买琴买鼓,就找魔菇!

 找回密码
 注册
搜索
查看: 10155|回复: 38

给做主唱和和声的贝斯手一些帮助

[复制链接]
发表于 2009-10-26 16:25:00 | 显示全部楼层 |阅读模式
吉他中国微信公众号
转载自TB,非常好的一篇文章,甚至可以做入门级主唱的指导文件了。本来想翻译好再发上来,实在没时间+懒,希望坛子里的牛人能出手相助。

A Bassist’s Guide to Singing

Sing? I’m a bass player, why should I sing? If that is the case, there’s no need to fret. You can do it. Maybe you’re not forced into singing. You just want to expand your musical abilities by picking up some vocal skills. In either case, singing improves your value as a musician, and it will improve your overall musical abilities.
I’m not writing this because I am a great singer, because I am not. Singing did not come easily to me. I wasn’t endowed with natural talent. But because of this, I really had to learn to sing. I had to take a deep look into how to sing, and how to improve. Because of this ordeal to my self esteem, I have a better understanding of how to sing than those who sing naturally. I still have room to improve, but I can sing in pitch and get compliments now and then from someone other than my mom.

How a sound is made
You’ve probably heard it hundreds of times how the voice is an instrument. That’s because it is. Let’s take a look at the voice as an instrument by comparing to our favorite instrument – the bass.
The vocal chords are like the strings on your bass. Like strings, when they vibrate they make sound. The breath is like your plucking fingers. When you pluck the bass string, it will vibrate, thus making a sound. Your chest, nasal cavities, and mouth are the tone woods on the bass. The woods in the body and neck resonate to enhance the sound of a vibrating string. In much the same way as the type of wood affects the sound of the bass, various parts of your body also affect the sound of your voice. The lips, tongue, palette, etc. are the fretting hand. The fretting hand controls what note you play, while the various doodads in your mouth determine what words or sounds you make.

Elements of Singing
I look at singing as 5 parts.
1) Vocal quality – The timbre and tonal characteristics of your voice. This is what separates Barry White and Axle Rose. They can both hit the same note, but each will sound different. It is the thing that will make you unique as a singer. Some say this is something that you’re born with, others say it can be developed. I say, it can be developed but only to a limited degree. You’re pretty much stuck with what you got and have to learn to make the most of it. If you only have one bass, you’re going to have to learn to pick in different places to affect the tone coming out of the amp.
2) Range – This is the highest note you can scream, and the lowest note you can growl. All of us are born with a limited range, but you can extend it through training. You don’t have to have an amazing range to be able to sing effectively. But, you do have to know the limitations of your range and how to work within them.
3) Pitch – The notes that you sing. This is the most important aspect of singing. If you don’t hit the notes, then no matter what your range or vocal quality it will sound bad. If you don’t think pitch is important, next time you jam with your band, play ½ step lower than what the rest of them play. Even if you don’t have amazing range or great vocal quality, you can still hit a pitch. In your most limited capabilities, you can still do the most important thing right.
4) Articulation – The words you say and the sounds you make. Sometimes you don’t care if people can understand your lyrics, but you should at least try to make the tone it makes articulate. However if you do, this is a crucial aspect of your singing. In the same way you can slop the notes of a bass together, you can also slop the words of a song to some Hamburglar robble robble. The problem is that neither sound good. A phrase in music or lyric should be understood and clear. Otherwise, it’s just some jumbled mumbled noise, on bass or voice.
5) Rhythm – The timing of your singing. A singer who is off time, is as bad if not worse than a drummer who is off time. A singer who doesn’t come in at the right time, or cannot time their phrases in sync with the band will throw the whole band off and confuse listeners. As a performer, it’s crucial to come in at the right time, cut out at the right time, and sing along to the beat. The singer has to follow the beat as much as the bass player does.


Getting Started
Now that we have the fundamentals of a voice, let’s get into singing itself.
The first thing to do is get an idea of what you have to work with. Find out what your vocal range is. Like I said earlier, you don’t have to have an amazing range to sing effectively. However, you do need to know your range. Find out the highest note you can sing without sounding like tortured cat. Find the lowest note you can sing without sounding like your father when he gets out of bed. Somewhere in between those ranges of bad sounds is your singing voice. That’s what you got, so work with it!
The next thing to do is to identify your vocal quality. Do you have a throaty voice or a smooth one? Do you have lower timbre or a tone that cuts through glass? Identify this and you’ll get an idea of what kind of material your voice is suited for. Even though I’d love to sing like soulfully like Marvin Gaye or gravelly like Howlin Wolf, I’m stuck with something sounds like more like Barry Manilow or Frank Sinatra. It doesn’t mean that I’m stuck doing show tunes, but it does give me an idea of what kind of sound I can make and how it will fit in with the rest of the band.

Basic Vocal Technique
I’m not going to delve into the intricacies of vocal technique. We all have different physiology, so, what works for one, won’t necessarily work for another. A vocal coach comes in handy for this. They can work with your individual voice and body type to get the most of it. Please don't discount vocal technique. In the same way that improper technique could damage your hands or affect bass playing endurance, it can also affect your ability to sing as well as how long your voice will last.
The first element is posture. The breath is like your plucking fingers. In the same way you don’t want to restrict the ability of your fingers to move, you don’t want to impede your breath. Stand or sit straight up. Puff out your chest so that your body’s resonating chambers are open and ready to fill with sound. Raise your chin up so that the throat is not constricted in any way. The flow from your chest to your mouth shouldn’t be impeded in any way.
The next element is projection. Sing from your chest, not your throat. Singing from the throat will not only reduce your projection, it will also tire your voice out faster. A lack of projection will also affect your ability to sing in tune. Singing from the chest is not difficult to do. As one vocal coach told me, sing the way a cheesy radio announcer speaks. If you do that you should feel something in the back of your throat, as well as vibration in your chest. To see if you are doing this right, put your hand on your chest, about 2-4 inches from the bottom of your throat. If you can feel vibration in your chest when singing a lower not at low-medium volume you are doing it right. If not, you are singing from your throat. Play around with your voice until you can get this right. If you can’t do it on your own, find a vocal coach to help you do this. Also, use your mouth to improve projection. Sing with your mouth open.
Your mouth is a wah-pedal that changes the tonal characteristics of your voice depending on how open it is. Play around with opening and closing your mouth in various ways to see how your projection and resonance change.
Another element is breath. Remember to breathe! It’s amazing how amateurs can sing without breathing. If you don’t breathe, you have nothing to make your vocal chords vibrate. Relax your abdominal muscles, and breathe from your ribcage. If you’re tense, then it becomes hard to breathe. Relax and let your body do the work it takes to breathe.
An often forgotten element of proper technique is confidence. It's not so much a technique as it is an attitude. Either way, confidence is key to effective singing. If you don’t have confidence, all the other elements quickly become negligible. In that same way that not fretting with enough strength results in buzzing strings, not singing with confidence will result in poor vocal tone. Singing is a challenge to your self confidence because you only have yourself to blame when you don't sing properly. You can’t blame it on your instrument. Well actually you can, since you are the instrument. The best way to improve your confidence is to improve your ability and to be prepared as a singer. Relax, and be sure of yourself.
Pitch and articulation are other elements of technique, but I’ll get into that in later sections.


Pitch
Being able to sing in tune is the most important thing you can do as a singer. Even if you have a voice that sounds like Freddy Mercury, if you are out of tune, it will still sound like crap. Your first and foremost job as a singer is to sing in tune! It doesn’t matter if you are a lead singer or backup vocalist, you have to sing in tune.
Once you get all the elements understood, you have the basic building blocks to singing in pitch. As a bassist you already have musical knowledge, so you’re a step ahead of the average beginning vocalist. Music theory is great because it can apply to all instruments. Take what you know about the bass, and apply it to singing. It’s that simple.
You also have a great tool to aid in learning to sing – your bass. So let’s use the bass to be able to sing in pitch. All you need to be able to do this is to be able to tune your bass without a tuner (i.e tuning via harmonics, 5th fret, etc.). If you can’t do this, take some time off and work on your ear using your bass only.
Find a note that you are comfortable singing on the bass. I find ‘C’ to be a good place to start. Play the note on the bass and then sing it. It might take you a while to find a good starting note. Move up and down the fretboard until you find a good place to start. Once you found your spot, sing along with the notes you play on the bass. Each time that you hit the pitch, pay close attention to things going on in your body. How does your throat feel? What kind of shape does your mouth make? What does your chest feel like? Since the voice is not a visual instrument like the piano where the notes are laid out, you have to pay close attention to what your voice is doing. BTW, singing is a great way to improve your ear.
From here play a chromatic scale, and sing each note as you play it. Hold the note on the bass until you hit the pitch. After you’ve hit the pitch go to the next note. Take note of the changes in your body when you go from one note to another. This will help you to be able go from one note to another when you don’t have a bass handy to match your pitch to. Really comes in handy when the vocal monitors blow up mid gig. After you’ve done a chromatic scale, play a major scale and sing along with those notes. Then go into a minor scale.
After you’ve gotten your scales down, work on your intervals. Play the notes of a major chord and sing along to the root, third and fith. Do the same for minor chords, 7th chords, and minor 7th chords.
If you’ve gotten your scales and chords intervals down, you can challenge yourself by working on harmonizing. Play a C on the bass and sing the third (E). If you can’t get the 3rd by ear, play it on your bass and match the pitch. Once, you’ve gotten one harmony down, challenge yourself by playing a scale on the bass, while singing the harmony note to each note played on the bass. After you’ve mastered singing the third, try other harmony notes like the 5th, minor 3rd, 6th, etc.

Articulation
Articulation is what makes one note or phrase distinct from another. Vocals are unique because articulation not only involves notes, but words as well. Obviously timing within phrases is important, but the actual vowels and consonants make a difference as well.
Here’s some basic things that help develop articulation. Using the exercises in the previous section and modifying them, we can improve our articulation and pitch at the same time. When you’re practicing pitch, sing the various vowel sounds. A common exercise used by opera singers is to sing “may”, “mee”, “my”, “mow” and “moo”. So sing a scale using just the “may” sound, and then do it with the rest of the “m” words. Then sing scales using a combination of the sounds.
After you’ve gotten the various vowel sounds down, try using different consonants. First use soft consonants like “m”, “r”, “z” and “f”, and then try hard consonants like “b”, “p” and “d”.
After you’ve gotten that part down, work on articulation of phrases. Do that in the same way that you learn a lick on bass. I won’t go further in that, since you guys already know how to do it on bass. If not, find someone to help you do that on bass first.


Songs
Ok, we’ve done the boring stuff related to scales and technique. Now it’s time to move on to something practical – singing songs.
The most important thing in singing a song is pitch. The next important thing is timing. The one thing that can throw a band off more than anything is coming in at the wrong time. Talk about a groove killer. But as a bass player, you’re already familiar with locking in with a drummer and complimenting the guitar/keyboard player/etc. Apply that to singing and you shouldn’t have a problem. If it is a problem, listen to a song and get a feel for the song as well as certain points of a songs like when the chorus starts, or a riff that identifies the beginning of a new section.
One of the keys to singing a song effectively is adapting your voice to it. Your particular vocal range should fit the song. In the same way you don’t learn Teen Town as your first song on bass, don’t start out singing the first side of Operation Mindcrime. Sing simple songs that don’t require much range. Songs by the Doors, Jimi Hendrix, or Bob Dylan are songs that don’t require much range to sing effectively. If you have a higher timbre, songs by the Ramones or Motley Crue are easy places to start too. If you want to improve your singing rhythmically, you can’t lose if your start out singing James Brown.
Another thing to pay attention to is how your particular voice fits in with a song. A voice that is in the low to middle range could get lost easily in a sea of distorted guitars. A voice that is high can get lost in a barrage of crashing cymbals. The voice is another instrument that needs to mixed properly with the rest of the band to make a song work. Listen to the band, and then fit your voice with them. If your voice doesn’t fit, see if the band can make adjustments to accommodate. Many times it is easier for the rest of the band to change their key or arrangement than it is to alter your voice.


Performance
Many of us are confident standing behind the bass, but lose it when it comes to standing behind a mic. As I said earlier, if you don’t have confidence, then you will have a hard time as a singer. There's a reason why many singers are egotistical - they are confident and pay alot of attention to themselves.
Making eye contact is essential to engaging the audience. If this is hard for you, look above the audience, or an object within the audience. You may find it easier to sing to a table or glass than a person. Also, depending on the stage, if the lights are shining directly on you, it makes it hard to see the audience.
Of course, practice. Nervousness is a function of preparedness. If you're prepared, you're less nervous.
Most of all, get over yourself. Seriously, nobody is paying attention to you as much as you are. Even though singers tend to be the focus of attention, you'll find that you are paying attention to yourself the most. When you pay too much attention to yourself, you become self conscious, which leads to doubt or pompousness. Focus on the music and how your voice fits into the big picture.

Microphone Technique
Using the microphone is an overlooked element of singing. There was a time when I couldn't sing with a mic, but I could sing just fine in an acoustic situation. After years of practice, I can sing just as well in either situation. Part of it was relying on biofeedback (i.e. feeling in the vocal chords, chest expansion,etc.) as well as what I hear in the monitors. The rest of it was learning to use the mic.
I for one don't agree with eating the mic. You can't articulate your words and phrases when a grill is pressed against your lips (plus if things aren't grounded properly, you can get one hell of a shock). I used to do that until friends told me that I sound like I have a ham sandwich in my mouth when I sang. Take a look at any good vocalist, and you'll see they they rarely "eat the mic". Eating the mic is equivalent to ham-fisted playing on the bass - plenty of volume but no articulation. Eating the mic makes up for lack of projection from your voice. If you project well, you can sing further from the mic and still get all the volume you need (assuming the soundman is taking care of things).
To add more bass to your voice, sing closer to the mic. To take off some bass and increase the highs, sing further away from the mic. A good place to start is about 2-3 inches from the mic. If you can't be heard, ask the soundguy to help out.
For lead vocals, singing closer to the mic is needed. If you are singing backups, sing further away from the mic (4-6 inches away). Of course this all depends on the mic you are using as well as your voice itself.

Singing and Playing the Bass at the Same Time
OK, this is the thing that you guys are probably most interested in. You’re not gonna give up bass for singing. Plus being an egotistical singer is an anathema to our wise low-end nature. But for whatever reason you gotta sing, and play bass. So here’s some tips.
- While you are singing, try to stay in one position. Reduce the amount you go up and down the neck. Doing this will reduce the amount you will look down to see what fret you are hitting as well as the likelyhood of moving to the wrong note.
- Work on your plucking hand. The plucking hand is what locks in with the drummer, provides the pulse, and pumps the groove. Missing with your plucking hand is more noticable than missing with your fretting hand. Practice plucking eighth notes, quarter notes, syncopated plucks, etc. If you are a finger picker, while you are singing along with the song on the radio in the car, tap out the pulse of the song with the index and middle finger of your plucking hand on the steering wheel.
- Memorize some generic patterns with your fretting hand. Learn patterns for funk, rock, blues, etc. The patterns should be moveable, i.e. a pattern played on the E and A string can be moved to the A and D string, and a pattern played on the 3rd fret could also be played at the 5th fret. From there it's just a matter of learning the changes of a song and adjusting those patterns to them. The advantage of singing along is that you'll know when the changes are coming.
- Use your vocals to cue your bass playing. The other tips are to help with independence, this one is for interdependence. Use a note or word to trigger the note you are going to play on bass. For example, when the first word of the chorus is sung make a mental note to play "X". Practice this and let your vocals and bass work together. It's sort of like how the two hands of a pianist work together. It will also make remembering bass lines and lyrics easier because you'll have another thing to associate them with.

Now, you have the basics of singing and ideas on how to develop it. So go and sing!


First, what voice is: Voice is created by air passing through the vibrating vocal cords. The vibrations creates a buzzing that resonates throughout the throat, mouth, and nose. When we change the shape of this chamber different sounds are made.

The diaphragm is the muscle at the very bottom of the lungs. By expanding it with inhalation, it pulls downward and pulls air into the lungs by causing a vacuum. When we exhale, the diaphragm relaxes and the air escapes. Many people do not utilize their diaphragm properly and rely more on their chest muscles to expand the cavity to bring in air. This works but it is not very efficient and is more work than it's worth. The trick is to getting the diaphragm and your voice to work together like a well-oiled machine. The air comes from the lungs which are essentially like a bellows which is the squeezy thing used to "pump up" a fireplace. If you think about it like that, diaphragmatic breathing is a little easier to understand. It is easier to get the air really moving if you were to use the handles at the base of it as it was intended. It is much harder to use if you try to squeeze it from closer to the tip where the air comes out.

We're taught to lift with our knees and not with our back. That takes practice. Think of it the same way with breathing and speaking. If your power and strength comes from below (the knees or the diaphragm) and not from above (the back or the chest/vocal cords) you minimize the risk of injury to the higher, less stable parts.

Using the voice is an exercise. AS with any exercise, it's very important to warm up. Do some neck stretching. Move the head in all four directions and in large and small circles. Massage your throat, neck, and facial muscles. Do some scales to get the cords moving and stretching.

Some exercises that are useful for the diaphragm: Practice laying flat on your back with a telephone book on your stomach. Watch the book as you breathe in and out. Does it move up and down? If it does, you're on the right track to efficient breathing. If it doesn't, you need to work on it. Remain lying down and try to raise the book up by inhaling deeply. Don't just push out your stomach, make it be the very act of inhalation that raises it up. It should go back down as you exhale. Get used to breathing in this manner. Start adding voicing to the process after you get a good feel for what the diaphragm should be doing.

If you really want to strengthen it, lean your stomach over the back of a kitchen chair (pad it with a pillow or towel if you have to) and slowly lift the weight of your body back by breathing in in the same manenr you were lifting the telephone book. Don't use an exagerated angle when leaning over the chair. Be VERY careful and don't strain. It's not a good idea to add voicing to this exercise. You're likely to strain with your voice.

Make sure you are doing things to ensure good vocal hygiene. To do this, you need to stay hydrated...
Drink lots and lots of water. In fact, the only thing that is good for your voice, is water. Chamomille tea and honey are said to soothe the voice and they do, but tea also has a drying effect and honey just coats the cords with phlegm. We want to get to the point where you don't need relief from using your voice. Anything with caffeine (coffee, tea, soda) is bad. Alcohol is even worse. Carbonation is not good for the vocal cords. Avoid excessive amounts of salt and sugar. Avoid milks and juices that create/promote excessive phlegm. Despite popular belief, candies, mints, cough drops (again, temporary relief that will actually make things worse), and chewing gums all actually have a drying effect and are therefore not good for your voice. Smoking is the absolute worst thing you can do to your body and especially your voice. It is drying and drastically inhibits your breathing. I'm not saying you have to cut this all out completely but the less there is of it, the better off you and your voice are. If you are the full time singer of your group, you really need to watch what you put into your body.

Get in shape. As said before, breathing is a huge part of your voice. Make sure you are able to breathe easily. If you get winded walking up a flight of stairs, your voice will suffer because your lungs aren't up to par for singing. The better shape you are in overall, the less likely you are to get winded and lose that much-needed coordination between your lungs and your voice because you get sloppy and lose proper form when you're out of shape

Once your body is ready and you are warmed up and hydrated start with this exercise:
Say: One by one they followed him home.
One by one and two by two they followed him home.
One by one, two by two, and three by three, they followed him home. Keep adding to it as you go on.

Another exercise is to increase volume.
Say the vowels (A E I O U) softly, one at a time. Prolong each one for a second or two. Keep the pitch and the volume steady. Start off at a normal, but low volume level (don't whisper, that's also bad for you) and increase the volume slightly as you go through all five. Take a breath between each vowel. Be sure to monitor your tension levels, and stay relaxed. The key is to say them easily but loudly. You don't want to force anything in your vocal cords. Keep that glass of water handy.

The trick is to getting all of your volume to come from the diaphragm. Don't force it and work your way up to higher numbers. Make sure to take a good deep breath as often as you need to. If you feel like you are running out of air, you're not breathing enough. A good way to see proper ways of breathing ar to pay attention to the breating patterns of news anchors and DJ's on the radio. You should remain nice and relaxed particularly in your throat. Remember the only place that should be exerting any type of force is from your diaphragm. If you start getting dried out, drink some room temperature water. If you start to get tired, STOP. If you feel any pain, burning, or discomfort, STOP and let your doctor know.

With all of the exercises above, you need to take your time. Be patient. Practice all the time but don't ever push it ir force it. Don't go out of your comfortable pitch range or volume. Get a voice coach if you have to.

It should go without saying but keep in mind that yelling and screaming are also big no-no's. There is no right way or even better way to do it. If you are in a screaming band you're really doing serious damage to your voice. The big name acts that do it all have big record companies behind them that are willing to get them surgery every so often to remove the vocal nodules from their vocal cords. You probably don't have that luxury. They also tend to become more melodic in their singing (if they can) after they realize the damage they are doing.

Remember that all of this also goes the same for speaking. Your diaphragm should be the source of all your vocal volume power. We, as musicians, tend to be in noisy environments, especially in clubs and bars where we often have to yell to be heard over the crowd and/or the music. Using our voice correctly at all times, and not just on stage will be of utmost importance to maintaining a healthy and strong voice.
头像被屏蔽
发表于 2009-10-26 16:50:45 | 显示全部楼层
提示: 作者被禁止或删除 内容自动屏蔽
发表于 2009-10-26 17:42:35 | 显示全部楼层
GC视频号
寻找一个金山快译~~
头像被屏蔽
发表于 2009-10-26 17:51:54 | 显示全部楼层
提示: 作者被禁止或删除 内容自动屏蔽
发表于 2009-10-28 08:56:54 | 显示全部楼层
胡乱翻了一下。
太长了,只弄了一半儿,后面的晚上再试试。大家批评。

贝司手唱歌指南

唱歌?我是个贝司手,为什么要唱歌?如果刚巧遇到这种情况,也不用担心。你可以做到。或许你并不是被迫要唱歌的,只是想通过收集一些声乐知识来扩展一下音乐能力。不管那种情况,唱歌都可以增长你作为乐手的价值,并且提高你的整体音乐素养。
我写这篇东西并不是因为我是个伟大的歌唱家,恰好相反,因为我不是。对我来说唱歌并不容易,我没什么天分。但是正因为如此,我才必须学习唱歌。我不得不仔细思考怎么去唱,怎么去改进。因为有了这种对自信心的严酷考验,我比那些天生唱得好的人更能懂得如何去唱。我还需要很多提高,但我已经能唱在调上了,并且时常从别人那里得到称赞,除了我妈妈。

声音怎么产生
你也许听过无数遍了为什么说人声是一种乐器。因为它就是。让我们通过跟我们熟悉的乐器-贝司的比较来看看为什么说人声是种乐器。
声带就像你贝司的弦。跟弦一样,它们在振动时发出声音。呼吸就像你拨弦的手指。当你拨弦的时候,弦振动发声。你的胸腔,鼻腔和口腔就是贝司的木头。琴身和琴颈的木头通过共振来增强弦的振动。基本跟木头影响琴的音色一样,你身体的不同部分也影响着你发出的声音。嘴唇,舌头等等就是按弦的那只手,这只手控制着你要弹奏什么音符,就像你嘴里的这些东西决定着你要说什么字或者发什么声儿。

唱歌的要素
我把唱歌看成五个部分。
1)音质-就是你声音的音色和特征。这是之所以Barry White不同于Axle Rose的原因。他们可以唱同一个音,但听起来却不一样。它正是使你成为独一无二的歌唱家的东西。有些人说它是天生的,另一些人认为是可以改善的。我觉得,音质可以改善,但只能在一定的范围内。你的确会被自己拥有的东西束缚着,并且不得不学着尽可能的利用它们。如果你只有一把贝司,你就必须学会在不同的地方拨弦来影响音箱里出来的音色。
2)音域-就是你能尖叫到的最高音和你能吼到的最低音。我们每个人生下来音域都是有限的,但是可以通过训练来扩展。你并不需要有那种十分出色的音域才能唱好歌,但是你一定要清楚自己的音域极限并知道怎么在这个范围内发挥。
3)音高-就是你唱的音符。这是唱歌最重要的方面。如果你走了调,那么不管你的音域和音质如何,听起来都会很糟。如果你认为音高没这么重要,下次跟你的乐队排练时,比别人弹低半个音试试看。即使你没有出色的音域和音质,你可以唱准音高。在你有限的能力范围内,仍然可以把最重要的事情做好。
4)吐字-就是你说的字和发出的声音。有时你并不在乎别人是不是听懂了你的歌词,但是你至少要尽量吐字清晰。而如果你在乎,这就是唱歌的一个关键方面。就像你可以把贝司的音弹的糊成一片,你也可以把歌唱成像Hamburglar(麦当劳的一个角色)的“robble robble”(它的标志语言)那样。问题是两者都不好听。音乐或歌词里的句子应该易于理解并且清晰。否则,它只是一些混杂的噪音,不管是对于贝司还是人声。
5)节奏-就是你唱歌的时间把握。一个唱不准时间的主唱跟一个卡不准节奏的鼓手一样或者更糟。一个主唱如果不能在正确的时间进入,或者不能跟乐队同步的唱出句子,将会毁了整个乐队并且让听众混乱。作为表演者,在正确的时间进,在正确的时间停,并跟着拍子唱是很关键的。主唱必须跟贝司手一样严格跟随拍子。

开始
既然我们已经有了一些声音的基础知识,让我们来看看唱歌本身。
第一件事就是想想你所具有的能用来唱歌的东西。找出你的音域。就像我前面说过的,要唱得好并不一定要有多么出色的音域,但你一定要知道你的音域。找出你能唱的最高音,折磨猫的那种不算。找出你能唱的最低音,别像你老爸起床时发出的那种就行。在这些不太好听的声音范围内的某个位置,就是你唱歌的声音了。那就是你所具有的东西,用吧!
接下来就是确定你的音质。你的嗓音是沙哑的还是光滑的?是低沉的还是刺破玻璃的那种?确定了这些,你就知道自己的嗓音适合什么歌了。虽然我很想像Marvin Gaye那么深情的唱或者像Howlin Wolf那么庄严的唱,我却被自己更像Barry Manilow和Frank Sinatra的嗓音束缚了。并不是说我不能表演了,而是我知道了自己能发出哪种声音并且怎么跟乐队的其他人相适应。

基本的声乐技术
我并不是要探讨复杂的声乐技术。我们都有不同的身体条件,所以对一个人适合的技巧并不一定对其他人适合。如果有一个声乐教练会比较方便。他们会根据你独特的声音和身体条件来使它们发挥最大作用。请不要小看声乐技术。就像不正确的技术会损伤手指或者影响弹贝司的持久性一样,不正确的声乐技术也会影响到你唱歌的能力和声音的持久性。

第一个要素是姿势。呼吸就像你拨弦的手指。就像你不想限制手指的活动能力一样,你也不愿意阻碍自己的呼吸。挺胸,来让身体的共振腔打开并准备好让声音进入。抬起下巴,这样喉咙就不会受压变得狭窄。从你的胸腔到嘴巴的气流不应该受到阻碍。
接下来是声音的投射。从胸腔发声,而不是喉咙。从喉咙发声不仅会降低投射力,也会让你的声音很快疲劳。缺乏投射力也会使你唱歌容易走调。从胸腔发声并不困难。一个声乐教练告诉过我,像一个潇洒的广播员说话那样唱歌。如果你这样做了,就会感觉到喉咙后部的一些东西,包括胸腔的振动。想看看自己是不是做对了,你可以把手放在胸上,大约距离喉咙底部2~4英寸。在你以低中的音量唱一个低音时能感觉到胸腔的振动,就做对了。如果不能,你还在用喉咙唱歌。随便唱点儿什么直到你能做对。如果你自己不能完成,可以找一个声乐教练来帮你。另外,使用你的嘴来提高投射力。唱歌要张着嘴。
你的嘴就像一个哇音踏板那样,通过张开的程度来改变你的声音特性。尝试用不同的方式张开和闭合你的嘴来看看投射力和共振是怎么变化的。
另一个要素是呼吸。记得呼吸!业余歌手可以不通过呼吸来唱歌是很让人惊奇的。如果你不呼吸,你就没有可以让声带振动的东西。放松腹肌,从肋部呼吸。如果你太紧张,就很难呼吸。放松,让身体做呼吸这件事。
一个经常被忽视的技巧是自信。与其说是种技巧不如说是种态度。不管怎样,自信是唱好歌的一个关键。如果你没有信心,其他所有的因素也很快都无足轻重了。就像按弦如果不够用力,弦就会嗡嗡作响一样,唱歌没有信心,声音就会很难听。唱歌是对自信的挑战,因为当你唱不好时只能怪自己。你不能怪你的乐器。不过其实也可以怪乐器,因为你就是乐器。提高自信的最好方法是调高自己的能力并愿意唱歌。放松,相信自己。
音高和吐字是声乐技巧中的其他因素,但我在稍后的章节中再说。

[ 本帖最后由 rockyli0021 于 2009-10-28 09:00 编辑 ]
发表于 2009-10-28 12:01:39 | 显示全部楼层
呃,感谢楼上。
发表于 2009-10-28 12:23:13 | 显示全部楼层
was thinking about reading the eng part, but since LS translated.. XD jst finish the chinese part
发表于 2009-10-28 13:07:51 | 显示全部楼层
午休继续

音高
能唱在调上是作为一个歌手能做的最重要的事。即使你有着想Freddy Mercury一样的声音,如果你走了调,那听起来也很屎。作为一个歌手你的第一
件也是首要的工作就是唱在调上!不管你是主唱还是和声,你都不能走调。

一旦理解了这些,你就有了唱准音高的基石。作为一个贝司手,你已经有了乐理知识,所以你比其他普通的声乐初学者提前了一步。乐理很重要,因
为它适用于所有乐器。想想关于贝司你所知道的东西,把它应用于唱歌。很简单。你还有一个帮助学习唱歌的伟大工具——你的贝司!所以让我们利
用贝司来练习音准。为了做到这个,你要能够不使用调音表为贝司调音(比如通过泛音和五度)。如果你做不到,花些时间来练习你的耳朵,只使用
贝司。

找出贝司上你能唱得舒服的音。我找到的是“C”作为开始的音。在贝司上弹出这个音,然后唱出来。可能要花些时间来找出适合你的这个开始音。在
指板上上下移动直到你找到这个舒服的音。一旦你找到了,就跟着你在贝司上弹出的音符来唱。每次你唱准了音高,就仔细体会身体上发生的变化。
你的喉咙感觉如何?你的口型是怎样的?你的胸腔什么感觉?由于歌声不是像钢琴那样的音符被列出来的可视乐器,你必须密切关注你的声音是怎么
出来的。另外,唱歌也是练习耳朵的一个好方法。

现在弹奏一个半音音阶,并唱出你弹的每个音。在贝司上保持每个音符直到你唱准,然后进行下一个音。当从一个音进行到下一个音时,记下你身体
的变化。这样当你手头没有贝司来校音时,仍能够从一个音唱到下一个。当主唱监听在演出中坏掉时,这真的迟早会有用。当你练习完了半音音阶,
弹一个大调音阶来唱。然后再试试小调。

当你熟悉了音阶之后,再练习音程。弹一个大和弦里的音,然后唱出根音,三音和五音。然后用同样的方法练习小和弦,七和弦和减七和弦。
当你练好了音阶和音程之后,你可以挑战一下和声。在贝司上弹一个C,然后唱出三音(E)。如果你不能通过耳朵分辨出三音,用贝司弹一下。当你
练好了和声,可以挑战一下这个:在贝司上弹一个音阶,同时唱出每个音的和音。当你能够熟练的唱出三音之后,试着唱一下其他和音,比如五度音
,小三度,六度等等。

吐字
吐字清晰是使一个音或句子区别于其他音或句子的因素。歌声是独一无二的,因为吐字清晰不仅仅关系到音符,还有词。句子内明显的顿挫是很重要
的,但实际元音和辅音的发音对清晰度也很重要。

这儿有一些帮助提高吐字清晰度的基础练习。把前面章节里的练习修改一下,就可以将吐字和音准同时练习了。当你练习音准的时候,唱不同的元音
。歌剧表演者通常使用的练习是唱出“may”,“mee”,“my”,“mow”和“moo”。那么把一个音阶先用“may”唱出来,然后再用其他的词。然后
用这些词的组合来唱出音阶。

当你练好了不同的元音,试试不同的辅音。先用软辅音,像“m”,“r”,“z”,和“f”,再用硬辅音,如“b”,“p”和“d”。
当你把这部分练好了,练习整个句子的吐字。就像在贝司上的速度练习一样,我就不多说了,因为你们已经知道在贝司上怎么做了。如果不知道,先
找人教会你这个。
发表于 2009-10-28 13:13:10 | 显示全部楼层
原帖由 jimliucn 于 2009-10-28 12:23 发表
was thinking about reading the eng part, but since LS translated.. XD jst finish the chinese part


  sorry about this ...
 楼主| 发表于 2009-10-28 13:51:04 | 显示全部楼层
哇,太感动了,我也翻译了,不过只是一小部分,谢谢你!
头像被屏蔽
发表于 2009-10-28 14:06:06 | 显示全部楼层
提示: 作者被禁止或删除 内容自动屏蔽
发表于 2009-10-29 08:52:24 | 显示全部楼层
上班前继续。。。


歌曲
好啦,我们已经完成了音阶和技巧方面的枯燥问题。现在是时候开始练些实际的东西了——唱歌。
唱歌最重要的东西就是音高。其次是时间。比任何问题都能毁掉整个乐队的就是在不正确的时间进入。也就是人们说的乐句杀手。但是作为一个贝司
手,你已经熟悉了与鼓保持一致并照顾到吉他、键盘等等。把这个应用于唱歌,你就不会有困难了。如果这对你确实是个问题,去听一首歌,并体会
歌的感觉,还有歌里的一些分界点,比如和声开始的地方,或者标志着一个新段落开始的即兴部分。
唱好歌的一个关键是让你的声音去适应它。你自己的音域应该适合这首歌。就像你刚开始学贝司的时候不会把Teen Town作为第一首歌一样,也不要一
开始就去唱Operation Mindcrime。唱一些对音域要求不那么高的简单歌曲。the Doors,Jimi Hendrix或者Bob Dylan的歌都不需要太广的音域。如果
你的嗓音比较高,the Ramones或者Motley Crue也可以作为开始学习的东西。如果你想提高唱歌的节奏感,练练James Brown准没错。
另一个需要注意的地方是你的声音如何去适应一首歌。在低音到中音范围内的声音容易被失真吉他淹没。高音又容易被嚓片盖掉。为了形成歌曲,人
声也是一种需要与其他乐器恰当混音的乐器。听一下乐队的声音,然后用你的声音去适应它。如果你的声音不合适,看看乐队是否能作出些调整来适
应你。很多时候乐队改一下调或结构比改变你的声音更容易。

表演
我们中大多数人站在贝司后面是自信的,可站在麦克后面就没自信了。就像我前面说过的,如果没有信心,作为歌手你会过得很痛苦。很多歌手都比
较傲慢是有原因的——他们自信并且非常关注自己。
眼神交流是吸引观众最基本的方法。如果这对你来说很难,就看着观众上方,或者观众中间的某个物体。你会发现对着一张桌子或者一支玻璃杯唱歌
比对着人唱容易。另外,根据舞台的不同情况会有所变化,如果灯光直射在你身上,就很难看到观众。
没说的,练吧。紧张度跟你准备的充分程度有关。如果你准备的充分,就不会那么紧张。
最重要的,忘掉你自己。说真的,没有人像你那么关注你自己。即使歌手容易成为关注的焦点,但关注你最多的其实还是你自己。当你过于关注自己
的时候,就会变得敏感,而造成怀疑和傲慢。把注意力集中在音乐上,还有如何让你的声音适应整副画面。

麦克风技巧
麦克风的使用是唱歌中一个被忽视的因素。我曾经有段时间不会用麦克唱歌,但我的原声唱得很好。几年的练习后,两种情况下我都能唱好了。这有
一部分依赖于唱歌时身体的反应和调整(比如声带,胸腔的扩张等),还有一部分依赖于我在监听里听到的东西。剩下的就是学习使用麦克了。
我属于不赞成啃麦克的一类。当麦克风罩被压在你的嘴唇上时,你是无法清晰的吐字的(另外如果接地不是很好,你可能会触电)。我以前常常这样
,知道朋友们跟我说我听起来就像唱歌时嘴里含着火腿三明治。看看那些优秀的歌唱家,你会发现他们几乎不会去“啃麦克”。啃麦克就像用蛮力弹
贝司——有足够的音量却不清晰。啃麦克可以弥补你声音投射力的缺乏。如果你的投射力不错,你可以离麦克远一点儿唱并仍能得到你需要的音量(
假设调音师也在协助你)。
要想在声音里多加些低频,就唱得离麦克近点儿。要想去掉些低频,增强高频,就离麦克远点儿。一个不错的位置是离麦克2~3英寸的地方。如果你听
的不是很清楚,请调音师帮帮你。
作为主唱,离麦克近一点儿唱是有必要的。如果你是和声,可以离麦克远一点儿(4~6英寸)。当然了这些也跟你使用的麦克还有自己的声音有关。

边弹贝司边唱
好啦,这也许是你们最感兴趣的问题。你不能为了唱歌放弃贝司。另外做一个自我的歌手与我们聪明又低调天性不符。但不管怎样,你都要边弹边唱
。这儿有一些窍门。
——当唱歌的时候,试着在琴上保持一个位置。减少在琴颈上的上下移动。这样做可以减少你低头看是不是弹对了品位的次数,也降低了唱错音的可
能。
——多练练拨弦的那只手。拨弦的手控制着与鼓的同步,提供着节奏和律动。拨弦的手弹错要比按品的手弹错更明显。练习八分音,四分音,切分,
等等。如果你是指弹的,开车跟着广播里的音乐一起唱的时候,你就可以在方向盘上用食指和中指敲出歌的律动。
——记住按品手的一些固定套路。学习放克,摇滚,布鲁斯等等的套路。这些样式应该是可移动的,比如弹在E弦和A弦上的套路可以被移到A弦和D弦
上弹,在三品上的套路也要能移到五品上弹。这样只需要根据歌曲的变化来调整应用的套路。边弹边唱的一个好处是你知道什么时候有变化。
——用声音来提示贝司。其他的窍门是用来练习独立性的,这个是用来练互相依赖关系的。用一个字或词来触发你要在贝司上弹的音。比如,当副歌
部分的第一个词唱出来时,记住弹一个“X”。练习这个,让你的歌声和贝司同步。这有点儿像钢琴家的两只手是怎么一起工作的。另外这也会使记住
bass line和歌词都变得容易,因为它们互相有了关联。



还差一段儿...

[ 本帖最后由 rockyli0021 于 2009-10-29 08:53 编辑 ]
发表于 2009-10-29 12:00:42 | 显示全部楼层
翻的太好了,收藏了。
发表于 2009-10-29 14:53:49 | 显示全部楼层
GC终于能上来了,楼上的那位强人半天没更新那就我来续吧………………


成,你现在已经基本具备了基础知识了,上吧!

首先记住,声音是空气经过并震动声带而产生的。震动会引起你的喉咙,嘴巴,还有鼻子一起共鸣。当我们改变我们的发生方式的时候就会产生不同种类的声音。

胸腔横膈膜是肺部底部的肌肉(真的假的= -)。因为吸气扩张的缘故,他可以把空气推进肺部。当我们呼气时,横膈膜会放松,气体逸出。很多人并不注意有利用自己的横膈膜,而是用胸腔去生硬地发声。这是有用,但是并不是很有效,有时候会事半功倍。下面的技巧是让你的横膈膜和你的声音一起向上了润滑油的机器一样工作。用你的肺来控制气息的方法就像水泵工作的原理一样。如果你仔细琢磨琢磨的话,横膈膜呼吸法是比较容易理解的。(后边好难用中文说出来……大家自己理解一下……)
我们之前一直在被教着用膝盖而不是背部站起来。你可以试着也用这个路子练练呼吸和讲话。如果你的力量来自于下半身(膝盖或者横膈膜)不是来自于上半身(背部或者声带胸腔)你已经减小了以后漫长练习过程中受伤的几率了。

如何驾驭你的声音也是个练习的过程。如同任何锻炼一样,热身是必要且重要的。伸展伸展你的脖子,前后左右四个方向转大圈转小圈转转你的小脑袋,按摩一下喉咙,脖子,还有面部肌肉。另外唱几个音阶让你的声带活动起来。
一些练习对于你的横膈膜很有用: 面朝天躺下,胃部上面放本厚书,在你呼吸的同时盯着这本书别动,书动了么?如果动了,你呼吸的方法是正确并且有效的。如果没有,你还得接着练练……继续躺着,试着用深呼吸把书举起来(就是说是更大范围的移动),别光让你的胃动弹着往上顶,注意是用深呼吸的方法,是呼吸。当你呼气的时候书会回到原来的位置上。试着习惯用这种方法呼吸。如果你感觉不错,开始尝试在这个过程中哼哼几声。

你要是真的想继续强化的话,让你的背部胃那个地方靠着椅子(必要时候垫个毛巾啊枕头啊什么的),慢慢地用你前面举那本书的方法提背。别瞎动弹,保持背部的角度。千万小心别过劳拉伤了。我想在这个联系中加上发声并不是个好主意。

为了确保你的音质,你得始终保持你的嗓子湿润……
和一大堆水。实际上,唯一能对你声音有好处的就是水,水水水水水。坊间传说菊花茶(无责任翻译,我实在不认识这个只能看近似……)和蜂蜜对你的嗓子可以起到缓解作用,但是茶实际上也有把你的嗓子搞干的副作用,蜂蜜实际上也只是把你的声带用粘液包起来这个恶心的效果。实际上,任何包含咖啡因的东西都是不好的,酒精更不好。碳酸饮料对声带没有好处。避免过量摄入盐和糖,也别喝牛奶盒果汁这种跟蜂蜜一个效果的东西。糖果啊咳嗽药水啊什么的(唉,短暂的爽只会让你的情况更糟……),连嚼口香糖也会让你的声音变干。吸烟当然是最TM牛逼的自虐方法。但是我并不是说让你完全戒烟什么的,我只是建议你这么做而已。如果你是全职歌手,你就需要注意一下到底什么东西进了你金贵的小身体。

持续地练习吧直到你完全适应了为止。像我之前说的,控制你的气息是唱歌的最重要的一部分。确保你呼吸的畅快,如果你学着像上楼梯 一样那么唱歌,你嗓子就该遭罪了,因为你的肺部不会得到锻炼,到好到去唱歌的地步。肺部和气息的配合是你最该注意的地方。

只要你的身体准备好了,就躁起来开始练习吧
说:
一个青蛙跳进水里扑通
一个青蛙两个青蛙跳进水里扑通扑通
一个青蛙两个青蛙三个青蛙跳进水里扑通扑通扑通
以此类推
(原谅我的自由发挥……)
另一个练习是增加你的音量的
柔和地说元音字母 (A E I O U),一次一个。然后拖音上个一到两秒。保持音高和音量地稳定。我建议你从正常但是微低的音量开始(别跟说悄悄话似的那样对你自己不好)慢慢地增加音量从头到尾说着五个元音字母。在每两个字母之间呼吸一下喘个气。记得放松放松再放松,让你能说的轻松但大声的关键就是你并不是强行让你的声带运作的,你得对他温柔点……拿杯水能随手润嗓。
从横膈膜出声才是最终锻炼目的。还是那句老话,强扭的瓜不甜,放松了。确保每次都是高质量的深呼吸。如果你觉得快没气儿了,那是你没呼吸够。听电台那些DJ和新闻主播怎么逼逼是一个很好的学习路子……你得保持你的嗓子在一个很不错并且是放松的状态。记得所有你需要用力的地方只有横膈膜。如果你渴了,喝点温水,累了的话就听下来吧。如果你觉得嗓子疼或者烧,总之不舒服的话,别练了看医生去吧。

以上的所有练习你都可以自己安排时间。保持耐心。勤加练习但是别强迫自己。注意力所能及,别逼着自己唱VITAS,如果必要的话找个老师。
讲到不用讲,但是得记着的事情就是瞎喊叫是一个很白痴的行为。瞎喊叫可是完全不对门路的事情。如果你在一个整天什么都不知道瞎叫唤的乐队里你就是在自毁前途。CD里电视上那些牛逼的这么整天瞎喊的人家背后都有牛逼的唱片公司,人家也愿意天天跑医院去摘了自己的那些声带小结,你可没这么牛逼。他们经常在发现自己耗不动了的时候开始走旋律路线。
记住你的横膈膜是你所有声音的力量来源。我们就像音乐家一样,在嘈杂的环境中(例如酒吧夜总会)这些不大声喊别人就听不见的地方也要用这种方法来说话。不仅仅是在舞台上,在生活中也要保持正确地发声方法,这会让你保持健康,也保持着一个有魅力的嗓音。

[ 本帖最后由 ttsilent 于 2009-10-29 15:36 编辑 ]
发表于 2009-10-29 15:02:35 | 显示全部楼层
发表于 2009-10-29 15:42:18 | 显示全部楼层
既然碰见这贴子我也说说吧……之前一直是主唱后来改弹贝斯,结果大学时候的团排的歌没人能唱只好我自己来,琢磨了半天,用拨片会比用手来得好,因为唱歌的时候我得注意控制自己的气息,这时候又得去控制自己的手指,脑子忙不过来……
个人觉得这个帖子写的只是偏流行的唱法,极端金属例如水喉哨喉这种由于本来大多数人唱声音就不大(当然我也见过哨喉真跟喊叫那么大声的变态……),你不用太注重于提高音量的练习。只需要注重自己的发声方式就行了。黑嗓发声方式不对的话你第二天嗓子就会发炎,而水喉死嗓这种你发生不对的话会觉得脖子疼………………
个人理解,以上无责任翻译,有错欢迎指正。
发表于 2009-10-30 07:37:51 | 显示全部楼层
强贴留名
 楼主| 发表于 2009-10-30 16:25:29 | 显示全部楼层
翻译的很精彩啊。我觉得发声的那部分还是很值得借鉴的,我以前唱过HARDCORE(年轻的时候),不会发声的时候嗓子真的会唱破,而且越喝水越糟糕。
最好的捷径还是多练,这文章只能起到让你避免走弯路的作用。引用论坛里一位忘记是谁的签名——勤奋出高潮。
发表于 2009-10-30 23:10:10 | 显示全部楼层
发表于 2010-11-28 12:51:47 | 显示全部楼层
发表于 2010-11-28 12:58:09 | 显示全部楼层
发表于 2010-11-28 13:14:59 | 显示全部楼层
好贴  感谢楼主和两位牛人
发表于 2010-11-28 13:50:28 | 显示全部楼层
学习!
感谢翻译!!

发表于 2010-11-28 19:55:41 | 显示全部楼层
感谢!!
发表于 2010-11-28 22:22:59 | 显示全部楼层
好东西!收藏了!
发表于 2010-11-28 23:48:30 | 显示全部楼层
强帖必须留名!copy下来慢慢研究了。
发表于 2010-11-29 10:46:34 | 显示全部楼层
歌唱的原理就楼主发的贴说的 ,是需要运用横膈膜的。至于怎么运用,这个问题在上百年前已经有人开始研究了。
发表于 2010-12-1 11:44:36 | 显示全部楼层
好帖子啊~建议置顶学习
 楼主| 发表于 2011-2-25 10:04:58 | 显示全部楼层
准备开始加和声了,老帖翻出来看看。
发表于 2011-10-14 15:37:20 | 显示全部楼层
这个稿子挺好·· 坛子里英语好的不少哈··· 谢谢了

[ 本帖最后由 太阳城 于 2011-10-14 15:39 编辑 ]
发表于 2011-10-14 17:21:43 | 显示全部楼层
发表于 2011-10-14 17:23:44 | 显示全部楼层
呵呵好贴子 顶起!~
发表于 2011-10-14 19:32:04 | 显示全部楼层
墙贴 比顶
发表于 2011-10-14 19:59:32 | 显示全部楼层
都是牛人,收藏了。
发表于 2011-10-14 22:44:23 | 显示全部楼层
支持翻译的! 简直就是为祖国的这一代和下一代贡献!!
发表于 2011-10-15 04:25:59 | 显示全部楼层
留插入。。收藏
发表于 2011-10-15 08:17:01 | 显示全部楼层
it make no sence...
发表于 2011-10-15 08:21:08 | 显示全部楼层
强帖~英语这种东西对我55555……复制粘贴……
发表于 2011-10-15 10:55:46 | 显示全部楼层
您需要登录后才可以回帖 登录 | 注册

本版积分规则

Archiver|手机版|小黑屋|吉他中国官方

GMT+8, 2025-2-1 07:55

Powered by Discuz!

© 2001-2024 Discuz! Team.

快速回复 返回顶部 返回列表