer of Death Metal, using throat, using the * * * sound of chest cavity, mouth cavity and even skull cavity to make a deep, grand, mysterious and majestic sound, making the body feel that it is vibrating and making a big cat-like roar. The overtones can be as low as 200 Hz. It is characterized by small, chaotic and long sound particles. In practice, the sound comes directly from below the Adam's apple, and there is nothing wrong with the tongue, which does not push the upper jaw, press down or contract the base of the tongue. The way to exhale is to exhale forcefully, thoroughly and directly from the abdominal cavity through the throat, as alcoholics often do after drinking. Then stretch this roar as long as possible, turn it into a long sound as deep and thick as possible, and make it mysterious and abstract. Pursuing low, big and strange timbre is a kind of accomplishment. You usually have to practice until your throat itches and you cough until you lose your voice. After a few days' rest, you begin to have the prototype of your own voice. According to records, clouds are good at making this sound. People make a sound in the room, and even the window paper will vibrate. " (Zhou Risheng).

Note 6: Mr. Cai introduced Kakira's vocal principle in detail in his paper: "First, make the false vocal cords close together. Usually the two false vocal cords are far apart, so they don't vibrate. Only by bringing them closer can they vibrate. Second, let the false vocal cords relax and let them vibrate at the frequency of f0 /2. Third, make the amplitude of the false vocal cord large enough so that the false glottis can be closed every time it vibrates. " False vocal cord is a bad vocal vibration system, because there are too few muscles and nerves in this position to control its tension. Usually, trying to close the distance between two false vocal cords will cause the false vocal cords to be tense and unable to vibrate greatly. Therefore, it is a bit difficult to relax the two false vocal cords, which is also the challenge of Kakila's technique. "However, for general practitioners, it is difficult to grasp what a false vocal cord is and where it is. Secondly, the control of false vocal cords is very difficult; In addition, bubble sounds are easy to make mistakes. Therefore, by learning what Teacher Zhou said about hidden guttural sounds and practicing in a similar way, we can bypass these theoretical obstacles and quickly master the vocal skills of Kaqila.

Note 7: Generally, when we pretend to be a monster and roar, in order to make a bass sound, we try to hold our throat tight and make a sound, and the vocal cords will have a tearing feeling, which is very easy to fatigue and congestion. Correct kachira, throat tension is to assist the vocal cords to make real sounds, and the bass parts (that is, throat sounds and false vocal cords) do not need throat force. Therefore, Kakira's speech is not easy to get tired, and it is a massage for vocal cords. Long-term practice can obviously improve the low, medium and high-pitched sound quality of practitioners. Speaking is not easy to get tired, which can be used as a criterion to judge whether to master Kachira. In addition, referring to Mr. Lin Junqing's throat practice, that is, starting from the bubble sound of the false vocal cords, its massage and improvement effect on the vocal cords is very similar to Kakila's.

Note 8: On the basis of laryngeal vibration and false vocal cord vibration, nasal, mandibular hum and oral hum are generally naturally superimposed (the vocalist can feel that all parts are involved in the vocal vibration, and even the nasal alar can feel the vibration), so that 3-4 kinds of mid-bass and overtones can be produced at the same time. Therefore, the sound level of Kachira can be extremely rich.

Lesson 3: Sygyt: A flute-like whistle.

Singers in Renyun Tuwa often say: Without a good Humai, there is no good Qiqi. Please practice Humai before entering Si Qi.

2. 1 basic steps

1. The tongue naturally rolls up, the back of the front of the tongue is attached to the upper jaw, and the mouth is closed. At this time, the tip of the tongue will move backwards, and the tongue will naturally roll in the mouth. At this time, from the side, the shape of the tongue should be like an "O" shape with an inward notch, so that a small "horizontal drum-shaped" singing room is formed between the inner side of the tongue and the throat.

2. Open your mouth slightly, still keep your tongue rolled up to the upper jaw, pursed your lips slightly forward, and pronounce a vowel between "U" (Ukrainian) and "E" (ur) in a natural voice with a slightly louder voice. At this time, you will feel a * * * sound behind your tongue, making a hollow sound similar to that made when blowing into the mouth of a small glass, that is, ".

3. Keep practicing, constantly and carefully adjust the lips, tongue and mouth during the practice, and fine-tune the cavity to make the cavity sound brighter and more condensed, which is called "silk gas".

4. Standard Four Tones: When you make four tones in a natural voice to a certain extent, you can enter the standard four tones and make four tones by holding your throat. At this time, Siqi's whistle will be more concentrated and brighter. Please practice again and again.

2.2 technical points

1. During the whole practice, it conforms to the natural relaxation state of the tongue and oral muscles, so don't be nervous. At the same time, use normal vocal cords to produce pitch.

2. Tongue shape: When you open your mouth, you may feel the front of your tongue moving slightly forward against the upper jaw. At this time, you can try to breathe through your mouth (exhale from above your tongue), which will make it difficult to breathe. Open your mouth wider and breathe through your mouth (breath comes out of your throat and exhales from the tip of your tongue), and you will find that breath will exhale from both sides of your tongue. This tongue shape is the tongue shape of the whole exercise. But you can change the shape of your tongue later.

3. The vowel between "U" (Wu) and "E" (E) is similar to the inverted E sound of the English International Phonetic Alphabet. When pronouncing, the mouth is wider than "U" and smaller than "E", and the lips are slightly pouted.

4. When pronouncing vowels, pay attention to carefully and subtly adjusting the lips and breath, so that the breath will be concentrated in the "drum-shaped" * * singing room behind the tongue (imagine the feeling of blowing a cup), singing more effectively, and the overtones will become bigger and brighter.

5. In Qiqi practice, the effect is the same whether the tongue is rolled or flat (the upper jaw is attached before the tongue). However, because the flat tongue sound is not easy to relax in the early stage of practice, and the front part of the tongue will leave the upper jaw from time to time because it is not used to it, so the author recommends using the rolled tongue. After the tongue is used to sticking, whether to use a flat tongue or a rolled tongue can be chosen by the practitioner according to the sound effect.

4. 1 Key points of understanding sound practice and control 1. The overtone is not made, but Humai obtained by separation and amplification. The main feature is "two tones", mainly from "overtones" (Kakila is an exception). It has been introduced in the preparatory stage: in the acoustic principle, the sound we normally emit itself already contains pitch and various overtones, but these overtones are mixed with pitch and cannot be heard. The most important point must be clear: Humai singer did not create "extra" overtones beyond the pitch, but skillfully adjusted the tune of * * *, separating the overtones from the pitch, or separating the overtones from the mixed sounds, just like a stream of water being split in two and then amplified by the sound of * * *. 2. Keep practicing with a natural voice. Humai practice is not "dangerous", because overtones are not made, but are precipitated and amplified through the adjustment of sound cavity, so the key to practice lies in the adjustment of sound cavity-that is, the adjustment of mouth, tongue, lips and jaw and its miniature and exquisite structure. The purpose of practice is to form this miniature and exquisite singing cavity structure. The volume of the pitch and how the pitch is produced ... will affect the volume of overtones, but will not affect the effect of the * * * sound itself. Practical experience shows that overtones can be emitted well, whether loudly or quietly, whether the throat is slack or tense. Many experienced people have mentioned the danger of practicing Humai. Most of this danger comes from improper use of the throat and vocal cords, such as: covering your throat and making too much noise. Now we know that these inappropriate vocal methods will affect the pitch, volume and timbre, but it has nothing to do with the adjustment and improvement of the * * * cavity and whether the overtones can be emitted effectively. Therefore, we must adhere to two points: 1) First, we must adhere to the use of natural voice, normal or light volume, keep the throat and vocal cords in a normal state of relaxation, and do daily exercise. It must be pointed out that daily practice and formal singing are not necessarily exactly the same, just like physical training and competition. As long as you practice * * *, it doesn't matter what kind of voice you use for formal singing. 2) Secondly, insist on using abdominal breathing control to adjust the sound. Practitioners who have not been trained in vocal music breath should repeatedly experience the feeling of deep breathing in which the abdomen and chest participate at the same time before practice, and experience the smooth and coherent feeling of breathing up and down, and try to use this feeling to control the breath in practice. As long as these two points are well adhered to, there will be no danger in practicing Humai. On the contrary, humai practice of various natural sounds (including true vocal cords and false vocal cords) is helpful to improve the timbre and sound quality of practitioners.

3. The overtones of the three basic points forming the compact structure of * * * depend on whether the compact structure of * * * cavity is good enough. Emphasis on "micro-refinement" means that it is not simply determined by mouth, tongue, teeth, jaw, etc. It is even related to the surface convexity and concavity and texture of these vocal parts in a microscopic way. Many people have whistled, even if the technical points are all right, it still takes a long time to whistle loudly, which shows that this kind of practice improves not the technology itself, but the microstructure of the vocal parts. The three basic points to effectively form this structure are: 1) Accurately grasp all the technical points explained in the tutorial. Including the position of mouth, tongue, teeth and chin, the exertion or relaxation of muscles in all parts ...; 2) Take the initiative to make subtle adjustments in practice, experience the changes of sound, master the microscopic details that are difficult to convey in many languages, and find the most effective way to make sounds; 3) Continuous but moderate practice, supplemented by ideas, ideas are of great help to the formation of micro-fine structures.

4, continuous practice, there is not only one overtone, but many. In the basic knowledge of overtones in the preparatory stage, we also know that overtones are not only one frequency, but multiple frequencies. Or not just one overtone, but many, many overtones. In the process of continuous practice, the first one may be the easiest to precipitate and enlarge; But with the practice, those overtones that are not easy to precipitate and amplify will gradually precipitate. So with the progress of practice, we will find that overtones appear one after another, and the frequency is getting higher and higher, the timbre is getting better and better, the volume is getting louder and louder, and the sound is getting more and more condensed. This is particularly evident in Si Qi's practice. Slight adjustment of sound components may change from one overtone to another. The only way to distinguish these different overtones is to keep practicing.

4.2 Practice Progress and Time Schedule According to the method of this tutorial, the normal learning time for fully mastering the three basic humai singing methods should be between 2 and 4 months. 1) Beginners should effectively capture overtones within 1 ~ 3 days, and then continue to practice for at least two weeks. If the daily practice time is less, it should be extended appropriately. It is suggested to practice overtone until the sound is stable, the timbre is bright and free of impurities, and the volume is high, and then start the follow-up practice.

2) It is suggested to start Kakira in one month. Kakila should be mastered in one week, and Kakila should be stable in 1 ~ 2 weeks.

3) It is recommended to practice Si Qi in two months. A good Humai can be of great help to the West, so it is necessary to strengthen Humai properly before entering the West. Practitioners should get a correct sense of silk gas within one week (that is, confirm the correctness of the method), then strengthen the voice within 2 ~ 3 weeks, and get stable and good quality silk gas within one month. Special note: regarding the practice sequence of kaqila and Qiqi, some data show that many people are first Qiqi, then kaqila. However, the author recommends Kakila first, and then Qi, for reasons not detailed.