The trip starts from Yongliang land and checks in

Chapter 187 Specific Explanations
Articulation, as the saying goes, one minute on stage, ten years of work off stage. Professor Ye, the vice president of Zhongyin College, once pointed out that she sings the purest Mandarin.

Resonance, in addition to the speaking-like main singing method, her resonance is quite particular in popular songs, so most of her works have a very low volume, but the sound quality is very good.

Teresa Teng's most powerful technique is "treble and weak singing", that is, she can sing high notes from C5 to G5 with the strength and timbre that speaks to the natural voice area. Weak voice has always been the most difficult technique to master in vocal music.

If we expand it in detail, 1. Timbre: This needs no further description, it is sweet, clear, and at the same time does not lose tension, and the tone will be adjusted according to different works;

2. Breath: People breathe through their noses, but when we sing, if our breath is not deep enough, we will involuntarily use our mouth to breathe.The breathing method of her singing is different from that of ordinary pop singers relying on oral inhalation (loud breathing), but uses the exquisite nasal suction in bel canto opera to go straight into the dantian, so there is almost no sound of breathing.

3. Articulation: "One minute on stage, ten years off stage", Deng Lijun once practiced articulation in front of the mirror off the stage. Among the singing of popular songs, her singing can best embody the traditional singing art advocated The characters are straight and round.Professor Ye Xiaogang, vice president of the Zhongyin Institute, once pointed out: "Teng Lijun sings the purest Mandarin, which has a great influence on music teaching and music creation in Taiwan. Her pronunciation is sometimes in the front and sometimes in the middle. She is kind and natural. When guiding the rehearsal of bel canto students, her artistic handling will also be used as an example, which is very effective."

4. Resonance: In addition to the speaking-like main singing style, her resonance is quite particular in popular songs, so although the volume of most of her works is controlled at a low level, the sound quality is very good. Phoenix Satellite TV said in the [-]th anniversary program of Deng Lijun: "Her (Teng Lijun) voice must have undergone scientific and well-trained training, no matter what notes she will sing falsely.".

In the early days, her style was influenced by local operas such as Peking Opera and Huangmei Diao. She mainly focused on oral resonance. During the vocal singing training class, she learned bel canto from ** Yuan. During this period, Xu Yongzhao (Xu Riqin’s father), the father of HK jazz, first discovered that she had asthma. After his instruction, she quickly completed the bel canto from bel canto to The transformation of pop singing, and finally ended as No.20. (Reference link: Teresa Teng’s fellow apprentice tells you about things you didn’t know in those years_Enterprise Report) Few people know that Deng Lijun is also Dai Yuqiang’s fellow apprentice. Soprano Chen Yushen. In 60, Deng Lijun, who was only 1 years old, was brought to Mr. Chen for an audition.

Nasal cavity resonance is moderately used in the middle and low range in the middle and late stages, and the resonance method is adjusted in the treble range according to different works. For example, the treble range of "On the Water Side" "I would like to go upstream" uses mask resonance, and the sound is concentrated, clear and penetrating ; The later works resonate more with the head, such as the sentence "the swing in the cold" in "Unfeeling".

Professor Ma Renzhong, a vocalist living in Europe, once pointed out: "Teng Lijun has a solid foundation in vocal music, the treble is clear and transparent, and the oropharynx is well controlled."

Immediately, Zhang Xiao continued to introduce: "5. Treble: Teresa Teng's most powerful technique lies in "treble and weak singing", that is, she can sing treble and weak voices from C5 to G5 with the strength and timbre that speaks to the natural voice area. It has always been the most difficult technique to master in vocal music (no matter what kind of singing method). It is precisely because Teresa Teng's weak voice technique in the high register has reached the peak, she is often misunderstood by music fans who are used to strong bombardment as " There's no treble," which is really embarrassing."

"6. Vocal range: Although the vocal range is not Teresa Teng's strong point, it is by no means her shortcoming. Teresa Teng's voice can sing up to three octaves. Since the 80s, everyone's general impression of her is that her vocal range is not wide. A little more, no treble."

"In fact, Teresa Teng is the first female singer in the Chinese music scene who can use a real mixed voice to pronounce words continuously in the second voice-changing zone of E5 and F5 (probably not one of them). Interested friends can listen to her performance when she was 18 years old. "Carrying the Bride", a large part of the melody of the whole song is concentrated in E5 and F5. It was not until more than 10 years later that Su Rui used E5 in the episode of "Hitching the Wrong Car". Teresa Teng was also the first Chinese music scene to be able to sing in a song One of the female singers who sang a full 16 degrees (that is, two octaves plus a major second, nearly two and a half octaves) with a mixed sound range and sound quality without interruption. Her "Iveneverbeentome" is a dense D5 weak mix throughout the song, ending The natural and mellow transition to G5 still maintains a unified tone with the mid-bass and good coherence. Both LowC and HiC female voices. Since 16, when she studied vocal music systematically with teachers from the British Royal Academy of Music and the Scottish Opera House, Teresa Teng recorded the teacher's LowC to HiC voice training clips with a walkman. Since then, every time Before performing on stage, I will repeatedly practice the three-octave range from Low C (LowC) to High C (HiC)."

Chen Xi nodded and agreed: "Yes, Teresa Teng's bass appreciation, treble range C5~E5 (F5 when young) Teresa Teng's treble range B4~E6 full display

As the three musicians Yao Feng, Cao Junhong and Pan Anbang said: Her voice sounds soft and soft, but her vocal range is very wide. "

Zhang Xiao paused, and said: "7. The continuous influence of singing and style on the younger generations of the Chinese music scene: It is no exaggeration to say that 80% of the singing styles you can hear in the Chinese music scene are Teresa Teng. laid.

All in all, as Professor Yao Feng mentioned in the interview: "Teng Lijun's vocalization is very scientific, and there are so many things we can learn from, there is no one before, and there will be no one after."

Zhang Yan, a professor of vocal music at the Jin City Conservatory of Music and a young bel canto singer, also commented: In terms of voice, except for the throat tremors in some songs affected by neon performances, her breathing, articulation resonance, and vocal range are all excellent. Yes, is a very rare artist, she treats the art of singing purely and seriously, and is an artist we must always respect.

Let's explain in detail the essentials of Teresa Teng's songs:
Generally speaking, Teresa Teng's singing style is mainly popular, but she is not absolutely popular. The reason why many of her songs are beautiful and durable is that she uses both folk beauty and the essence of opera vocalization in some technical details. Inseparable.

(End of this chapter)