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Cathrine Sadolin
凯瑟琳·萨多林
Complete Vocal Technique
完全声乐技巧

CVI Publications • Kultorvet • Hausergade 3, 5th floor • DK-1128 Copenhagen K • Denmark
CVI 出版物 • Kultorvet • 哥本哈根市哈尔萨斯街 3 号，5 楼 • DK-1128 哥本哈根 K • 丹麦

Reproducing the contents of this book in any form is illegal and forbidden by the Copyright,
任何形式的翻印本书内容均属违法，并受版权保护，

Designs and Patents Act 1988
1988 年图案和外观设计法

About this book
关于这本书

Complete Vocal Technique
完全声乐技巧

English version, 3rd edition, issue 1 © 2012 Cathrine Sadolin Design and layout by Henrik Kjelin, copyright all illustrations. Dedicated to my collegues at Complete Vocal Institute.
英文版，第三版，第一期 © 2012 Cathrine Sadolin 设计和布局由 Henrik Kjelin 完成，所有插图版权所有。献给我在 Complete Vocal Institute 的同事们。

Thanks to Vera Rozsa and Bonna Sondberg.
感谢 Vera Rozsa 和 Bonna Sondberg 的帮助。

Special thanks to Julian McGlashan, Eddy Bogh Brixen, Finn Agerkvist, Camilla Bogulski and Kim Chandler.
特别感谢 Julian McGlashan、Eddy Bogh Brixen、Finn Agerkvist、Camilla Bogulski 和 Kim Chandler。

Also thanks to the singers performing the sound examples: Claes Wegener, Christina Kurstein Lecocq, Hera BjorkThorhallsdottir, Gisli Magnason, Julie Lindell, Louise Bruel Flagstad, Marianne Christensen, Thierry Boisdon, Elsebeth Nolsoe Lund.
感谢演唱声音示例的歌手：Claes Wegener、Christina Kurstein Lecocq、Hera BjorkThorhallsdottir、Gisli Magnason、Julie Lindell、Louise Bruel Flagstad、Marianne Christensen、Thierry Boisdon 和 Elsebeth Nolsoe Lund。

Reproducing the contents of this book in any form is illegal and forbidden by the Copyright, Designs and Patents Act 1988.
复制本书的任何内容都是非法的，并且受到 1988 年版权、设计和专利法的禁止。

The methods and information provided in this book have been carefully considered, tried, and tested. The author believes that adhering to the guidance will not cause any harm, although there can be no guarantee. The author and the publisher cannot undertake responsibility for compensation.
本手册提供的方法和信息经过精心考虑、实践和测试。作者认为，遵循这些指导不会造成任何伤害，尽管无法保证。作者和出版商无法承担赔偿责任。

ISBN 978-87-992436-7-9

Printed in Denmark by Zeuner Grafisk.
印刷於丹麥，由 Zeuner Grafisk 負責。

Publication and distribution
出版和发行

CVI Publications ApS
CVI 出版物 ApS

Hausergade 3,5th floor
豪泽加德 3, 5 楼

1128 Copenhagen K- Denmark
1128 哥本哈根 K-丹麦

Tel +45 3332 7724

Email: cvi@shout.dk

www.completevocaltechnique.com

Complete Vocal Technique on the Internet
网络上的完整声乐技巧

www.completevocaltechnique.com

www.compietevocalinstitute.com

Online discussion forum about singing technique
线上歌唱技巧讨论论坛

www.completevocalinstitute.com/forum
www.completevocalinstitute.com/论坛

Other publications by Cathrine Sadolin
其他由 Cathrine Sadolin 撰写的出版物

Videos
视频

• Double video 'Rough, Ready and Able' technique and practice tape. Educational video in singing techniques. Danish version. Danish Artist Union 1992.
•双语录像'粗犷、准备和能力'技巧和练习磁带。歌唱技巧教学视频。丹麦语版。丹麦艺术家协会 1992 年。

• Double video 'Rough, Ready and Able' English version. IMP, International Music Publications Limited 1996
• 双面像 "Rough, Ready and Able" 英文版。IMP，国际音乐出版有限公司 1996

• Double video 'Rough, Ready and Able' Swedish version. Warner/ Chappell Music Scandinaia AB 1996
• 双视频“粗糙、准备就绪和能力”瑞典语版。华纳/查普尔音乐斯堪的纳维亚有限公司 1996 年

Books
书籍

• Book + CD 'Rough, Ready and Able' Vol. 1, Danish version. IMP, Warner bros. publications 1996
•《粗犷、狂野之音》第一卷，丹麦语版本。IMP，华纳兄弟出版物 1996 年

• Book + CD 'Rough, Ready and Able' Vol. 1, English version. IMP, Warner bros. publications 1996
· 粗糙、现成且可用第 1 卷，英文版。IMP，华纳兄弟出版 1996 年

• Book + CD 'Rough, Ready and Able'Vol. 2, Danish version. 1997
•Rough, Ready and Able'第 2 卷，丹麦语版。1997 年。

• Book + CD 'Rough, Ready and Able' Vol. 2, English version. 1997
• 《不拘小节，随时待命》第二卷（英文版） 1997 年

• Book + Sound library 'Komplet Sangteknik' Danish version, Shout Publishing 1998*, 2000* 2003* 2006* 2012
• 书 + 声音库“Komplet Sangteknik”丹麦语版本，Shout Publishing 1998*，2000*，2003*，2006*，2012*

• Book + Sound library 'Complete Vocal technique'English version, Shout Publishing 2000*, 2008, 2012
• 完整的声乐技巧英文版，Shout 出版社 2000 年*，2008 年，2012 年

• Book + Sound library 'Complete Zangtechniek'Dutch version. Shout Publishing 2003*, 2006*, 2008,2009
• 书籍 + 声音库“完整藏技”荷兰语版。Shout Publishing 2003*, 2006*, 2008,2009

• Book + Sound library 'Komplett Sangteknik' Swedish version. Shout Publishing 2006*, 2009
• 声乐图书馆“Komplett Sangteknik” 瑞典版。Shout 出版社 2006*, 2009

• Book + Sound library 'Komplette Gesangstechnik’ German version. Shout Publishing 2009, 2010
• 书 + 德语版“Komplette Gesangstechnik”音库。朔特出版，2009 年，2010 年

• Book + Sound library 'Kokonaisvaltaisen Aanenkaytdn Tekniikka' Finish version. Shout Publishing 2009,2011
•书籍+声音库“Kokonaisvaltaisen Aanenkaytdn Tekniikka”芬兰语版本。Shout 出版社 2009、2011 年

• Book + Sound library "Technique Vocale Complete" French version. Shout Publishing 2010
• 书+声音库“Complete Vocal Technique”法语版。Shout 出版社 2010

• CD instead of CVT Sound Library
•CD 而不是 CVT 声音库

Music
音乐

• Classical LP' Recital vol. 4'. Point 1987
•古典音乐会·黑胶专辑（第四辑). Point 公司(1987)

• New Age CD 'Airdance'. Phqnix Music 1989
•新时代 CD“空中舞曲”。 Phqnix 音乐公司 1989 年

• New Age CD 'Songs on Magic'. Musicolour Records 1991
• 《魔法上的歌曲》新世纪专辑。音乐色彩唱片 1991

• Heavy rock CD'Ancient Fire'. Musicolour Records 1995
•重金属 CD'古代火焰'。Musicolour 唱片公司 1995 年

• Folk 'n' Funk CD 'Today'. Shout Records 2000
• 民谣与放克 CD “今天”。呐喊唱片 2000 年

The informal CVT approach and language
非正式的 CVT 方法和语言

A main issue in 'Complete Vocal Technique' is to make singers take responsibility for their own development. Sentences like "Trust yourself" and "Respect your own sensations" are repeated throughout the book.
“完全声乐技巧” 的一个主要问题是让歌手为自己发展负起责任。书中反复出现“相信自己”和“尊重自己的感觉”等句子。

In this respect I think of a teacher being a servant of the singer, or an assisting technician, who can assist singers in solving difficult tasks of a technical or musical nature
在这方面，我认为教师是歌唱家的仆人或助手，可以协助歌唱家解决技术或音乐方面的难题

To keep this line of the general philosophy behind 'Complete Vocal Technique' I have decided to keep the language informal and direct.
为了保持“完整声乐技巧”这一总哲学路线，我决定保持语言的非正式和直接性。

Among the many other reasons to use non-complicated, direct and everyday language is to break down possible barriers and minimise the distance between the singer and the teacher, in order to achieve free communication.
使用简单易懂的日常语言，可以避免不必要的障碍，缩短歌手和老师之间的距离，实现自由交流。

Singing is often emotional and consequently does not require special academic education. It is important to be understood by everybody as it is my firm belief that EVERYBODY can sing. The voice is not a complicated instrument. Singing technique should be presented in a simple and everyday manner where possible. This will also leave singers to put all the effort in understanding the technique instead of struggling with understanding the language.
演唱通常带有情感，因此它不需要特别的学术教育。作为一个坚定地认为每个人都能唱歌的人，我认为让每个人都理解它是非常重要的。声音不是一种复杂的乐器。歌唱技巧应该尽可能以简单和日常的方式呈现。这也将让歌手可以把所有的精力放在理解技巧上，而不是努力理解语言。

The fact that the book and the teaching at Compete Vocal Institute are natural extensions of each other, they consequently have to match in style. On all our courses we aim to use easy and direct language, (as often used in teaching sports), to avoid distraction and to make the instruction most efficient.
竞争声乐学院的书籍和教学是彼此的自然延伸，因此它们的风格必须一致。在我们所有的课程中，我们都旨在使用简单直接的语言（如经常用于体育教学中），以避免分心并使教学最有效。

In Danish it is common to use informal language in many kinds of texts and in spoken language as the Danes are often informal people. I too see myself as an informal person who likes to address the singers I assist in an informal manner. I realise that the degree of informality varies from culture to culture, and in some cultures it is common to adopt a
在丹麦语中，在许多类型的文本和口语中使用非正式语言很常见，因为丹麦人通常是非正式的人。我也认为自己是一个非正式的人，喜欢以非正式的方式与我服务的歌手交谈。我意识到非正式程度因文化而异，在某些文化中，在与比自己年长或地位更高的人交谈时，采用正式的语气是很常见的。

more formal or technical language. Nevertheless, this book is translated in the uncomplicated, direct and informal language in which it was originally written.
尽管本书的语言通俗易懂、生动活泼，但它仍然保留了其在某些专业领域中使用的更正式或更专业的语言特征。然而，这本书仍然忠实地保留了其原始语言的简洁、直接和非正式的风格。

The decision to keep the language informal and direct is therefore a conscious choice which has been carefully considered and is the consequence of the overall message in the book. I sincerely hope that this choice will not offend anybody or make the book appear less serious.
决定保持语言的非正式和直接性，因此这是一个经过仔细考虑的有意识的选择，并且是本书整体信息的自然结果。我真诚地希望这个选择不会冒犯任何人或让本书显得不那么严肃。

Contents
目录

Introduction 6
## 导言 6

Updates in relation to previous
更新，与之前相比

editions 10

Using this book 11
使用此书 11

How to Practise 12
如何练习 12

'Complete Vocal Technique' in four pages 15
完整声乐技巧，共四页 15

The Overall Principles
总体原则

The Three Overall Principles 20
三个总体原则 20

Breathing 21
呼吸 21

Inhalation 23
吸入 23

Posture 26
姿势 26

Support 27
支持 27

Supporting muscles 28
支持性肌肉 28

Inner support 31

Feeling support 33
感觉支持 33

Support training 38
支持训练 38

Energy 39
能源 39

Using support 40
使用支持 40

The Vocal Cords 44
声带 44

The Throat 48
喉咙 48

Twang 51

Pronunciation 53
发音 53

Opening the Mouth 58
开口 58

Completing a Note 60
完成 Note60

Attacks 61
攻击 61

Volume 64
卷 64

Pitch (Registers) 66
沥青（登记）66

Flageolet 67

Training the extreme parts of the
训练肢体的极端部位

voice 69

Range and Types of Voices 70
声音的音域和类型 70

Fine-Tuning 72

Tone-deafness 74
音痴 74

Trouble-Shooting 76
故障排除 76

Solving unintentional vocal breaks .76
解决非故意的声带断裂 .76

Solving split in the voice 79
识别 voice79 中的分割

Additional Trouble-Shooting 80
补充故障排除 80

Vocal Modes
人声模式

Introducing the Vocal Modes 81
介绍人声模式81

The metallic sound 81
金属声 81

Vocal modes 81
声乐模式 81

Troubleshooting 83
故障排除 83

Neutral 87

Neutral with air 88
88 空档

Neutral without air 88
中性，无 Air88

Pitch in Neutral 90
中立 90 度投球

Vowels in Neutral 90
中立 90 中的元音

Volumes in Neutral 90
中性 90 度中的体积

Sound Colours in Neutral 90
中性 90 中的声音色彩 ## 中性 90 *** # 中性 90 >* 中性 90 具有多種顏色，這取決於光源。當在陽光充足的戶外使用時，它會呈現一種微妙的米色。然而，在較暗的情況下，例如在室內，它會變暗，呈現出更加灰色調。這使得它成為了一種用途廣泛的顏色，可以與各種不同的色調搭配使用。 >* 中性 90 的另一大優點是它能與許多不同的顏色搭配。無論是搭配淺色還是深色，它都能很好地融合。這使得它成為了牆壁、家具以及配飾的絕佳選擇。 >* 如果你正在尋找一種既時尚又百搭的顏色，那麼中性 90 將會是絕佳的選擇。它是一款多功能色彩，可以為您家中的任何房間增添一抹精緻感。 >* 以下是一些使用中性 90 進行室內設計的方法： > ## 起居室 >* 將中性 90 用於起居室的牆壁，營造出平靜而放鬆的氛圍。 >* 將中性 90 的沙发与彩色抱枕搭配，增添一抹個性。 >* 在中性 90 的地毯上放置一張彩色地毯，打造出視覺焦點。 ## 臥室 >* 將中性 90 用於臥室的牆壁，營造出舒緩而沉靜的氛圍。 >* 將中性 90 的床頭板與其他織物搭配，例如柔軟的床單和毯子，增添舒適感。 >* 在中性 90 的床头柜上放置一盞燈和一盤書籍，打造出舒緩的夜讀角。 ## 廚房 >* 將中性 90 用於廚房的櫥櫃，打造出簡潔而現代的風格。 >* 將中性 90 的后挡板與彩色檯面搭配，增添一抹個性。 >* 在中性 90 的地板上放置一張彩色地毯，打造出視覺焦點。 ## 餐廳 >* 將中性 90 用於餐廳的牆壁，營造出溫馨而熱情的氛圍。 >* 將中性 90 的餐桌與彩色餐椅搭配，增添一抹優雅感。 >* 在中性 90 的餐桌上放置一束鮮花或一盤水果，打造出迷人的中心裝飾。 ## 浴室 >* 將中性 90 用於浴室的牆壁和地板，營造出乾淨而簡潔的風格。 >* 將中性 90 的毛巾與彩色浴帘搭配，增添一抹個性。 >* 在中性 90 的梳妝台上放置一盏灯和一瓶花，營造出清爽宜人的氛圍。 >* 無論您使用中性 90 的方式如何，它一定能夠為您的家居增添一抹優雅而精致的氣息。这款百搭的色彩將永不過時，為您的家居增添一抹永恆的風格。 ### 以下是一些使用中性 90 的其他小竅門： >* 在戶外使用中性 90 為家具、門廊或露台增添一種柔和的色彩。 >* 將中性 90 用於服裝，營造出優雅而精致的外觀。 >* 用中性 90 作為背景色，突出您最喜歡的藝術品或照片。 >* 將中性 90 與其他金屬色搭配，例如金色或銀色，增添一抹奢華感。 >* 將中性 90 與自然元素搭配，例如木頭或皮革，增添溫暖和舒適感

Metal-like Neutral 92
金属中性 92

Exercises in Neutral 93
中性词汇练习 93

Curbing 96
遏制 96

Finding Curbing 97
寻找 Curbing97

Pitch in Curbing 99
并肩遏制 99

Vowels in Curbing 100
元音在 Curbing100 中

Volumes in Curbing 101
## 卷数控制 101

Sound Colours in Curbing 101

Exercises in Curbing 103
抑制 103 中的练习

Overdrive 106

Finding Overdrive 107
寻找过载 107

Pitch in Overdrive 109
音调超速 109

Vowels in Overdrive 110
元音字母在 Overdrive110 中

Volumes in Overdrive 111
超速 111 中的卷

Sound Colours in Overdrive 111
超速音色 111

Exercises in Overdrive 113
过载练习 113

Edge (formerly'Belting') 116
Edge (以前'Belting'）116

Finding Edge 117
发现 Edge117

Pitch in Edge 121
Edge121 上的投球

Vowels in Edge 121
Edge121 中的元音

Volumes in Edge 122
Edge122 中的卷

Sound Colours in Edge 123
音 sắc trong Edge123

Exercises in Edge 125

Summarising the modes 128
总结模式 128

Using the modes 130
使用 modes130

Transitions between modes 131
模式之间的转换 131

Pitch and the modes 134
音调与模式 134

Sound colours and the modes 139
声音颜色和模式 139

The modes in classical singing. . . .140
古典歌唱中的模式。

Volumes and the modes 141
卷和模式 141

Loud volume 144
高音量 144

Medium loud and medium quiet
中等音量和中等安静

volume 145
卷 145

Quiet volume 145
安静的第 145 卷

Advanced exercises in volume . . .146
高级练习册 146 期。

Combinations of volume 147
卷 147 的组合

Vowels and the modes 149
元音和模式 149

Choice of vowel in relation to mode 151
选择与模式 151 相关的元音

Speech techniques 152
语音技巧 152

Speaking in different modes 152
说不同的话音模式 152

About speaking in general 155
关于一般讲话 155

Sound Colour
声音颜色

Introduction to Sound Colour 158
声色 158 导论

Vocal tract 158
声带 158

The 'Epiglottic Funnel' 159
声门漏斗'159

Necessary twang 159
必要 twang159

Distinct twang 160
明显的音调

Twanging with a lowered larynx ..160 Exercising distinct twang and
Twanging with a lowered larynx ..160 练习不同的颤音和

necessary twang 161
必要的 twang161

The Larynx 162

Lowering the larynx 162
降低喉头

Raising the larynx 163
提升喉位 163

Exercises in raising and lowering
提升和降低练习

The larynx 164
喉 164

The Tongue 166
舌头 166

Compressed tongue 166
压缩舌头 166

Broad tongue 166
宽舌 166

Exercises in broadening and
拓宽和深入的练习

compressing the tongue 167
压缩舌头 167

The shape of the Mouth opening . . .168 Relaxing the corners of the mouth 168
嘴角的形状…… 168 放松嘴角 168

Smiling 168

Exercising different shapes of the
练习不同形状的

mouth 168

The Palate 169
品味 169

Raising the palate 169
提升腭 169

Lowering the palate 169
降低软腭

Exercises in raising and lowering The palate 169
palate169 的升降练习

The Nasal Passage 171
鼻腔 171

Closing the nasal passage 171
封闭鼻腔 171

Opening the nasal passage 171
打开鼻腔 171

Exercises in opening and closing
开合练习

the nasal passage 172
鼻道 172

List of sound colours 173
色彩之声列表 173

Exercising sound colours 174
进行合理的彩色 174 练习

Microphone Technique 175
麦克风技巧 175

Pronunciation and the microphone 175
发音和麦克风 175

Microphone spheres 175
麦克风球 175

Effects
效果

Introduction to Effects 177
特效 177 简介

Distortion 179
扭曲 179

Creating intentional distortion. . . . 179

Finding noise 181
## 发现噪音 181

Noise added to a mode 183
噪声添加到 mode183

Full distortion 185
全失真 185

Exercises in distortion 185
失真练习 185

Creak and creaking 187
吱呀作响和吱吱作响 187

Finding creak 188
查找吱呀声 188

Finding creaking 188
寻找 creaking188

Exercises in creak 189

Exercises in creaking 189
吱呀作响 189 中的练习

Rattle 190

Exercises in rattle 191
练习 191 中的响声内容

Growl 192

Finding growl 192
查找 growl192

Growl added to a mode 193
模式 193 添加了咆哮

Exercises in growl 194
练习 growl194

Grunt 196

Finding grunt 196
寻找 grunt196

Exercises in grunt 198
grunt198 中的练习

Screams 199

Finding screams in Neutral 199
寻找尖叫声在 Neutral199

Finding screams in Curbing 199
发现 Curbing199 的尖叫声

Finding screams in Edge 200
寻找 Edge200 中的尖叫声

Finding screams in several modes .200
在几种模式下寻找尖叫声 .200

Finding screams with effects 200
寻找带有 effects200 的尖叫声

Intentional vocal breaks 202
有意发声的停顿 202

Finding vocal breaks 202
寻找声乐换气点

Exercises in vocal breaks 203
语音休息练习 203

Air added to the voice 206
为声音添加空气 206

Finding air added to the voice . . . .206 Exercises for adding air to the voice 207
寻找添加空气的空气声音练习 . . . .206 添加空气到声音的练习 207

Vibrato 209

Hammer vibrato 209
锤子颤音 209

Laryngeal vibrato 209
喉颤音 209

Using vibrato 211
使用 vibrato211

Exercises in vibrato 211
颤音练习

Too much vibrato 211
太多的颤音 211

Techniques for Ornamentation
装饰技巧

(rapid run of notes) 213
(快速记笔记)213

The hammer vibrato method . . . .213 The laryngeal vibrato method . . . .213 Ecercises in ornamentation technique 214
击锤颤音方法. . . . .213 喉音颤音方法. . . . .213 装饰技巧练习 214

Vocal problems
声带问题

Hoarseness 216
嘶哑 216

Nodules 218
结节 218

Too much mucous 219
过多粘液 219

Prevention and Emergency Aid . . .220 Programme for Emergency Aid . . . .225 Warming up 228
预防与紧急援助 . . .220 紧急援助方案 . . . .225 热身 228

Additional techniques
其他技巧

Hearing your own voice 229
听到你自己的声音 229

Inner hearing 229
内部听力 229

Outer hearing 230
外部听力 230

Studio and live techniques 231
##工作室和现场技术 231

Acoustic singing 231
原声演唱 231

Singing in a recording studio 231
在录音棚里唱歌

Singing live with amplification . . .232
唱歌 … 232

Improvisation and phrasing 234
临场即兴和措辞 234

Method for beginning
开始的方法

improvisation 234
即兴创作 234

Method for advanced
高级方法

improvisation 236

Interpretation and Performance . . .239 Method for working with
方法与效果 . . .239 **Method for working with**

expression 240
表达式 240

Performance 243
绩效 243

Physical exercise 245
体能锻炼 245

Lists
列表

List of Sound Examples (the 'CVT
音效示例列表（“CVT”）

Sound Library') 249
声音库')249

Glossary 253

Index 256

Charts 261

Find a CVT Teacher 268
寻找 CVT 教师 268

Complete Vocal Institute
完全声乐学院

Info about CVI 269
关于 CVI269 的信息

'Complete Vocal Technique' research 271
“完美国音训练法” 研究 271

VOCAL PROBLEMS EFFECTS SOUND COLOUR P fi P ® VOCAL MODES OVERALL PRINCIPLES
声乐问题影响声音颜色 fi P ® 演唱模式整体原则

Introduction
导言

Singing is not difficult
唱歌并不难

The voice is not as complicated to use as many people think. It is an instrument that everybody has and uses every day. Of course it requires practice to sing professionally, but when you know how the voice works and how to use its natural functions and develop them further, you will be able to learn most of what is required.
声音的使用并不像许多人认为的那么复杂。它是一种每个人都拥有并且每天都在使用的工具。当然，要想专业地唱歌是需要练习的，但是当你了解声音是如何运作的，以及如何使用它自然的机能并进一步发展它们，你就能学会大多数的技巧要求。

The voice usually works perfectly until we hinder it during childhood with uncontrolled constriction. Singing techniques are mostly about removing uncontrolled constriction to allow the voice to work freely. This means everyone can sing if they do not hinder their voice production. Therefore there is no reason to work with the technical aspects of singing unless you think you have a specific technical singing problem.
儿童时期，我们常常会不加控制地限制自己的声音，直到它完全无法正常工作。歌唱技巧主要就是消除这种不受控制的限制，让声音自由地发挥作用。这意味着只要不阻碍声音的产生，每个人都可以唱歌。因此，除非你认为自己存在特定的歌唱技巧问题，否则没有必要钻研歌唱的技术方面。

Technique and expression
技巧和表达

This book however is mainly about technique - this is not because I believe technique is the most important aspect of singing. On the contrary, technique is only the MEANS by which we express ourselves. I think the most important aspect is EXPRESSION - to convey a message. What to convey and how to convey it are artistic choices that every singer has to make for her/ himself. This book is about the techniques required to accomplish the artistic choices you would like to make.
然而，这本书主要讲述的是技巧——并不是因为我相信技巧是唱歌最重要的方面。相反，技巧只是我们表达自己的手段。我认为最重要的方面是表达——传达信息。要传达什么以及如何传达是每个歌手都必须为自己做出的艺术选择。本书讲述的是完成您想要做出的艺术选择所需的技巧。

The history of singing
歌唱史

In the old days you could not amplify the voice electronically so singers had to find a way to be heard from a considerable distance. This led to the development of certain vocal techniques that gradually became the only right vocal sound to be produced. In the Western world this taught sound became known as the 'classical sound'.
在过去，人们无法通过电子方式放大声音，因此歌唱者必须找到一种从相当远的距离被人听到的方式。这导致了某些声乐技巧的发展，这些技巧逐渐成为唯一正确的声乐发声方式。在西方世界，这种教导的声音被称为“古典声音”。

With the invention of the microphone it became possible to amplify all sounds including those that were previously too quiet to be heard from a distance. This brought new 'untaught' sounds to the same volume as 'taught' sounds. This
随着麦克风的出现，放大所有声音成为可能，包括那些以前太小而无法从远处听到的声音。这使以前无法教授声音与教授声音达到了同等音量。这

meant that many new sounds of the voice could be used and that new ideals emerged for what constituted a 'good' sound.
这意味着声音可以包含更多的新音效，并涌现出对“好”声音的新理念。

Many of the 'new' ways of singing turned out to be just as strenuous and difficult as the 'taught' ways. New style singers, who became known as singers of 'popular music', had to learn how to sing healthily by themselves because teaching in the new singing styles was not available. They could not get help from classical singing techniques as these resulted in a classical sound which they were not interested in. As a result of this lack of tuition some new singers damaged their voices and their singing styles were labelled as dangerous and unhealthy - even though many classical singers also had vocal problems.
许多“新”的歌唱方式被证明与“被教”的方式一样费力和困难。以演唱“流行音乐”而闻名的“新式”歌手不得不靠自己学习如何健康地唱歌，因为当时流行的“新式”唱法没有专门的教授方法。他们无法从古典歌唱技巧中获得帮助，因为这些技巧会产生他们不喜欢的古典声音。由于缺乏指导，一些“新式”歌手损坏了嗓子，他们的演唱方式被贴上了“危险”和“不健康”的标签，尽管许多古典歌手也存在嗓音问题。

In the 'popular music' camp some singers made a virtue of necessity and declared that 'true' singers of popular music should be self-taught, claiming that tuition would remove a singer's special touch. Both camps nurtured their prejudices against each other. A gulf between the classical and the popular camps developed which, unfortunately, still exists today to some degree. This gulf is more about taste than of the use of techniques.
在流行音乐领域，一些歌手将无奈的现实包装成美德，宣称流行音乐的“真正”歌手应该自学成才，声称学校教育会剥夺歌手的个人风格。两派都滋长了对彼此的偏见。古典音乐与流行音乐之间形成了一道鸿沟，不幸的是，这种鸿沟在某种程度上至今仍然存在。这种鸿沟更多地反映的是品味差异，而不是技巧运用上的差异。

Amongst the 'popular music' singers who lost their voices were those who fell by the wayside in practice rooms and you never heard of them. Some lost their voices at the beginning when they started touring or later on in their careers due to the strain and increased demands on their voice. But there WERE 'popular' singers whose voices 'lasted' throughout their careers regardless of how strained they sounded.
在那些声音嘶哑的“流行音乐”歌手中，有些人是在练习室里默默无闻地倒下了，你从未听说过他们。有些人是在他们开始巡演时或在他们的事业后期因声带紧张和需求增加而失去声音的。但有些“流行”歌手的声音在他们的整个职业生涯中都“持续”存在，无论他们听起来有多吃力。

It is therefore from both the techniques from the 'classical' school and the experience of these 'popular' singers that I base many of the new singing techniques on today.
因此，我今天的许多新的歌唱技巧都是基于“古典”学派的技巧和这些“流行”歌手的经验。

Myths about singers
关于歌手的迷思

There are many myths about performers before the days of recording: 'This was a voice like none other, never to be heard again' and so on. I don't believe this is true. It is probable that it was not the performer's voice that was so special but her/
这位艺术家的声音无人能及，今后也不可能再听到了。我不相信这是真的。很可能是她的

his technique in producing the voice. We can all accomplish a good technique by knowing what and how to practise.
他的发声技巧。通过知道练习什么和如何练习，我们都可以学到好的技巧。

Unfortunately, we can only accept the myths about past performers because we have no recordings to prove or disapprove them as, of course, their voices died with them. I believe that all singers can accomplish all sounds. Since recordings began there has not been a sound that cannot be taught.
不幸的是，由于我们没有过去的表演者的录音来证明或反驳这些神话，我们只能接受关于他们演唱能力的传说。我认为所有歌手都能发出所有的声音。自录音开始以来，还没有任何声音是无法教授的。

Myths about singing techniques
歌唱技巧的误区

Being able to see what you are doing is an invaluable tool in learning. Unfortunately, singing tuition cannot rely on sight and that lead to myths about how sound is produced. Thankfully, science now provides new knowledge so we know much more about the working of the vocal cords today. We are now able to watch the vocal cords work and we know more about the anatomy and physiology of voice production. This has helped to eliminate many of the previous misconceptions and myths that were based largely on guesswork, many of which contributed to ruined voices and careers.
能够看到自己的行为是学习中不可估量的工具。不幸的是，声乐教学不能依赖于视觉，这导致了关于声音如何产生的神话。值得庆幸的是，科学现在提供了新的知识，因此我们今天对声带的工作原理有了更多的了解。我们现在能够观察声带的工作，并且我们对声音产生的解剖学和生理学有了更多的了解。这有助于消除许多以前基于猜测的误解和神话，其中许多导致了声音和职业的破坏。

With a better understanding of voice production months of wasted and harmful training can now be avoided. When teachers can be specific in their instructions, singers no longer have to go through years of training based on vague directions. When you can work on a problem directly, it is easier to determine whether you are on the right track or not. A technique must have the intended effect immediately otherwise it is not being done correctly. Experience also shows us that singers who perfect these new techniques are able to last on strenuous tours which is one of the reasons why the techniques today have the backing of doctors and speech therapists.
借助对声音发声的更深入理解，现在可以避免数月浪费且有害的训练。当老师在指令中更加明确，歌唱者就不再需要根据模棱两可的指示进行多年的训练。当你可以直接针对一个问题进行练习，就更容易判断出你是否在正确的轨道上。一种技巧必须立竿见影地达到预期效果，否则它就是没有正确地完成。经验还告诉我们，完善了这些新技术的歌手能够在高强度的巡演中坚持下来，这也是为什么当今的技术得到医生和语音治疗师支持的原因之一。

My research
我的研究

It is my firm belief that ALL the sounds a singer wishes to make are equally important and must be taken seriously and be included for research. By removing the restrictive 'ideals of sounds' from musical styles and by dividing and isolating all the elements of sound, it becomes the artist's personal
所有一位歌手想发出的声音都同等重要，必须认真对待，并纳入研究，这是我坚定的信念。通过从音乐风格中移除对声音的限制性“理想”，并将声音的所有元素进行划分和隔离，它将成为艺术家个人的

artistic choices that determine the sound rather than convention. I do not wish to judge which sounds should be considered 'right' and essential to learn. All sounds are equally valuable; therefore this book includes tools to perform all the sounds in the voice I have ever encountered.
艺术选择决定声音而不是习俗。我不希望判断哪些声音应该被认为是“正确的”和必须学习的。所有声音都具有同等的价值；因此，本书提供了我所遇到过的所有声音的工具。

My own story
我的故事 (wǒ de gù shì)

I never had a natural talent for singing. In fact, I even had problems breathing. My first singing lessons were an attempt to overcome breathing problems due to asthma. One way or another I had to develop techniques to get the sounds I wanted. The first step was to understand the anatomy and physiology of the voice and this enabled me to distinguish between myths and truths about the voice. I then experimented with achieving the sounds in ways other than the traditional methods. The only natural talent I had was a love for music coupled with the belief that everything is possible and the energy to keep going. That is why I can truly say that if I was able to learn and achieve the sounds I wanted then anybody can.
我从来没有唱歌的天赋。事实上，我甚至呼吸都有问题。我第一次学唱歌是为了克服哮喘引起的呼吸困难。无论如何，我必须开发一些技巧来获得我想要的声音。第一步是了解声音的解剖学和生理学，这让我能够区分声音的神话和真相。然后，我尝试用非传统的方法来获得声音。我唯一的天赋就是对音乐的热爱，以及相信一切皆有可能和坚持下去的能量。这就是为什么我可以真心地说，如果我能够学习并获得我想要的声音，那么任何人都可以。

While I was working on my technical problems through the years I had always listened to all kinds of music. That was probably why many singers of popular music began asking me to help them achieve certain sounds and overcome vocal problems, even though I was trained as and eventually performed as a classical singer. It seemed to me that they wanted the healthy aspect of the classical technique but without the classical sound. I thought that it must be possible to benefit from the technique without being constrained by the narrow ideals of sound. To do this however, I had to find out how sound was produced, and this encouraged me to study many styles of singing, speech and hearing science, acoustics and spectral ear training.
虽然这些年来我一直都在通过解决自己的技术问题来聆听各种音乐，但这可能也是为什么许多流行音乐歌手开始向我寻求帮助，让他们获得特定的声音并克服声乐问题，尽管我接受过训练并最终成为了一名古典歌手。在我看来，他们似乎想要古典技术的健康方面，但又不想拥有古典的声音。我认为，在不受声音狭隘理想的约束的情况下，从技术中获益应该是可能的。然而，为了做到这一点，我必须弄清楚声音是如何产生的，这促使我研究了许多风格的歌唱、语音和听觉科学、声学以及频谱耳朵训练。

Singing techniques were always presented with attached ideals, i.e. regarding sound colours. If you wanted to use the technique you had to accept these ideals. I did not want to accept that. I wanted to separate taste and technique in order to isolate the technique so that singers could combine the endless elements to create any sound they were looking for, without the interference of the specific taste of a particular technique or teacher.
歌唱技巧总是与附带的理想一起呈现，即关于音色的理想。如果你想使用这种技巧，你就必须接受这些理想。我不想接受这一点。我想将品味和技巧分开，以便隔离技巧，这样歌手就可以将无尽的元素组合起来，创造出他们想要的任何声音，而不会受到特定技巧或老师的特定品味的干扰。

Methodology
方法论

According to traditional Western perception, blues, rock, gospel and also many ethnic singers, for instance in Arabic classical music, do not sound as a 'healthy singer' should sound. And yet many of these singers sing more frequently and for longer than many classical singers in top technical form. In addition many hard or heavy rock singers have been predicted as having short-lived careers and have proven their critics wrong. In fact, many of these singers often sing better and better throughout the years, regardless of how 'damaging' their singing sounds.
根据传统的西方观念，蓝调、摇滚、福音以及许多民族歌手，例如阿拉伯古典音乐中的歌手，听起来不像一个“健康的歌手”应该有的声音。然而，许多这样的歌手比许多处于最佳技术状态的古典歌手演唱得更频繁、时间更长。此外，许多硬摇滚或重金属歌手被预测会很快结束他们的歌唱生涯，但他们证明了他们的批评者是错误的。事实上，许多这样的歌手在许多年里唱得越来越好，无论他们的演唱听起来多么“有害”。

I have based my research on a wide range of experience of singers singing live and in the studio with many different sounds other than the classical western style without damaging the voice. I know these singers must have excellent techniques for them to sing for so long and still sound so great. I started looking for common factors in their singing to search for an underlying structure to the various sounds.
基于我对歌手在现场和录音室中演唱各种不同声音（除了古典西方风格）的广泛经验的研究，以及没有损害声音，我知道这些歌手一定有很好的技巧才能唱这么久，而且听起来仍然很棒。我开始寻找他们歌唱中的共同因素，以寻找各种声音背后的潜在结构。

It became apparent to me that there IS an underlying structure to the various sounds. I tried to understand this by deconstructing as many different sounds as possible from many different types of music, taking into account the sound, the vowel, the pitch, and the volume, to see if there was a pattern. Gradually this pattern became more and more evident and I concluded that the sounds could be divided into two overall categories. One was harder, rougher and more direct - I named this 'metallic' sound. I named the other category 'non-metallic'.
我逐渐意识到各种声音背后存在某种内在结构。我尝试通过解构尽可能多种不同音乐类型的声音来对此进行理解，并将声音、元音、音调和音量等因素考虑在内，以观察是否存在某种模式。逐渐地，这种模式变得越来越清晰，我得出结论，声音可以分为两个总体类别。一种声音更硬、更粗糙、更直接——我将其命名为“金属”声音。我将另一类别命名为“非金属”声音。

It became apparent that the sounds could be further categorised depending on how 'metallic' the sounds were i.e. 'full- metallic' or 'half-metallic'. In addition there appeared to be two distinct types of full-metallic voice. This meant that there were four main categories or vocal 'modes' in total: one non- metallic voice quality I called 'Neutral', one half-metallic voice quality I called 'Curbing', and two full-metallic voice qualities I called 'Overdrive' and 'Edge' (formerly 'Belting'). Detecting the four vocal modes was, however, only half of the process of discovery. The next stage of my research was to demonstrate that I and a small group of accomplished singers could perform all these distinct vocal modes.
随着研究的深入，我意识到声音可以根据其“金属感”进行进一步分类，例如“全金属”或“半金属”。此外，似乎还有两种不同的全金属声音类型。这意味着总共有四种主要类别或“模式”：一种我称之为“中性”的非金属声音质量，一种我称之为“抑制”的半金属声音质量，以及两种我称之为“超速”和“边缘”（以前称为“腰带”）的全金属声音质量。然而，识别这四种声音模式只是探索过程的一半。我研究的下一个阶段是证明我和一小群才华横溢的歌手能够演绎所有这些不同的声音模式。

The birth of Complete Vocal Technique
完全声乐技术的诞生

The work developed to such an extend that all sounds the human voice can produce could be categorised and organised into a clear system. In effect, a whole new concept in singing technique was formed which, contrary to previous techniques and beliefs, could be applied to all styles of music.
人类的声音可以发出的所有声音都被归类和组织成一个清晰的系统，这项工作发展到如此程度。实际上，一种全新的歌唱技巧概念已经形成，它与以前的技巧和信念相反，可以应用于所有音乐风格。

I then experimented with the sounds used in classical singing and found that the classical sounds are also produced by non-metallic, half-metallic and full-metallic modes. This confirmed to me that the vocal modes are the foundation of the very structure of the voice and therefore encompass all sounds, all singing techniques, and all musical styles.
我随后尝试了古典歌唱中使用的音色，发现古典音色也可以通过非金属、半金属和全金属模式产生。这使我确信，声乐模式是声音结构的基础，因此包含所有声音、所有演唱技巧和所有音乐风格。

Further work with the vocal modes made it possible to identify their advantages and limitations. When singers appreciate the advantages and respect the limitations of the vocal modes they will gain a better overview of the possibilities of the voice and will be able to choose freely between the various sounds in addition to avoiding damaging the voice.
当歌手们认识到音域的优势并尊重其局限性时，他们将能够更好地了解声音的可能性，并能够在各种声音之间自由选择，从而避免损伤嗓音。

Ongoing research
正在进行的研究

Music styles progress rapidly partly because of the influence of the many and diverse cultures throughout the world and their corresponding singing styles. At the same time, singing techniques have also undergone major developments, a trend that is unlikely to end in the foreseeable future. The rejection of rigid, out-of-date ideals of sound has necessitated the development of a more all embracing way of viewing the voice. More research into these new singing techniques can be found in this book.
音乐风格的快速发展部分归因于世界各地众多文化及其演唱风格的影响。与此同时，歌唱技巧也经历了重大的发展，这一趋势在可预见的未来不太可能结束。僵化、过时的音响理念被摒弃，这使得需要以更加包容的方式看待声音。更多关于这些新型歌唱技巧的研究可以在本书中找到。

Generally scientific research is based on pre-existing knowledge and singing technique is no exception. There is no reason to reject useful knowledge that has been gleaned over the years, for example from the old Italian masters of classical singing, but it has become apparent that additional knowledge is necessary to meet new demands.
总体而言，科学研究都是建立在已有的知识基础上的，声乐技巧也不例外。从那些古典声乐的意大利大师那里汲取多年来积累的宝贵知识，我们没有理由拒绝。然而，显而易见的是，为了满足新的需求，还需要额外的知识。

That said, it must be added that some of the research is so new that many aspects have yet to be studied. For instance,
如此一来，必须补充的是，一些研究如此之新，以至于许多方面尚未得到研究。例如，

certain sections of this book have been revised since the first edition as a result of more experience and new research. Even if all the techniques have not yet been fully investigated, I have found that they DO work. The desired sounds can be obtained without vocal discomfort or the singer becoming hoarse and this is surely a step in the right direction.
由于更多的经验和新的研究，本书的某些部分自第一版以来进行了修订。即使尚未对所有技术进行全面调查，我已经发现它们确实有效。在不引起声嘶或歌手嘶哑的情况下可以获得所需的声音，这无疑是朝着正确方向迈出的重要一步。

Theory and practice
理论与实践

Singing tuition has undergone great development since the time when singers were told that 'placing the voice' would take eight years.
自從歌手們被告知“發聲”需要八年時間以來，歌唱教學已經經歷了巨大的發展。

New research has revealed new facts about the instrument, but we must be wary that this new knowledge does not shift the focus away from practical use and onto theory only. Theory can be valuable and is needed, but the development must not stop there. A singer's objective is seldom to be scientifically educated but to get practical, tangible instructions on how to solve her/his vocal problems. A specific problem requires a specific solution, not a theoretical lecture. Only when theory is put into practice can artistic expression be made.
新的研究揭示了该乐器的更多事实，但我们必须警惕，不要让这些新知识将注意力从实际应用转移到理论上。理论可能很有价值，并且是必需的，但发展不能止步于此。歌手的目标很少是进行科学教育，而是获得解决其声乐问题的实际、可操作的指导。特定问题需要特定解决方案，而不是理论讲座。只有将理论付诸实践，才能进行艺术表达。

Easy to use
便于使用

The techniques in this book have been developed and tested in recording studios and on tours. The main purpose of this material, therefore, is that it must be clear and easily accessible, and most of all, fast and easy to use.
本书中的技术已经在录音室和巡演中得到开发和测试。因此，这种材料的主要目的是它必须清晰且易于访问，最重要的是，快速且易于使用。

Increasing demands
日益增长的需求

The demands on singers have increased over time. In the Renaissance (15th century) the range of most songs was about 1.5 octaves. In Mozart's time (18th century) this had increased to twice that amount in extreme cases such as "The Queen of the Night" aria in "The Magic Flute" which required around 3 octaves. Today you often hear singers with even larger ranges. This, together with increasing commercial exploitation of music, means the demands on professional singers are enormous. For record companies to work wholeheartedly with a singer they must be convinced that s/he is able to fulfil the increasing demands and be able to last concert after concert on strenuous tours.
随着时间的推移，对歌手的要求也越来越高。在文艺复兴时期（15 世纪），大多数歌曲的音域约为 1.5 个八度。在莫扎特时代（18 世纪），在极端情况下，例如《魔笛》中的《夜女王》咏叹调，需要大约 3 个八度音阶，这一数字会增加到两倍。如今，您经常听到音域更大的歌手。这再加上音乐的商业开发不断增加，意味着对专业歌手的需求是巨大的。对于唱片公司来说，要全心全意地与歌手合作，他们必须相信她/他能够满足日益增长的需求，并能够在艰苦的巡演中坚持一场又一场的音乐会。

Educational tools are options - not demands
教育工具是选择，而不是要求

It is ironic that the growing demand for teaching and the new possibilities of satisfying this demand runs the risk of demanding even more from the singers. I do not want to contribute to the increasing technical pressures on singers. I would therefore urge singers to regard these new singing techniques as TOOLS for expressing yourself, not as demands. This book is intended as a reference text and a guide to techniques which make it possible to produce various sounds and overcome vocal limitations. Singing technique should not be the main issue, nor should any singer believe that ALL the possibilities of the voice have to be perfected to pursue a professional singing career.
讽刺的是，日益增长的教学需求和满足这种需求的新可能性却冒着对歌手提出更高要求的风险。我不想给歌手带来越来越大的技术压力。因此，我建议歌手们将这些新的歌唱技巧视为表达自己的工具，而不是要求。本书旨在作为参考书和技术指南，使人们能够发出各种声音并克服声音限制。歌唱技术不应该是主要问题，任何歌手也不应该认为必须完善声音的所有可能性才能追求专业的歌唱事业。

Remember it is the choices of what to do, as well as the choices of what not to do, that characterises an artist.
请记住，艺术家的特征是选择做什么，以及选择不做什么。

Techniques must work instantly
技术必须立即生效

With these new techniques singers can get immediate help in solving technical problems rather than be told to practise for years, not knowing if they are on the right track. The techniques must work instantly otherwise they are not being done correctly. So it should not be necessary to start all over again every time you seek new teaching or knowledge. I see no point in discarding previous teaching or training in order to obtain new knowledge. Singing is not so difficult; the techniques work instantly when you are on the right track. Therefore, by using these techniques, you only have to correct the parts of your singing that you wish to improve and you should still be able to keep the parts you are content with.
有了这些新技术，歌手们可以立即获得解决技术问题的帮助，而不用被告知要练习多年，却不知道自己是否在正确的轨道上。这些技术必须立即起作用，否则就没有被正确地执行。所以每次你寻求新的教学或知识时，你不应该需要从头开始。我认为没有必要为了获得新的知识而放弃以前的教学或培训。唱歌并不难；当你走上正确的轨道时，这些技术就会立即起作用。因此，通过使用这些技术，你只需要纠正你想改进的演唱部分，你仍然应该能够保留你满意的部分。

Today it is possible to give 'Emergency Aid' to singers. A single hour's work is often enough to enable singers to complete concerts and studio recordings that would otherwise have had to be cancelled due to vocal problems. The fact that a large part of our work at CVI consists of giving this Emergency Aid supports the concept that the techniques work at once. Theory has been transformed into useful, practical techniques that work instantly in emergency situations.
今天，'紧急援助'已经成为可能。通常只需一个小时的工作就能让歌手完成原计划因声乐问题而不得不取消的演唱会或录音室录音工作。事实上，CVI 工作的很大一部分是提供这种紧急援助，这一事实证明了这些技术能够立竿见影地发挥作用。理论已经转变为可在紧急情况下立竿见影地发挥作用的实用技巧。

I believe it is possible to produce ALL sounds in a healthy manner.
我相信以健康的方式发出所有声音是可能的。

Updates an relation to the previous editions
更新与先前版本的联系

• The pitch notation system has been changed from Helm- holz to scientific pitch notation. That means that Middle C (formerly called Cl) is now called C4 etc.
音符记号系统已从亥姆霍兹改为科学音调记号。这意味着中央 C（以前称为 C1）现在称为 C4 等。

• The International Phonetic Alphabet (IPA) have been added to the vowels.
•国际音标 (IPA) 已被添加到元音中。

New chapters
新章节

• An extra section on "Diphthongs" has been added.
• 增加了一节关于“双元音”的内容。

• An extra chapter on "Flageolet" with a new illustration has been added.
• "Flagolet" 章节新增一篇，并附有一幅新的插图。

• An extra chapter on "Metal-like Neutral" has been added.
•增加了一章关于“类金属中性”的内容。

Expanded Chapters since the last edition
扩充章节

• The chapter on "Inner support" has been expanded.
•“内在支持”章节已经扩展。

• The section "Use the precise vowels" has been expanded.
• “精确元音”部分已扩展.

• The section on "Main vowels and satellite vowels" has been expanded.
• “主要元音和附属元音”部分已有扩展。

• The chapter on "Volume and modes" has been expanded.
“体积和模式”章节已扩展。

• The Chapter "The Epiglottic Funnel" has been expanded with more tips on how to find distinct twang.
•“会厌漏斗”一章已经扩展，添加了更多关于如何找到独特颤音的技巧。

• The Chapter "Larynx" has been expanded with more tips on how to lower and raise the larynx.
•“喉”一章已扩展，增加了更多降低和提升喉咙的技巧。

• The Chapter "Tongue" has been expanded with more tips on how to compress and broaden the tongue.
•本章“舌”已经扩展，增加了更多关于如何压缩和扩大舌头的技巧。

• The Chapter "The shape of the Mouth opening" has been expanded with more tips on how to relax the corners of the mouth and smile.
·“嘴型”章节已扩展，新增更多关于如何放松嘴角和微笑的技巧。

• The Chapter "Palate" has been expanded with more tips on how to raise and lower the palate.
## 原文： • “味觉”章节中添加了更多关于如何提高和降低味觉的技巧。 ## 翻译： • “味觉”章节已经扩展，并添加了更多关于如何提高和降低味觉的技巧。

• The Chapter "The Nasal Passage" has been expanded with more tips on how to close the nasal passage.
•“鼻腔通道”章节已扩展，并添加了更多关于如何关闭鼻腔通道的技巧。

• The section "Various levels of the vocal tract" has been expanded with Levels 4, 5 and 6 added.
• 语音道的不同层次”部分已经扩展，增加了 4、5 和 6 级。

• All the effect chapters have been expanded with a description of vocal tract levels where the effect is produced.
所有效果章节都扩展了关于效果产生声带位置的描述。

• The chapter "Creaks and Creaking" has been expanded.
•“吱呀声和吱吱声”一章已被扩展。

• The chapter "Rattle" has been clarified and divided into 4 different types of rattles.
•“嘎啦”一章经过阐释和整理，被划分为 4 种不同类型的嘎啦声。

Miscellaneous
杂项

• Constriction that impairs the voice has been replaced with uncontrolled constriction.
· 影响声音的收缩已被不受控制的收缩所取代。

• The names for the various 'attacks' are replaced with the names of the vocal modes.
• 将各种“攻击”的名称替换为声乐模式的名称。

• It is not possible to feel a vocal mode, but you can hear it.
•无法感觉到声乐模式，但你可以听到它。

• Neutral is obtainable for women only above High C (C6).
• 高于高音 C（C6）的音符只有女性才能达到中性。

• The volume charts have been divided into 4 main volumes: loud, medium loud, medium quiet, quiet.
• 音量图表分为 4 个主要音量：大声、中等音量、中等安静、安静。

• In the low, middle and high part of the voice, medium volume is obtainable in Neutral, Curbing, Overdrive and Edge.
• 在中低声区，中音量可用于中性、抑制、超速和边缘。

• In the very high part of the voice, medium volume is obtainable for men in Curbing and Edge.
在非常高的音域中，男性在控制和边缘可以获得中等音量。

• In Curbing you can only use the vowels 'I' (as in 'sit'), 'O' (as in 'woman') and 'UH' (as in 'hungry'). In Overdrive you can only use the vowels 'EH' (as in 'stay') and 'OH' (as in 'so'). In Edge you can only use the vowels 'I' (as in 'sit'), 'EH' (as in 'stay'), 'A' (as in 'and') and 'OE' (as in 'herb'). It might seem like all vowels can be used in the metallic modes in the low part of the voice because the vocal modes resemble each other here, but if you want to obtain the centre of the metallic vocal modes you need to use the correct vowels.
• 在 Curbing 模式中，您只能使用元音“I”（如“sit”中的元音）、“O”（如“woman”中的元音）和“UH”（如“hungry”中的元音）。在 Overdrive 模式中，您只能使用元音“EH”（如“stay”中的元音）和“OH”（如“so”中的元音）。在 Edge 模式中，您只能使用元音“I”（如“sit”中的元音）、“EH”（如“stay”中的元音）、“A”（如“and”中的元音）和“OE”（如“herb”中的元音）。虽然在声音的低音部分，所有元音似乎都可以在金属模式中使用，因为这里的声音模式彼此相似，但如果您想获得金属声音模式的中心，则需要使用正确的元音。

• The section "Speaking in Curbing" has been clarified.
•“遏止通话”部分已经过澄清。

• Tremolo is replaced with 'involuntary vibrato'.
•Tremolo 被替换为“非自愿颤音”。

Using this book
使用这本书

Different learning angles
不同的学习角度

Everyone learns differently. Some singers have to understand the theoretical explanation of a problem in order to solve it, some physically feel their way through, while others work by means of sound, for example by hearing, recognising, and copying the sound. Some learn by looking at graphic illustrations, and others find the solution to their problems through inner images and sensations.
每个人学习的方式都不相同。有些歌手需要理解问题的理论解释才能解决问题，有些歌手则需要通过身体的感觉来解决问题，而另一些歌手则通过声音来解决问题，例如通过听觉、识别和模仿声音。有些人通过观察图形插图来学习，而另一些人则通过内在的图像和感觉找到解决问题的办法。

To cater for all these learning methods each chapter of this book will contain:
为了适应所有这些学习方法，本书的每一章都将包含：

• Anatomical and physiological explanations
• 解剖学和生理学解释

• Physical instructions
• 物理说明

• Sound examples (^>) 5 = sound example 5)
•声音示例 (^>) 5 = 声音示例 5)

• Illustrations
• 插图

• Examples of inner images and sensations
• 内在图像和感觉的例子

No one method is more important or preferable to another. The anatomical and physiological explanations are included because some singers will find them valuable. Others, however, may find it of little use and potentially distracting. The techniques in this book do not necessarily require that you have to understand and sense your anatomy or physiology. It is important not to be overwhelmed by these explanations. The different methods are presented as a range of possibilities. It is up to each individual to choose the method they find most accessible and from which they can achieve the best results. It might, however, be practical to read all the different types of explanations, partly because it may help to see things from a different perspective, and partly because one explanation often complements another.
没有任何一种方法比其他方法更重要或更优越。之所以包含解剖学和生理学的解释，是因为有些歌手会觉得它们很有价值。然而，其他人可能会觉得它没什么用，甚至会分散注意力。本书中的技巧并不一定要求你必须理解和感知你的解剖学或生理学。重要的是不要被这些解释所淹没。不同的方法被呈现为一系列的可能性。每个人都要选择他们认为最容易理解的方法，并从中获得最好的效果。然而，阅读所有不同类型的解释可能是很实际的，部分原因是它可能有助于从不同的角度看待问题，部分原因是其中一种解释通常会补充另一种解释。

Know the anatomy of the body
了解人体解剖结构

I recommend that singers should be as aware as possible of what is happening in the body during singing. Therefore I try to use the correct anatomical terminology throughout this book. Once you know the anatomy and physiology of the voice and are aware of how to use it the technique is easier to understand and consequently it is easier to do something about your vocal problems. For instance, it will help you to
我建议歌唱者尽可能地了解唱歌时身体内发生的事情。因此，我尝试在这本书中使用正确的解剖学术语。一旦你了解了声音的解剖学和生理学，并知道如何使用它，这项技术就更容易理解，因此更容易解决你的声音问题。例如，它将帮助你

distinguish between good and bad advice, and myths about 'correct' technique. I urge everybody to study the anatomy and physiology of the voice and with common sense find the technique that feels the best.
区分好的和坏的建议，以及关于“正确”技术的误区。我建议每个人都去研究声音的解剖学和生理学，并用常识找到最适合自己的技术。

Locate the main problem
发现主要问题

When you are learning it is often difficult to decide what is the most important thing to concentrate on and what is less important. To assist you in this I have outlined the techniques presented in this book in the chapter "Complete Vocal Technique in four pages" (on page 15). This provides you with an overview before you go into detail.
当你学习时，通常难以决定最重要的是什么，而什么不那么重要。为了帮助你理解这一点，我已经在第 15 页的“四页纸上的完整发声技巧”一章中概述了本书中介绍的技术。这在你进入细节之前提供了一个概述。

Even though each topic is thoroughly described in this book, this does not mean that every subject is equally important for all singers. Singers are different so certain passages will be relevant to some but not to others.
即使本书对每个主题都进行了详尽的描述，但这并不意味着每个主题对所有歌手都同样重要。歌手各不相同，因此某些段落可能与一些歌手相关，而与另一些歌手无关。

As in all teaching the most important thing is to focus on the main problem instead of being distracted by all the minor details you meet on the way. If you can identify and solve the main problem many other problems will be resolved at the same time. It is easier, and more efficient, to concentrate on one problem at a time instead of many. I suggest that once you have an overview of the techniques in this book, you should work your way through the relevant sections, paragraph by paragraph, in the search of your main problem.
正如所有教学一样，最重要的事情是关注主要问题，而不是被你遇到的所有次要细节所分散注意力。如果你能够识别和解决主要问题，许多其他问题也会同时得到解决。一次专注于一个问题，而不是多个问题，更容易、更高效。我建议一旦你对本书中的技术有了概述，你应该逐段阅读相关章节，以寻找你的主要问题。

Take responsibility for yourself
对自己负责

It is important that singers themselves take responsibility for their own development instead of being dependent on a teacher. Even the best teacher in the world cannot teach you anything unless you yourself pick up the teaching and work with it. In the end it is you who has to decide which parts of the teaching you can use, which parts you cannot make work and what you do not care about.
歌手自己承担其发展责任至关重要，而不是依赖老师。即使是世界上最好的老师也无法教你任何东西，除非你自己拿起教鞭并努力学习。最终，你必须决定可以使用哪些教学，哪些无法奏效，以及哪些你并不关心。

It is not difficult to workout if you are on the right track when you practise. A correct technique should result in continuous improvements in your singing. There is no reason to take lessons for years if you do not think the instructions are making singing any easier or are bringing you closer to your goals.
当您练习时，判断您是否在正确的轨道上并不难。正确的技巧应该会导致您的演唱能力持续提高。如果您认为这些指导并没有让唱歌变得更容易，也没有让您更接近自己的目标，那么没有理由上几年的课。

How to practise
如何练习

Trust your taste, powers of judgment and senses. Experimenting brings renewal; individuality is also important. Feel, listen, and choose. Test the technique and practise until you have learned what you want to be able to do. Determine whether you are getting the sound you want. If not, what is missing? Try to find it through your own intuition and taste. Why should you use a sound you do not like? Nobody but you can create YOUR career, and maybe your career is based on being different and sounding like no one else. Always be your own judge and decide whether you are getting closer to your goals.
倾听你的味觉、判断力和感官。尝试带来更新；个性也很重要。感受、倾听并做出选择。测试该技术并练习，直到你学会你想做什么。确定你是否获得了想要的声音。如果没有，还缺少什么？尝试通过你自己的直觉和品味找到它。为什么要使用你不喜欢的音效？除了你，没有人能创造你的职业生涯，也许你的职业生涯建立在与众不同和听起来不像是任何其他人之上。永远做你自己的裁判，决定你是否正在接近你的目标。

In my opinion the taste of the teacher is unimportant. To me the teacher's task is purely to help singers achieve her/his desired way of singing in a healthy manner, for example by hearing possible uncontrolled constriction and making suggestions about how the singer can remove it. The teacher could also make suggestions about alternative sound possibilities, but it is the singer who should make the artistic choices.
在我的观点里，老师的音色并不重要。对我来说，老师的任务纯粹是帮助歌手以健康的方式实现他/她想要の歌唱方式，例如通过听到可能失控的收缩并提出歌手如何解除它的建议。老师也可以提出关于替代声音可能性的建议，但做出艺术选择的应该是歌手。

Change of pitch notation system
音高的变化表示系统

We have changed the pitch notation system from Helmholz to scientific pitch notation; partly to orientate us towards the world outside Europe where scientific pitch notation is used to a much larger degree than Helmholz, and partly to keep up with the times because scientific pitch notation is used in all major computer programmes.
我们将音高记号系统从赫尔姆霍兹记号更改为科学音高记号；部分原因是为了让我们面向欧洲以外的世界，在那里科学音高记号的使用程度远远高于赫尔姆霍兹记号，部分原因是为了与时俱进，因为所有主要的计算机程序都使用科学音高记号。

Scientific pitch notation names notes by combining a letter name and a number identifying the pitch's octave. The definition of scientific pitch notation is where CO is around the lowest possible audible frequency (at 16 Hz). The octave number increases by 1 upon the ascension from B to C. "A4" refers to the first A above Middle C, namely 440 Hz. That means that Middle C, formerly called C1, is now called C4.
科学音高记号将音符名称与标识音高八度的数字结合起来。科学音高记号的定义是 CO 位于最低的可听频率附近（16 赫兹）。从 B 到 C 上升时，八度数增加 1。“A4”是指比中央 C 高第一个 A，即 440 赫兹。这意味着中央 C，以前称为 C1，现在称为 C4。

A healthy voice
健康的声音

The first thing a singer must learn is not to lose the voice. Once you lose your voice you have to stop working until it returns. Furthermore, it is difficult to experiment if you are hoarse as the voice does not respond as it normally would. It takes a skilled singer to avoid compensating once the voice is strained. As long as the voice is in good condition, you can practise and experiment your way until you achieve your goals.
一位歌手首先要学习的是如何保持声音。一旦你失去了声音，你必须停止工作，直到它恢复。此外，如果你声音嘶哑，很难进行实验，因为声音不会像平时那样反应。一旦声音紧张，就需要一位熟练的歌手来避免补偿。只要声音状况良好，你就可以练习和实验，直到你实现你的目标。

Muscle memory
肌肉记忆

If you sing something over and over again your brain will remember the action. This is called building up your 'muscle memory'. This means that the muscles get used to responding in a certain way and will learn to function automatically in the future. It is important, therefore, to establish healthy routines as this will really help your 'muscle memory'.
繰り返し同じことを行うと、脳がその動作を記憶します。これを「筋力記憶」と呼びます。つまり、筋肉は特定の方法で反応するのに慣れ、将来的には自動的に機能するように学習します。したがって、健康的な習慣を確立することが重要です。これは、あなたの「筋力記憶」に本当に役立ちます。

When you practise, it is important to concentrate and avoid making too many errors. It is generally better to do easy exercises without mistakes than difficult exercises with mistakes. If you fail with the same exercise three times in a row, it is too difficult and you are in danger of creating uncontrolled constriction if you continue. Uncontrolled constriction happens when some of the muscles in the throat work too hard or tighten up at the wrong time. It stops the voice from working well, freely and easily. You must make the exercise easier in order to accomplish the vocal task. Become familiar with the correct 'feeling' and work healthy routines into your 'muscle memory'. Eventually the voice will know only these healthy routines and you will not have to spend much time on technical difficulties.
练习时，集中注意力并避免过多错误很重要。通常，没有错误地完成简单的练习比带着错误完成困难的练习要好。如果您连续三次在同一个练习中失败，它就太难了，并且如果您继续练习，您就有可能造成不受控制的收缩。不受控制的收缩发生在喉咙中的一些肌肉过度工作或在错误的时间收紧时。它会阻止声音正常、自由和轻松地工作。您必须使练习更容易才能完成语音任务。熟悉正确的“感觉”，并将健康的程序融入您的“肌肉记忆”。最终，声音只知道这些健康的程序，您就不必在技术难题上花费太多时间。

Trust yourself
相信自己

An important rule that cannot be stressed enough is that singing must never hurt or feel uncomfortable. If something does not sound right, if something feels wrong, or if it feels uncomfortable, your voice is telling you that you are doing something wrong. Always trust your feelings - they are better and more direct than even the best teacher's ear.
永远不要忽视的关键规则是唱歌决不能伤害或让人感到不舒服。如果听起来不对劲，如果感觉不对劲，或者感觉不舒服，你的声音是在告诉你，你做错了什么。始终相信自己的感受——它们比最好的老师的耳朵更好更直接。

Singing must always feel comfortable
歌唱必须始终保持舒适

• The technique must have the intended effect immediately otherwise the training is not being done correctly.
• 此技术必须立即产生预期的效果，否则，训练将无法正确完成。

• If an exercise hurts or feels uncomfortable or wrong, then it IS wrong. You are the only one who knows how it feels, so trust your judgement.
如果一项练习让你感到疼痛或不舒服，或者感觉不对，那么它就是不对的。你是唯一一个知道它感觉如何的人，所以相信你的判断。

• Always practise as close to a real-life situation as possible. For instance, musicians who sit when they sing should also practise while sitting.
•尽可能模拟真实生活场景进行练习。例如，唱歌时坐着演奏的音乐家也应该坐着练习。

Exercises must be simple
练习必须简单

Many singers ask for specific exercises to solve specific problems. I do not think that exercises alone are important, but THE WAY you work with them is. All your concentration must be focused on exactly HOW you work with the voice during the exercise. The final result should be that you are able to sing all combinations of notes and intervals without hindrance.
许多歌手会针对具体问题寻求特定的训练方法，但我认为仅仅依赖训练本身是不够的，重要的是你与训练方式配合的方法。你必须全神贯注于训练过程中如何运用你的声线。最终目标是让你能毫无障碍地演唱所有音符组合和音程。

As all your attention must be placed on achieving the correct singing technique, I suggest that the exercises should be as simple as possible. That way you can concentrate on the work of the body. I think it takes too much concentration to manage a complicated exercise while, at the same time, trying to solve technical problems. That is why the exercises in this book are simple, each one of them dealing with one technical problem at a time.
所有注意力都必须放在获得正确的歌唱技巧上，所以我建议练习应该尽可能简单。这样你就可以专注于身体的工作。我认为，在尝试解决技术问题的同时，管理一个复杂的练习需要过多的注意力。这就是为什么本书中的练习都很简单，每个练习都只处理一个技术问题。

The exercises in this book can be replaced by other exercises as the melodic sequences in themselves are of little importance. The WAY in which you work with the exercises, however, is important. So if you wish to use other exercises, please feel free to do so.
在这本书中，可以将练习替换为其他练习，因为旋律序列本身并不重要。但是，您完成练习的方式很重要。因此，如果您想使用其他练习，请随意。

Songs instead of complicated exercises
用歌曲代替复杂练习

When you are able to perform simple exercises with the correct technique, you will have a solid foundation with which to approach the problems in songs. I see no point in working through difficult and complicated rhythmic and melodic sequences in order to train your voice. Instead, you should
训练你的声音，你应该把时间花在学习基本的音乐技术上。

tackle the problems in a song and its real problems. Every time you come across a technical problem return to a simple exercise and concentrate on solving this technical problem. Once you have figured out HOW to solve the problem transfer the technique to the song.
在歌曲中解决问题及其真实问题。每当遇到技术问题时，请回到一个简单的练习，并专注于解决此技术问题。一旦你弄清楚如何解决问题，就把这个技巧转移到歌曲中。

If you at a later point get tired of practising the major scales and you want inspiration to develop your phrasings or improvisations, you can practise other scales such as the minor scales, pentatonic scales or blues scale (see 'Improvisation and phrasing' on page 234).
如果您在以后厌倦了练习大调音阶，并且希望获得灵感来发展您的措辞或即兴演奏，您可以练习其他音阶，例如小调音阶、五声音阶或布鲁斯音阶（请参阅第 234 页的“即兴演奏和措辞”）。

Changing the key of the exercises
改编练习曲的调式

When you have perfected the exercises in one key then practise them in other keys in order for you to perfect the same exercise at all pitches. This is called 'transposing' the exercise and will give you a good idea of the factors you should take into account when singing in different keys.
当你在一个音调中练习完美后，可以在其他音调中练习它们，以便你在所有音调中都能完美地练习相同的练习。这叫做‘移调’练习，它会让你很好地了解你在不同音调中唱歌时应该考虑的因素。

Personalised training programme
个性化培训计划

Put together your own training programme to practise those techniques that you think you need to work on. You can continuously vary your training programme according to your technical problems, what you need, and how much time you have.
根据你的技术问题、你的需要和你拥有的时间，你可以不断调整你的训练计划，来练习那些你认为需要改进的技术。

How long should I practise
练习多久才足够？

There are many myths about how long a singer should practise. As with all things in singing it depends on the individual. A singer must judge how long s/he can concentrate and on how long s/he has the energy and the strength to practise. It is important to be familiar with your own limits and not practise more than you can manage. Training without concentration or strength can do more harm than good. In such cases you may train using the wrong techniques which could then take a long time to undo. In other words it is better not to practise than continue with a poorly performed exercise.
长久以来，关于歌手应该练习多久存在着许多误解。就像唱歌中所有其他事情一样，这取决于个人。一位歌手必须判断他/她可以集中注意力多久，以及他/她还有多少能量和力量进行练习。重要的是要了解你自己的极限，并且不要练习超过你所能承受的。没有集中力或力量的训练弊大于利。在这种情况下，你可能会使用错误的技术进行训练，而这些技术可能需要很长时间才能纠正。换句话说，不要练习总比继续进行执行不良的练习要好。

Practise with other singers
与其他歌手一起练习

Practise with other singers for mutual support and encouragement. It is more fun and several ears often hear better than yours alone. It is usually easier to hear the mistakes of other singers than your own. So practise together, help each other and have fun. Again, always trust yourself and do not confuse taste with technique. Only you can make your artistic choices and decide what sound you wish to create.
与其他歌手一起练习，相互支持和鼓励。这样做更有趣，而且几只耳朵通常比你自己的一只耳朵听得更清楚。通常更容易听到其他歌手的错误，而不是你自己的。所以一起练习，互相帮助，玩得开心。再次强调，始终要相信自己，不要把品味和技巧混淆。只有你自己才能做出艺术选择，并决定你想创造什么样的声音。

Use exact vowels
使用相同的元音

It is very important to make sure that the pronunciation of the vowels sounds is done 100% correctly. Being able to recognise the exact vowel sound is equally important in order for the technique to work in the right way as these exact vowel sounds are often a necessary condition for obtaining certain vocal modes.
确保元音发音的准确性非常重要。能够准确识别元音发音对于正确使用该技术同样重要，因为这些准确的元音发音通常是获得特定发声模式的必要条件。

If you make the wrong vowel sound you might risk not being able to perform certain modes, pitches and sound colours. Therefore, it is very important that you take time to understand exactly which vowel sound is called for before you start the exercise.
如果你的元音发音错误，你可能会冒着无法执行某些模式、音调和音色的风险。因此，在开始练习之前，花时间准确地了解需要哪种元音发音非常重要。

Different languages and dialects can trick you into using a different vowel sound than the one that must be used. This is why, in the beginning, you must spend time familiarising yourself with the exact vowel sounds by listening and imitating the examples on the CVT Sound Library.
不同语言和方言会让你用与必须使用的元音不同的元音音。这就是为什么，在一开始，你必须通过聆听和模仿 CVT 音库中的例子来熟悉准确的元音音。

Also see the chart on the Overview of the modes page 265.
参阅第 265 页“模式概述”图表。

Train each vowel individually. Listen to the exact vowel sound in the CVT Sound Library. Do not mind if the vowels in the CVT Sound Library doesn't sound exactly as the vowels in your language or dialect. The vowels in the CVT sound library is made for all languages, taking its starting point in English, so the CVT sound library might have other vowels or slightly different vowels compared to the vowels in your language or dialect. If there is difference between the vowel sound in your language and the vowel sound in the CVT Sound Library, use the vowel sound from the CVT Sound Library.
独立训练每个元音。在 CVT 语音库中收听准确的元音发音。请勿介意 CVT 语音库中的元音发音是否与你的语言或方言完全相同。CVT 语音库中的元音旨在适用于所有语言，以英语为出发点，因此 CVT 语音库中可能存在与你的语言或方言中元音不同的其他元音或略有不同的元音。如果你的语言中的元音发音与 CVT 语音库中的元音发音存在差异，请使用 CVT 语音库中的元音发音。

The vowels (capital letters) used in this book are as follows:
The vowels (capital letters) used in this book are as follows: a、e、i、o、u

'EE' is pronounced as in 'see' ^>) 8 [i]
“EE”的发音与“see”中的“e”相同 ^>) 8 [i]

'I' is pronounced as in 'sit' ^>) 9 [i]
“我”的读音与“坐”中的“我”相同 ^>) 9 [i]

'EH' is pronounced as in 'stay' ^>) 10 [e]
'EH'的发音和'stay'中的'ay'相同 ^>) 10 [e]

'A' is pronounced as in 'and'^r) 11 [se]
发音同“and”中的“a”(以 r 结尾)。 11 [se]

'00' is pronounced as in 'you'll) 12 [u]
'00' 的发音类似于“你将”中的“you'll”，12[u]

'O' is pronounced as in 'woman' ^>) 13 [o]
'O' 的发音与 '女人' 中的相同 ^>) 13 [o]

'OH' is pronounced as in beginning of 'so'^>) 14 [ou]
“OH”的读音和“so”的开始字母一样，在音标中用 [ou] 表示

'AH' is pronounced as in 'far' ^)) 15 [a:]
“AH”的发音类似于“far”中的“a” ^)) 15 [a:]

'OE' is pronounced as in 'herb' ^>) 16 [3r]
“OE” 的发音和“药草”中的“药”相同 ^>) 16 [3r]

'UH' is pronounced as in 'hungry'^>) 17 [d]
'UH' 的发音与 'hungry' 中的 'uh' 相同 ^>) 17 [d]

'OR' is pronounced as in 'order' ^>) 18 [o:]
“'OR' 与‘order'中的发音一样是 [ɔː]” 18

The signs in square brackets after the vowels are a standardised way of writing down the pronunciation called 'The International Phonetic Alphabet' or' I PA'. It is an alphabetical system of phonetic notation and a standardised representation of the sounds of spoken language.
将元音后的方括号中的符号作为标准化的发音方式书写，称为'国际音标'或'IPA'。它是一个语音符号的字母系统和口语声音的标准化表示。

Complete Vocal Technique in four pages
四页完整的声乐技巧

Singing is not that difficult and everybody can learn to sing. I have divided the singing techniques into four main subjects as listed below. By combining elements of these four subjects you can produce precisely the sounds you want. You will also be able to pinpoint your specific problems and mistakes, and you can focus on which techniques you wish to work on.
唱歌并不难，每个人都可以学会唱歌。我已将歌唱技巧分为以下四个主题。通过结合这四个主题的元素，您可以准确地发出您想要的音调。您还可以找出您的具体问题和错误，并专注于您想要练习的技巧。

Here I have condensed 'Complete Vocal Technique' into four pages. You can return to these pages at any time to give yourself an overview of the contents of this book.
我在这里将“完整的声音技巧”浓缩成四页。您可以在任何时候返回这些页面，以概述本书的内容。

The four main subjects are:
四大主要科目包括：

• The three overall principles - to ensure healthy sound production.
• 确保健康的音色 production 的三个总体原则。

• The four vocal modes - to choose the 'gear' you want to sing in.
•选择你想要歌唱的"齿轮"的四种人声模式。

• Sound colours - to make the sound lighter or darker.
•音色的深浅 - 使声音更明亮或更暗沉。

• Effects - to achieve specific sound effects.
• 效果 - 为了达到特定的声音效果。

The three overall principles
三位一体的总体原则

The three overall principles are the most fundamental and important to perfect. They make it possible to reach all the high and low notes within the range of the individual singer, to sing long phrases, to have a clear and powerful voice and to avoid hoarseness.
三位总体原则是最基本和重要的，需要完善。它们使个人歌手能够达到其音域内的所有高音和低音，演唱长乐句，拥有清晰而强劲的声音，并避免嘶哑。

The three overall principles must be obeyed regardless of mode, sound colour, and effect. They are:
无论模式、音色和效果如何，都要遵守这三个总体原则。它们是：

1. Support
1.支持

This means working against the natural urge of the diaphragm to release the air that has been inhaled. This is achieved by resisting its movement. During singing, the waist muscles and solar plexus are pushed outwards whilst the abdomen around the navel is gradually pulled in in a constant and sustained manner and the back muscles are tightened.
通过抵抗横膈膜的自然释放吸入的空气的冲动，这意味着与横膈膜的自然冲动作斗争。这可以通过抵抗它的运动来实现。在唱歌过程中，腰部肌肉和太阳神经丛向外推，而围绕肚脐的腹部以持续和持续的方式逐渐向内拉，并且背部肌肉收紧。

The muscles in the loin try to pull the pelvis backwards, while
腰背部的肌肉试图向后拉动骨盆，而
the muscles in the abdomen try to pull the pelvis up under
腹肌尝试将骨盆向上拉
your body. This battle created between the abdominal mus-
你的身体。这场战斗是在腹肌之间创造的-
cles and the muscles in the loin is a valuable and important
cles 和腰部的肌肉是一种有价值且重要的
part of support. However, the support must happen in a sus-
部分支持。但是，这种支持必须以某种可疑的方式发生。
tained and continuous manner as though working against a
持续并作为整体的一部分，如同在与时钟赛跑
resistance for as long as a sound is being produced. When
在声音持续的整个过程中产生阻力。当
the muscle contractions stop being sustained and continu-
肌肉收缩停止持续和连续-
ous, for instance if you cannot pull the abdomen around the
拉紧裤子，例如，如果不能拉紧腹部
navel inwards any further or push the muscles of the waist
肚脐向内拉或推腰部肌肉
or solar plexus outwards any further, then there is usually no
或进一步超出太阳神经丛，那么通常情况下
more support. It is important to conserve your support ener-
更多支持。重要的是节省您的支持精力-

gy so you do not waste it or use
gy 不浪费或使用它
it at the wrong point in time.
在错误的时间节点。

Do not use support before it is
请勿在之前使用支持
necessary. Save it for when the
必要时。保存它以备日后之需。
singing gets difficult, such as
歌唱变得困难，例如
on high notes or at the end of a
高音或结尾
phrase. Support is hard physical
phrase. 身体上的支持是困难的
work so you should be in good
工作所以你应该在良好状态
physical condition.
身体状况。

2. Necessary Twang
2.必要的抖音

The area above the vocal cords forms a funnel, this is called the 'epiglottic funnel'. When twanging, the opening of the epiglottic funnel is made smaller by bringing the arytenoid cartilages closer to the lower part of epiglottis (the petiole). As a result the sound gets clearer and non-breathy, and you can increase your volume. You always need to use necessary twang in order to have correct technique and achieve easy and unhindered use of the voice regardless of the mode,
声带上方区域形成一个漏斗形，这被称为“会厌漏斗”。在弹跳时，会厌漏斗的开口通过将杓状软骨靠近会厌下部（叶柄）来缩小。结果，声音变得更清晰，不带呼吸，并且您可以提高音量。无论何种模式，您都需要始终使用必要的颤音才能拥有正确的技术并实现轻松无障碍地使用声音，

sound colour and effect used. Necessary twang makes it easier to sing in all ways. For many this necessary twang does not sound twanged at all.
声音、色彩和效果被使用。必要的鼻腔音使其在所有方面都更容易歌唱。对于很多人来说，这种必要的鼻音听起来一点也不刺耳。

3. Avoid protruding the jaw and tightening the lips
3.避免下巴突出，嘴唇紧闭。

Avoid protruding the jaw and tightening the lips as it often produces uncontrolled constriction around the vocal cords. Achieve a loose jaw by bending your head back and placing a finger between the upper and lower jaw. Keep this position of the jaw as you sing. The lower jaw should be pulled backwards relative to the upper jaw. Be sure to open the mouth wider on high and low notes than on notes in the middle part of the voice.
避免突出下巴和紧闭嘴唇，因为这通常会导致声带周围不受控制的收缩。通过后仰头部并在上下颚之间放一根手指来实现下巴放松。保持这个下巴位置，以便唱歌。下巴应该相对于上颚向后拉。确保在高音和低音上比在声音中部的音符上张开更大的嘴巴。

Whilst avoiding tightening the lips, it is also important to form vowels with the tongue without altering the shape of the mouth too much. Consonants on the other hand are usually produced by narrowing the vocal tract and by tension in the lips, but as you do not stay on them for very long in singing they do not impair singing. It is important to be able to release the tension immediately going from consonants to vowels.
避免收紧嘴唇的同时，用舌头形成元音也很重要，但不要过多地改变嘴巴的形状。另一方面，辅音通常通过缩小声道和嘴唇的紧张来产生，但由于在唱歌时辅音不会持续太长时间，所以它们不会损害唱歌。能够在从辅音转换为元音时立即释放紧张感非常重要。

Four vocal modes
四种发声模式

The use of the voice can be divided into four vocal modes: Neutral, Curbing, Overdrive and Edge (formerly 'Belting'). The modes differ by having different amounts of metallic character. Most singing problems occur because of incorrect use of the modes. Each mode has a certain character, as well as advantages and limitations. To avoid mistakes and technical problems it is important to know and control the modes, to
声音的使用可分为四种声音模式：中性、遏制、过载和边缘（以前称为“Belting”）。这些模式因具有不同数量的金属特征而有所不同。大多数歌唱问题的发生都是由于模式使用不当造成的。每种模式都有一定的特点、优点和局限性。为了避免错误和技术问题，了解和控制模式非常重要，

16 Complete Vocal
16 完整的声乐

use their advantages and to respect their limitations. It is also important to be able to change freely between the modes in order to make the most of their advantages. You can change smoothly or make abrupt changes to achieve vocal breaks. Each of the four vocal modes should be trained individually and in different ways. Remember to obey the three overall principles regardless of the mode.
利用他们的优势并尊重他们的局限性。为了充分利用这些模式的优势，能够在模式之间自由切换也很重要。您可以平滑地改变或突然改变以实现声音中断。四种声乐模式中的每一种都应该以不同的方式单独训练。无论何种模式，请记住遵守三个总体原则。

Neutral ©
中立©

Neutral is the only non-metallic mode. There is no 'metal' in the sound. The character is often soft, like singing a lullaby. Neutral is the only mode where you can sing using a breathy quality voice without causing damage. The two extremes of Neutral are called 'Neutral with air' ^>) 55 and 'Neutral without air' ^>) 56. For the sake of clarity, both extremes are sometimes shown individually. Neutral is found by establishing a loose jaw.
中性是唯一的非金属模式。声音中没有“金属”。性格常常很柔和，就像在唱摇篮曲。中性是唯一可以让您使用带呼吸声的声音唱歌而不会造成损坏的模式。中性的两个极端称为“有空气中性” ^>) 55和“无空气中性” ^>) 56。为了清楚起见，两个极端有时会单独显示。通过建立松动的下巴来找到中立。

In popular music Neutral with air is used for quiet passages when a breathy sound is wanted. In classical music Neutral with air is only used as a rare effect. In everyday life Neutral with air is used when you speak in a breathy voice or whisper.
在流行音乐中，当需要呼吸声时，中性空气用于安静的段落。在古典音乐中，中性空气仅用作罕见的效果。在日常生活中，当您用呼吸声或耳语说话时，会使用中性空气。

Neutral without air is often used in popular music when you want a sound without metal and yet be clear and non-breathy. In classical music Neutral without air is used by both men and women when singing quietly, i.e. in pianissimo and 'thinning' (the volume of the note is gradually decreased without the note losing its quality). Women use Neutral without air in classical music when they sing in the high part of their voice, regardless of volume. In everyday life Neutral without air is used when you speak quietly with no breathiness.
当您想要没有金属的声音但又要清晰且无呼吸声时，流行音乐中通常会使用中性无空气。在古典音乐中，男性和女性在安静地唱歌时，即在极弱和“变薄”（音符的音量逐渐减小，但音符不失去其质量）时，都使用无空气的中性音。在古典音乐中，无论音量如何，女性用高音部分唱歌时都会使用中性无空气音。在日常生活中，当你轻声说话，没有呼吸声时，使用中性无空气。

All parts of the voice, all vowels and all sound colours can be used in Neutral by both men and women. Generally, Neutral is a mode with a quiet volume from very quiet (pp) to medium loud (mf). Very powerful volumes (ff) can only be obtained in Neutral without air in the high part of the voice. In the West, Neutral is the most commonly taught mode in singing tuition (for women), and is often used in church and school choirs (see 'Neutral' on page 87).
男性和女性都可以使用中性音，所有声部、所有元音和所有音色。一般来说，中性是一种安静音量从非常安静（pp）到中等大声（mf）的模式。非常强大的音量（ff）只能在高音部分没有空气的中性下获得。在西方，中性是歌唱教学（针对女性）中最常用的教学模式，并且经常用于教堂和学校合唱团（参见第 87 页的“中性”）。

Curbing
遏制

^>) 72. Curbing is the only half metallic mode. There is a slight 'metal' on the notes. Curbing is the mildest of the metallic modes. It sounds slightly plaintive or restrained, like when you moan because of a stomach ache. Curbing can be found by establishing a 'hold'.
^>) 72. 扼制是唯一半金属模式。音符上有一点“金属”声。扼制是金属模式中最温和的。它听起来有点哀婉或克制，就像你因为胃痛而呻吟时一样。通过建立一个“保持”可以找到扼制。

Curbing is used in popular music when the volume is around medium and when a certain amount of metal is wanted on the notes such as in soft soul or R 'n B. Curbing is used in classical music by men when singing medium volume (mf) in their entire range and when women singing loud (f) in the middle part of the voice and sometimes in the low part of the voice. Curbing is used in everyday life when you wail, moan, or whine.
抑制在流行音乐中使用，当音量在中等左右，并且希望在音符上添加一定量的金属音，例如在柔和的灵魂或 R 'n B 中。抑制在古典音乐中使用，男性在整个音域内以中等音量（mf）演唱时，以及女性在声音的中部（f）以及有时在声音的低部演唱时。抑制在日常生活中使用，当你哀号、呻吟或哭泣时。

Men and women use Curbing through all the various parts of the voice. The sound colour can be altered quite a lot. All vowels can be used. However, in the high part of the voice, the vowels have to be directed towards 'O' (as in 'woman'), 'UH' (as in 'hungry'), and T (as in 'sit') to stay in the mode. The volume in Curbing stays more or less in medium compared to the other modes, ranging from medium quiet (mp) to medium loud (mf). It is not possible to sing very quietly and very loudly in this mode (see 'Curbing' on page 96).
男人和女人通过声音的各个不同部分使用 Curbing。声音颜色可以改变很多。所有元音都可以使用。但是，在高音部分，元音必须指向“O”（如“女人”中的“O”）、“UH”（如“饥饿”中的“UH”）和 T（如“坐下”中的“T”）才能保持在模式中。Curbing 中的音量与其他模式相比或多或少保持在中等音量，范围从中等安静 (mp) 到中等响亮 (mf)。在这种模式下，不可能唱得很轻或很响（请参阅第 96 页的“Curbing”）。

Overdrive od
超速 od

4>) 97. Overdrive is one of two full-metallic modes. There is a great amount of metal in the notes. The character of Overdrive is often direct and loud, like when you shout 'hey' at somebody in the street. Overdrive can be found in the beginning by establishing a 'bite'. It is usually used when speaking or singing loudly in the low part and middle part of the voice.
大声喊叫时可以用 overdrive，通常在低音和中音部分说话或唱歌时使用。

Overdrive is used in popular music when the volume is loud and when a great amount of metal is wanted on the notes, such as in rock music. In classical music it is used by men when they sing medium loud to very loud (f-ff), and women use Overdrive in classical singing only in the low part of the voice if at all. Overdrive is used in everyday life, for example when shouting.
超速档在流行音乐中使用，当音量很大并且在音符上需要大量的金属音时，比如在摇滚音乐中。在古典音乐中，当男人唱歌中等到很大声（f-ff）时，他们会使用超速档，而女人在古典演唱中只有在声音的低音部分才会使用超速档，如果使用的话。超速档在日常生活中也会使用，例如在喊叫的时候。

Overdrive is the most limited mode in terms of pitch, especially for women. The upper limit for women is D5/Eb5 and for men is C5. There is no lower limit. All vowels can be used in the low part of the voice, but in the high part of the voice you can only use 'EH' (as in 'stay') and 'OH' (as in 'so'). The sound colour can, however, be altered to some extent. Although the volume in Overdrive is mostly loud, relatively quiet volumes can be obtained in the lower part of the voice. The higher the notes, the more distinct the loud, shouting character becomes (see 'Overdrive'on page 106).
过载在音调方面是最受限制的模式，尤其对于女性来说。女性的上限是 D5/Eb5，男性是 C5。没有下限。所有元音都可以在声音的低音部分使用，但在声音的高音部分，你只能使用“EH”（如“stay”）和“OH”（如“so”）。然而，音色可以在一定程度上改变。虽然过载的音量基本上很大，但在声音的低音部分可以获得相对较小的音量。音调越高，大声的喊叫特征就越明显（参见第 106 页的“过载”）。

Edge EL
边缘 EL

^>) 120. Edge (formerly 'Belting') is the other full-metallic mode. There is a great amount of metal in the notes. The character of Edge is light, aggressive, sharp, and screaming, like when you imitate a diving airplane. Edge can be found by twanging the epiglottic funnel (e.g. sounding like a duck).
^>) 120. 边缘音（以前称为“带状音”）是另一种全金属模式。音符中含有大量的金属音。边缘音的特征是明亮、aggressive、尖锐和尖叫，就像你在模仿一架俯冲的飞机时一样。可以通过弹奏会厌漏斗（例如，听起来像鸭子叫）来找到边缘音。

Edge is used in popular music in some styles, and mostly in the high part of the voice when the volume needs to be very loud and with a great amount of metal on the notes, such as in heavy rock and gospel music. Edge is used in classical music when men sing very loudly (ff) often in the high part of the voice such as the high C of a tenor. Women do not use Edge in classical music. Edge is used in everyday life when you scream.
边缘音常用于流行音樂中的某些風格，主要用于声音需要非常响亮的、帶有很多金属的的高音部分，例如重金属音乐和福音音乐。边缘音在古典音乐中用于男性非常响亮（ff）的歌唱，通常在高音部分，例如男高音的高音 C。女性在古典音乐中不使用边缘音。日常生活中的尖叫也会用到边缘音。

Both men and women can use Edge in all parts of the voice. Only twanged vowels can be used as the twanged epiglottic funnel is a condition of Edge. This means that in the high part of the voice you can only use T (as in 'sit'), 'A' (as in 'and'), 'EH' (as in 'stay'), and 'OE' (as in 'herb'). The sound colour can only be altered a little. In the high part of the voice you must not alter the light and sharp sound colour. The volume in Edge stays mostly loud. The higher the notes, the more distinct the screaming character becomes (see 'Edge' on page 116).
所有男性和女性都可以在声音的任何部分使用 Edge 发声，因为带颤音的会厌漏斗是使用 Edge 发声的一个前提条件，所以只能使用带颤音的元音。这意味着在声音的高音区只能使用 T (如“sit”中的发音)、“A”(如“and”中的发音)、“EH”(如“stay”中的发音) 和“OE”（如“herb”中的发音）。音色只能稍微改变。在高音区，您不能改变明亮而锐利的音色，Edge 中的音量通常保持在高音区。音调越高，嘶叫的特征越明显（参见第 116 页上的“Edge”）。

Sound colour
声音颜色

Effects
效果

All modes can be lightened or darkened, though some more than others. The sound colour is created in the vocal tract, which is the space above the vocal cords extending to the lips and including the nasal passages. The form and size of the vocal tract is of great importance to the sound colour. All singers have different vocal tracts so all singers have their own personal sound colour. If the vocal tract is large, the sound colour will be darker with more 'body' to it. If it is small, the sound will be lighter and thinner. The shape of the vocal tract can be altered in many directions so there are many ways of changing the sound colour of your voice.
所有模式都可以变亮或变暗，尽管有些模式比另一些模式更亮或更暗。声音颜色是在声道中产生的，声道是声带以上延伸到嘴唇并包括鼻腔的空间。声道的大小和形状对声音颜色有很大的影响。所有歌唱家都有不同的声道，因此所有歌唱家都有自己的个人声音颜色。如果声道较大，声音颜色会更暗，并且更有“体积”。如果它较小，声音会更亮更薄。声道形状可以从许多方向改变，因此有很多方法可以改变你的声音颜色。

Remember to obey the three overall principles and to be in control of the chosen mode before changing sound colour.
请牢记三个总体原则，并在改变音色之前控制好所选择的模式。

You can change the shape of the vocal tract by changing the:
形状

• shape of the epiglottic funnel ^>) 163 ^>) 164
• 会厌漏斗的形状 ^>) 163 ^>) 164

• position of the larynx ^>) 165 ^>) 166
• 声门的的位置 ^>) 165 ^>) 166

• shape of the tongue ^)) 167 ^>) 168
•舌頭的形狀 ^)) 167 ^>) 168

• shape of the mouth ^>) 169 ^>) 170
• 嘴巴的形状 ^>) 169 ^>) 170

• position of the soft palate^)) 171 ^>) 172
•软腭位置^)) ^)

• opening or closing of the nasal passages ^>) 173 ^>) 174
• 鼻腔的打开或关闭 ^>) 173 ^>) 174

Each of these factors can and should be trained individually in order to get to know each factor's influence on the sound colour. Once you can control each factor individually they can be combined in different ways to achieve different sound colours.
每个因素都应该单独训练，以便了解每个因素对音色的影响。一旦能够单独控制每个因素，就可以将它们以不同的方式组合以实现不同的音色。 ##

These are sounds which are not connected to melody or text but are sounds that underline the expression or style of a singer. Many effects are produced in the vocal tract. All singers are different. Consequently, every effect must be specifically designed to each singer, taking into account their anatomy, physiology, fitness, energy level, and temperament.
这些声音与旋律或文字无关，而是衬托歌手的表达或风格的声音。许多效果是在声门中产生的。所有歌手都是不同的。因此，每个效果都必须根据每个歌手的解剖结构、生理机能、健康状况、能量水平和气质进行专门设计。

Before you start working with effects it is important that you can control the three overall principles, the chosen mode, and the sound colour.
在开始使用效果之前，重要的是你要能够控制三个总的原则、所选择的模式和声音颜色。

Effects might be:
效果可能包括：

• Distortion^)) 222
• 畸变^)) 222

• Creak^>) 234 and creaking ^>) 240
•嘎吱嘎吱^>) 234 和吱吱作响^>) 240

• Rattle ^>) 245
• 摇摆 ^>) 245

• Growl ^>) 252
•咆哮 ^>) 252

• Grunt ^>) 270

• Screams 4>) 276 4)277 4) 278
•尖叫 4>) 276 4)277 4) 278

• Intentional vocal breaks 4) 284
•有意发声停顿 4) 284

• Air added to the voice 4) 67
•加空声的语音 4) 67

• Vibrato 4) 295 4) 296

• Ornamentation technique (rapid runs of notes) 4) 316
•装饰技巧（快速音符流）4） 316

Trust yourself
相信自己

Some of the main rules that cannot be repeated too often are:
一些主要的规则不能太频繁地重复，它们是：

• Singing must always feel comfortable.
•唱歌必须始终保持舒适感。

• The technique must have the intended effect right away otherwise you are not working with it correctly.
• 这项技术必须立即产生预期的效果，否则您就是在错误地使用它。

• If an exercise hurts, feels uncomfortable or feels wrong, it IS wrong. Only you know how it feels so trust your feelings.
如果一项练习让你感到疼痛、不舒服或感觉不对，它就是不对的。只有你自己知道它的感觉，所以相信你的感受。

overall
总体

principles
原则

support
支持

necessary twang
必要的颤音

Avoid protruding the jaw
避免下巴突出
and tightening the lips
紧闭双唇

CHOOSE VOCAL MODE
选择演唱模式

NEUTRAL
中立的

CURBING
控制

oca 奥卡		CL
OVERDRIVE		EDGE

CHOOSE SOUND COLOUR
选择声音颜色

perhaps CHOOSE EFFECT
也许选择效果

• distortion 失真	• screams • 尖叫声
• creak and creaking • 吱呀作响和嘎吱声	• vocal breaks 声乐换气
• rattle • 嘎嘎叫	• air added to the voice • 将空气添加至声音中
• growl • 咆哮	• vibrato • 颤音
• grunt • 哼哼	• techniques for ornamentation · 装饰的技巧

The Three Overall Principles
总体三个原则

To ensure healthy voice production always remember the three overall principles:
确保健康的语音生产，始终牢记三大总体原则：

• Support
•支持

• Necessary twang
•必需的回声

• Avoid protruding the jaw and tightening the lips
•避免下巴突出和嘴唇紧闭

Support
支持

'Support' means working against the natural urge of the diaphragm to release the air. This is achieved through an interaction of three muscle groups: the abdomen, the loin, and the back.
“支持”是指对抗横膈膜自然释放空气的冲动。这是通过三个肌肉群的相互作用来实现的：腹部、腰部和背部。

Feel that the bulge at the solar plexus is expanded, the abdomen around the navel is pulled in and the muscles of the back are contracted. A battle takes place between the loin muscles that try to curve the back and the abdominal muscles that try to straighten the back. The interplay between these three muscle groups should happen in a sustained, gradual, continuous movement as though working against resistance for as long as the sound is produced.
感觉到太阳神经丛的隆起部位膨胀，肚脐周围的腹部被拉紧，背部的肌肉收缩。腰肌试图弯曲背部，腹部肌肉试图伸直背部，这两组肌肉之间展开了一场搏斗。这三组肌肉之间的相互作用应该以一种持续、渐进、连续的动作发生，就好像在发声时对抗阻力一样。

Necessary Twang
必要的颤音

When twanging, the opening of the epiglottic funnel is made smaller by bringing the arytenoid cartilages closer to the lower part of epiglottis (the petiole) whereby the sound gets clearer and non-breathy, and you can increase the volume. You always need necessary twang on the notes in order to achieve easy and unhindered use of the voice, regardless of the mode, sound colour and effect used. Necessary twang makes it easier to sing in all ways. For many this necessary twang does not sound twanged at all.
当拨动时，会厌漏斗的开口通过使会厌软骨靠近会厌的下部（叶柄）而缩小，从而使声音更清晰、更不带喘息，并且可以增加音量。为了实现轻松无阻地使用声音，无论使用何种模式、音色和效果，您始终都需要在音符上进行必要的颤音。必要的颤音使以所有方式唱歌更容易。对于许多人来说，这种必要的颤音听起来一点也不颤音。

Avoid protruding the jaw and tightening the lips
避免过度伸展颚部和紧闭嘴唇

Protruding the jaw and tightening the lips often cause uncontrolled constriction around the vocal cords. Keep the lower jaw inwards in relation to the upper jaw. Avoid tightening the lips on high notes.
伸出下巴并收紧嘴唇通常会导致围绕声带的失控收缩。保持下颌骨相对于上颌骨向内。避免在高音时收紧嘴唇。

You must distinguish between activity and tension. Avoid tension, not activity.
你必须区分活动和紧张。避免紧张，不要避免活动。

Advantages
优点

There are many advantages in following these three overall principles including:
这些原则总共有三个，包括：

• Longer notes
• 更长的笔记

• Even production of sound
• 声音均匀输出

• Larger range of voice
•更大的声音范围

• No hoarseness or wear and tear
•没有声音嘶哑或磨损

• Greater volume
•更大容量

• Control of vibrato
· 控制颤音

• Control of intonation
• 语调控制

In the following chapters I will go through all aspects of the three overall principles.
在接下来的章节中，我将全面阐述这三个总体原则的各个方面。

And remember
请记住

• Singing must always feel comfortable.
•唱歌必须始终保持舒适感。

• The technique must have the intended effect right away, otherwise you are working incorrectly.
**• 如果该技术没有立即产生预期效果，则表示您操作不正确。**

• If an exercise hurts, is uncomfortable or feels wrong then it IS wrong. Only you know how it feels so trust your feelings.
如果一项运动让您疼痛、不舒服或感觉不适，那么它就是错误的。只有您知道自己的感觉，所以请相信您的感受。

Breathing
呼吸

The techniques in this chapter apply to both singers and wind instrument players.
本章中的技巧适用于歌唱者和管乐演奏者。

We take about twelve breaths per minute and, for most people, the process is unconscious. However, a singer has to be aware of how the breathing works. To understand the process of breathing (respiration) you have to know the anatomy of the parts of the body involved.
每分钟我们大约呼吸 12 次，大多数人来说，这个过程是无意识的。然而，歌唱者必须意识到呼吸是如何运作的。为了理解呼吸（呼吸作用）的过程，你必须了解参与身体各部位的解剖结构。

Anatomy
解剖学

The lungs are situated in the chest (thorax) and below the lungs is the diaphragm. The diaphragm is a large muscle shaped like an open parachute at the bottom of the chest. The diaphragm is attached to the breast bone, the lower six ribs and the lower spine. It separates the upper part of the body into a kind of upper and lower 'floor' where the upper floor is the chest containing the lungs and the lower floor is the abdominal cavity containing the digestive organs. The diaphragm is penetrated by the gullet (oesophagus) which is the 'pipe' that carries food and drink from the mouth to the stomach.
肺部位于胸部（胸廓）内，其下方是膈肌。膈肌是位于胸部底部的形状像打开的降落伞的大块肌肉。它附着在胸骨、下六根肋骨和下脊椎上。它将身体上部分隔成一个类似于上下“地板”的区域，其中上层是包含肺部的胸腔，下层是包含消化器官的腹腔。隔肌被食道穿透，食道是将食物和饮料从口中输送到胃部的“管道”。

The lung on the left is shown in cross section so you can see the bronchial tubes. The diaphragm (red) is positioned below the lungs. The larynx is positioned on top of the windpipe.
左肺以横截面的方式显示，以便您可以看到支气管。横膈膜（红色）位于肺下方。喉位于气管上方。

Larynx
喉咙

Bronchial tubes
支气管

Windpipe
气管

Lung
肺

Diaphragm
横膈膜

OVERALL PRINCIPLES
总体原则

The very first breath
最初の息

An unborn baby does not breathe but still needs oxygen. When the mother breathes oxygen is delivered into her blood via her lungs and is transferred to the baby through the umbilical cord. At birth, the baby must breathe on her/ his own. Before birth the baby's diaphragm is usually in a relaxed state, like an open parachute. The principle of any muscle is that when it acts it shortens in length (i.e. a contraction of the muscle). So when the child takes the first breath the diaphragm tightens, changing from the relaxed, 'open parachute' position into a more flattened position. In effect, it lowers itself and the chest cavity increases in size.
一个未出生的婴儿不会呼吸，但仍然需要氧气。当母亲呼吸时，氧气通过她的肺部进入血液，并通过脐带输送到婴儿体内。出生时，婴儿必须自行呼吸。出生前，婴儿的膈肌通常处于放松状态，就像一个打开的降落伞。任何肌肉的原理都是当它运动时会缩短其长度（即肌肉的收缩）。因此，当孩子第一次呼吸时，膈肌会收紧，从松弛的“打开降落伞”姿势变成更扁平的姿势。实际上，它会降低自身位置，胸腔的尺寸会增加。

Because the lungs are attached to the diaphragm, it stretches and opens up the lungs when the diaphragm is tightening and lowering, thereby creating a negative pressure (partial vacuum) within the chest cavity which causes the child to inhale. The air is then sucked in through the mouth, through the larynx, passing the vocal cords, down the windpipe (trachea) through the branches of the delicate bronchial tubes, and then continues all the way into the tissue of the lungs allowing the blood to be oxygenated. Once the diaphragm has been tightened for a certain amount of time the muscle relaxes again and returns to its initial, 'parachute' position in the chest cavity. This way the breath of air is released from the body and this completes the first breath.
因为肺部连接着膈肌，当膈肌收紧并下降时，它会伸展并打开肺部，从而在胸腔内形成负压（部分真空），导致孩子吸气。然后，空气会通过嘴巴、喉部、声带、气管（气管）穿过气管的细支气管，然后一直进入肺部组织，使血液得到氧气供应。一旦膈肌紧张了一段时间，肌肉就会再次放松，并恢复到其在胸腔内的初始“伞状”位置。这样，呼吸的空气就会从体内释放出来，从而完成第一次呼吸。

When the diaphragm is lowered a partial vacuum is created in the lungs and air is sucked in.
当横膈膜下降时，肺部会产生部分真空，空气被吸入。

Conscious vs. unconscious process
有意识的 vs. 无意识的过程

Following the first breath the diaphragm contracts again, sucking in air and so on. Breathing (respiration) has begun and will work, hopefully without problems, for the rest of our lives. The diaphragm works like a piston, managing our inhalation and exhalation without our being aware of it. It works at its own rhythm. A singer however, has to intervene in this unconscious process, which is often difficult because breathing has been minding its own business for so many years.
随着第一次呼吸，膈肌再次收缩，吸入空气，等等。呼吸（呼吸作用）已经开始，并且会持续，希望在我们余下的生命中不会出现问题。膈肌像活塞一样工作，控制我们的吸气和呼气，而我们对此却一无所知。它按照自己的节奏工作。然而，歌唱家必须干预这个无意识的过程，这通常很困难，因为呼吸已经自行其事很多年了。

Diaphragm, ribs and abdomen
横膈膜、肋骨和腹部

The outer edge of the diaphragm is attached all the way around to the lower part of the rib cage. At the front it attaches to the breastbone (sternum) and around the sides to the lower ribs, and at the back it attaches downwards via powerful muscle fibres to the lower lumbar spine. The middle of the diaphragm consists of a tendon plate to which muscle fibres are attached. These muscle fibres have an inward direction so when the muscles contract, the diaphragm lowers and moves like a piston downwards and a bit forwards.
隔膜的外缘完全附着于胸廓的下部。在前面它附着于胸骨（胸骨）和肋骨周围，在后面它通过强壮的肌肉纤维向下附着于腰椎下部。隔膜的中央由一个肌纤维附着的肌腱板组成。这些肌纤维是向内的，所以当肌肉收缩时，隔膜会下降并像活塞一样向下和向前移动。

There is also contraction of some small muscles between the ribs (the external intercostal muscles) which effectively move the ribs outwards increasing the circumference of the rib cage and causing the chest to expand. In the front, the lowest
一些小胸肌（肋间外肌）之间的收缩有效地使肋骨向外移动，增加胸廓的周长，使胸部扩张。在前面，最下面的

ribs consist of cartilage and they are attached to each other in a sort of spring system, allowing the chest to expand. At the back however, the ribs are made of bone and attach directly onto the rigid spine. The net effect is that the expansion of the diaphragm is greatest at the front and sides and minimal at the back. The diaphragm moves a couple of centimetres during normal breathing and about 10 - 12 centimetres during heavy breathing. When the diaphragm contracts it also pushes down on the contents of the abdomen and the digestive organs. This forces the abdomen to bulge a little, often making singers believe they breathe with the abdomen.
肋骨由软骨组成，它们以一种弹簧系统相互连接，使胸部能够扩张。然而，在背部，肋骨由骨头制成，直接附着在坚硬的脊柱上。最终效果是隔膜的膨胀在前部和侧面最大，而在后部最小。正常呼吸时横膈膜移动几厘米，重呼吸时横膈膜移动约 10 - 12 厘米。当横膈膜收缩时，它也会向下推腹部和消化器官的内容物。这迫使腹部稍微隆起，常常使歌手相信他们是用腹部呼吸的。

The diaphragm is attached to the spine, the lowest set of ribs, and the breastbone.
横膈膜附着在脊柱、最低的一组肋骨和胸骨上。

Finding the best breathing
寻找最佳呼吸方式

During singing or speaking you should hold back the air so all of it does not escape at once. If all the air were to leave the lungs at once it would interfere with the work of the vocal cords. It is essential that the retaining of air is as comfortable as possible. There are numerous ways of sensing your breathing and many opinions on which sensation is the best and how 'correct breathing' should feel. I suggest you investigate which feels most comfortable for you and which one controls the air the easiest.
在唱歌或说话时，你应该屏住空气，以免所有空气立即逸出。如果所有空气立即离开肺部，就会干扰声带的工作。保持空气尽可能舒适至关重要。感知呼吸的方法有很多种，关于哪种感觉最好以及“正确的呼吸”应该如何感觉也有很多观点。我建议你调查一下哪一种让你感觉最舒服，哪一种最容易控制空气。

Inhalation
吸入

It is important to practise as quick and efficient an inhalation as possible. When you sing there is rarely time to breathe through your nose so there is no point in practising it. There is also no point in adding sound to inhalation as it usually should be as quiet as possible. You must breathe calmly and unhindered through your mouth without pouting the lips.
尽可能快速有效地练习吸气非常重要。当你唱歌时，很少有时间通过鼻子呼吸，所以练习是没有意义的。在吸气时添加声音也是没有意义的，因为它通常应该尽可能安静。你必须用嘴平静、不受阻碍地呼吸，不要撅起嘴唇。

When the chest raises
当胸部抬起时

Some people raise the upper part of the chest during inhalation. The inhaled air fills the upper part (apex) of the lungs. Unlike the lower ribs, the upper ribs are smaller and cannot move very much and hence the lungs have very little room to expand. This type of inhalation is unpleasant for most people as it feels tight. It is often difficult to maintain and can create uncontrolled constriction in the throat, making the voice feel tight. However, there are some singers who do not experience discomfort with this type of inhalation.
有些人在吸气时会抬高胸部上部。吸入的空气充满肺部的上部（肺尖）。与下肋骨不同，上肋骨较小，不能移动太多，因此肺部扩张的空间很小。这种类型的吸入对于大多数人来说都是不愉快的，因为感觉很紧。它通常很难维持，并且会在喉咙中产生不受控制的收缩，使声音感觉紧绷。然而，有些歌手不会因这种吸入方式而感到不适。

Exhalation Inhalation that raises the upper
呼气吸气使上肢抬高

part of the chest. This might feel unpleasant and tight.
胸部的一部分。这可能会让人感到不愉快和紧张。

OVERALL PRINCIPLES
总体原则

Place your hand on your upper chest.
将手放在上胸部。
Take in as much airas possible,filling the
尽可能多地吸入空气，充满
top of the lungs and feel how your hand
肺部顶部并感觉你的手如何
is lifted. Hold your breath and note the
被解除。屏住呼吸并注意
sensation of inhaling as the chest rises.
胸部上升时吸气的感觉。

When the abdomen bulges
腹部膨出

Many people talk about 'breathing with your abdomen' but this cannot be as there are no lungs in the abdomen. It might look that way, when the abdomen bulges out during inhalation, but what we actually see is the diaphragm pushing the abdominal contents down and outwards, creating the bulge. The abdomen expands quite a lot while the chest and ribs move very little. The diaphragm expands mostly downwards, putting pressure on the digestive organs. There is no point in overdoing this pressure as it does not improve breathing and it does not make you sing any better. It is usually strenuous and uncomfortable to keep the diaphragm in this position and requires a lot of energy to keep the abdomen expanded in this way. This kind of pressure often triggers uncontrolled constriction around the vocal cords and it is not a particularly pretty sight either.
许多人谈论“腹式呼吸”，但这是不可能的，因为腹腔没有肺。在吸气时腹部会突出，这看起来像是腹式呼吸，但实际上我们看到的是横膈膜将腹部内容物向下和向外推，从而形成突起。腹部会膨胀很多，而胸部和肋骨的活动很少。横膈膜主要向下扩张，压迫消化器官。过度增加这种压力是没有意义的，因为它不会改善呼吸，也不会让你唱歌更好。将横膈膜保持在这个位置通常很费力且不舒服，并且需要大量的能量才能以这种方式保持腹部扩张。这种压力通常会触发声带周围不受控制的收缩，而且看起来也不是很美观。

Exhalation Inhalation that causes the abdomen
呼气吸气导致腹部

to bulge. The diaphragm pushes down on the intestines creating a bulge.
鼓起。膈肌向下推压肠子，导致鼓起。

Exhale and inhale, letting only the abdo-
呼气和吸气，只允许腹部活动-
men around the navel expand. Neither
肚脐周围的男性会膨胀。既不
the upper ribs in the chest nor the lower
上胸的上位肋骨，也不属于下位的肋骨
ribs at the sides move outwards. Hold
肋骨在两侧向外移动。保持住。
your breath and notice the sensation of
你的呼吸，并注意到感觉
inhaling causing the abdomen to bulge.
吸气使腹部隆起。

Expansion around the diaphragm
横膈膜周围扩张

For most people it feels more natural to expand around the
对于大多数人来说，围绕
diaphragm area during inhalation. The diaphragm is con-
横膈膜在吸气过程中，横膈膜是-
tracted and the lowest ribs move outwards causing a bulge
收缩并向外移动最下端的肋骨，形成隆起
at the solar plexus. The abdomen around the navel also ex-
在太阳神经丛处。脐周腹部也 ex-
pands slightly. After inhalation the diaphragm relaxes and
吸气后横膈肌松弛，使腹部略微隆起.
releases the air. The lowest ribs return to their initial posi-
释放空气。最低的肋骨恢复到最初的位-
tion, the bulge at solar plexus disappears, and the abdomen
消退，腹部

around the navel flattens again.
围绕肚脐处再次变平。

Place one hand on the ribs at the side
一只手放在侧面肋骨上
at the lower end of the chest and the
在胸的下端和
other hand on the solar plexus. Breathe
另一只手放在太阳神经丛上。呼吸
calmly and unhindered through your
从容不迫地通过
mouth and do not pout etc. The lowest
嘴，不要噘嘴等。最低级别
ribs expand and a bulge emerges at the
肋骨扩张，在...处出现了一个隆起
solar plexus. This bulge is a sign that the
太阳神经丛。这个凸起是
diaphragm has tightened. You can also
横膈膜收紧。你也可以
feel how the abdomen automatically ex-
感受腹部自动呼..
pands slightly. Let the abdomen around
腹部周围稍微膨出

the navel work by itself, it must neither be helped nor hin-
自身的脐带，既不能帮助，也不能阻碍-
dered. The upper part of the chest must not be raised. Hold
胸部上部不能抬起。保持
your breath and notice the sensation. Relax and exhale and
你的呼吸，感受它的感觉。放松，呼气，并
feel how the bulge at the solar plexus disappears at the same
感受，太阳神经丛的隆起如何消失在同一
time as the air escapes. This type of inhalation should feel
随着空气排出，这时吸入的感觉应该是
comfortable, is usually easy to do, and makes it easy to hold
舒服、通常做起来很容易，拿起来也很方便
back your breath.
屏住呼吸。

Exercise for expanding the diaphragm
练习扩充横膈膜

Place your hands on the sides of the ribs at the lower end of the chest. Exhale for a longtime, heavilyand unhindered, and at the same time PUSH the ribs in with your hands. Release the pressure on the ribs while taking in air so that the lowest ribs
将你的手放在靠近胸部下端的肋骨两侧。长时间、深重且畅快地呼气，同时用手向内压肋骨。在吸入空气的同时放松对肋骨的压力，使最下端的肋骨

Solar Plexus
太陽神經叢

Inhalation that expands around the diaphragm
膈肌周围扩张的吸气

The diaphragm is tightened, pushing out the lowest ribs to expand the lower chest and cause a bulge at the front at the solar plexus
横膈膜收紧，将最低的肋骨推出，扩张下胸部，并导致太阳神经丛前部隆起

and the bulge at the solar plexus expand as much as possible WITHOUT raising the upper part of the chest. The inhalation must be calm. Let the ribs push your hands outwards and feel how the bulge at the solar plexus is pushed outwards as well. Practise this expansion until it becomes natural.
尽可能地扩张太阳穴处的隆起，不要抬起胸部的上部。吸气要保持平静。让肋骨向外推你的手，感受一下太阳穴处的隆起也被向外推的感觉。练习这种扩张，直到它成为自然。

Avoid keeping the abdomen tight
避免腹部紧绷

If a singer tends to tighten her/his abdominal muscles on inhaling, an exercise in making the abdomen expand can be useful. Some singers obstruct their breathing by holding the abdomen in so tightly that no room is left for the diaphragm to push the digestive organs out of the way and therefore the only possible expansion will be upwards into the chest. By placing a hand on the abdomen, around the navel, and feeling the abdomen expand when you inhale, you can avoid lifting the chest. Note that the lower ribs expand at the sides. If your muscles around the abdomen are very tight, concentrate on expanding the abdomen while inhaling. It is all right to overdo it to begin with, later try to expand the ribs. Avoid breathing into the upper part of the chest. Let go of any
让歌手在吸气时保持腹部肌肉收紧，可以进行扩张腹部吸气练习。有些歌手通过将腹部紧紧地收紧来阻塞他们的呼吸，以至于没有空间让膈肌将消化器官推开，因此只有可能向上的扩张是进入胸部。通过将手放在腹部，围绕肚脐，当你吸气时感觉到腹部膨胀，你可以避免抬起胸部。请注意，下肋骨在两侧扩张。如果你的腹部周围的肌肉非常紧张，集中精力在下腹吸气的同时扩张腹部。开始时过度用力是可以的，以后尝试扩张肋骨。避免呼吸到胸部上部。释放任何紧缩的肌肉。尽量用鼻子吸气，用嘴呼气。练习在唱歌时保持腹部扩张。

tension and feel the expansion at the ribs and the abdomen.
感到扩张到肋骨和腹部。
When this has become a natural reflex you no longer have to
当你已经养成了一种自然的条件反射，你就不再需要做
concentrate on the abdomen during inhalation.
吸气时专注于腹部。

Do not take in too much air
不要吸入太多空气

Even though you are expanding around the diaphragm dur-
即使您正在围绕隔膜进行扩张
ing inhalation you may harm a good inhalation by continuing
在吸入过程中，您可能会通过继续吸入而损害良好的吸入
an inhalation too long until it raises the chest. If too much air
吸入时间过长，直到隆起胸部。如果吸入过多的空气
is inhaled by filling the lungs to capacity, unwanted tension
不必要的紧张，通过深吸气来填充肺部来进行
will be created when you raise the chest (see page 23). Avoid
(请参见第 23 页)抬起胸部时将创建。避免
this by practising expanding the lower ribs and solar plexus
通过练习扩张你的下肋骨和太阳神经丛
as much as possible without raising the chest.
尽可能在不抬高胸部的条件下进行。

All singers are different. Some are happy
所有歌手都有所不同。有些是快乐的。
with larger breaths of air, some with less
更大的呼吸，更小的呼吸
air. Practise inhalation until you know
练习吸气直到你知晓
how much air is comfortable to inhale
你吸多少空气感觉舒服？
and hold back. Practise this sensation
练习这种感觉，忍住
until it becomes natural.
直到成为自然。

OVERALL PRINCIPLES
总体原则

Posture
姿势

In my opinion many singers use disproportionately much time on correcting the posture. I very seldom find that singing problems are caused by incorrect posture but are more often due to incorrect technique. My experience tells me that you achieve much faster results by working directly with the technical aspects than correcting the posture.
在我看来，许多歌唱者在纠正姿势上花费了不成比例的时间。我很少发现歌唱问题是由姿势不正确引起的，而更多是由于技术不正确造成的。我的经验告诉我，直接处理技术方面比纠正姿势能更快地获得结果。

In addition it is not an advantage for singers to be able to perform only when the posture is 'perfect'. Very few singers can get away visually with standing perfectly and 'correctly' during a whole concert or show. The demands on the singer's physical endurance are constantly challenged. Furthermore, it is becoming increasingly common within the classical world to see very demanding performances which challenge the singer's physical ability. If in these cases you have made yourself dependent on a specific posture, you are very often not chosen for the professional part.
除了姿势“完美”外，歌手还能在其他时候进行表演，这也不是一个优势。很少有歌手能在整场音乐会或演出中保持完美的站姿和“正确”的站姿。对歌手的体能耐力的要求是不断受到挑战的。此外，在古典音乐界，看到对歌手身体能力提出很高要求的表演越来越常见。如果在这些情况下，你让自己依赖于特定的姿势，你很可能不会被选中参加专业演出。

Of course, some cases do exist where a particular posture is so troublesome that it is worthwhile working on it. If the diaphragm does not have enough room to expand its movements will become smaller. Therefore singers often inhale so the chest rises and thereby the natural movement of the diaphragm gets even smaller. A muscle that is under-used will work less well. This is why you should generally be aware of breathing in a way that strengthens the diaphragm.
当然，在某些特殊情况下，特定姿势会非常麻烦，因此值得对其进行调整。如果横膈膜没有足够的空间扩张，其运动幅度会变小。因此，歌唱者经常会吸气，使胸部隆起，从而使横膈膜的自然运动幅度变得更小。一个使用不足的肌肉会工作得更差。这就是为什么您通常应该注意以一种可以增强横膈膜的方式呼吸。

If you think you have a problem with your posture, try to 'grow' a few centimetres as if you are hanging from a string fastened to the top of your head. Straighten the curve of the back by pulling the lumbar region up underthe body in order for the abdominal muscles to do their job better. You must be aware of not over-stretching your knees, not because it is harmful for singing, but because it places a strain on the knee joints in general.
如果您认为您的姿势有问题，请尝试像挂在头顶的绳子上一样“长高”几厘米。通过将腰椎区域拉到身体下方来拉直背部的曲线，以便腹肌更好地完成其工作。您必须注意不要过度伸展膝盖，这不是因为这对歌唱有害，而是因为它会给膝关节带来一般性的压力。

The support exercise against the wall is also an excellent way of practising your posture if you think this is needed (see 'Support training' on page 38).
靠墙支撑练习也是锻炼姿势的绝佳方式，如果您认为有此必要（请参阅第 38 页的“支撑训练”）。

All singers are different. Always adopt a posture in harmony with your body. Make sure that your posture feels natural, otherwise it would require too much concentration, leaving too little energy for singing.
所有歌手都是不同的。始终保持与身体协调的姿势。确保你的姿势感觉自然，否则它将需要太多的集中力，留下太少的能量用于唱歌。

Summary:
摘要：

• During an inhalation the diaphragm tightens and lowers as the lower ribs move outwards; a bulge emerges at the solar plexus, and the abdomen around the navel bulges slightly.
吸气时，横膈膜收缩下降，肋骨下缘外扩；胸廓前壁上提；太阳神经丛处出现膨隆，脐周腹壁轻度膨隆。

• During an exhalation the diaphragm relaxes, the ribs come back in, the bulge at the solar plexus disappears, and the abdomen around the navel flattens.
呼气时，横膈膜放松，肋骨回缩，太阳神经丛处的隆起消失，肚脐周围的腹部变平。

• Singers are different. Some like to take in larger breaths of air and others smaller.
• 歌唱者的呼吸方式各不相同。有些人喜欢吸入大量的空气，而有些人则喜欢吸入较少的空气。

• Practise breathing until you know the limit of how much air you can comfortably inhale and hold back so it becomes familiar and natural.
·练习呼吸，直到你知道你能舒适地吸入和屏住多少气，这样它就会变得熟悉和自然。

• You get quicker results by working directly with the singing technique rather than correcting your posture. Always adopt a posture in harmony with your body and make sure that it does not feel unnatural.
• 通过直接使用发声技巧可以更快地获得结果，而不是纠正你的姿势。始终采用与你的身体和谐的姿势，并确保它不感觉不自然。

Support
支持

The techniques in this chapter apply to both singers and wind instrument players.
本章中的技巧适用于歌唱者和管乐演奏者。

Advantages of an efficient support
高效支持的优势

Support is one of the overall elements in all types of singing, regardless of musical style. To develop your singing technique you often need a thorough understanding of support.
无论哪种音乐风格，支撑都是所有歌唱类型中必不可少的整体元素之一。为了发展您的歌唱技巧，您通常需要透彻了解支撑。

There are many advantages of efficient support. It can help promote:
高效的技术支持有很多优势，可以帮助促进：

• longer notes
•更长的笔记

• even tone production
• 平坦的音调

• larger vocal range
•更大的音域

• no hoarseness or strain
•没有声音嘶哑或紧张

• greater volume
- 大批量 • 大容量

• control of vibrato
•控制颤音

• control of pitch
•音高的控制

Delaying exhalation
延缓呼气

Many singers think singing is all about expelling air. But if you release the air too quickly your singing will not last long. Whenever you speak or sing you have to delay the exhalation. For most people exhalation is an unconscious process being controlled by the diaphragm which just relaxes and releases the air quickly. A singer must, however, take a conscious, active part in controlling exhalation; a process known as support. Support requires physical strength as well as control.
许多歌手认为唱歌只是呼气而已。但是，如果你呼气过快，你的歌声就不能持续很久。无论何时说话或唱歌，你都必须延缓呼气。对于大多数人来说，呼气是一个无意识的过程，由横膈膜控制，它只是放松并快速释放空气。然而，一个歌手必须在控制呼气方面扮演一个有意识的、积极的角色；这个过程叫做 support。Support 需要体力和控制力。

Feel the outflow of air
感受气流的流动

Place the back of your hand close to your mouth and exhale. Feel the outflow of air on your hand. Now add a note while exhaling just as before. Listen to how weak and breathy the note is. Now sing a more powerful, sonorous tone and you will feel that less air is expelled against the back of your hand. So, in order to make sonorous, powerful notes you must hold the air back instead of letting it all out at once.
将手掌背贴近嘴巴，呼气。感受手上的气流。现在在呼气时像之前一样加上一个音符。听听这个音符是多么的弱和气喘吁吁。现在唱一个更强有力、更响亮的音调，您会感觉到手背上呼出的气流减少了。因此，为了使音符响亮、有力，您必须控制住气流，而不是一口气全部呼出去。

Forcing
强迫

Attempting to produce powerful notes during a large outflow of air is referred to as 'forcing', 'pushing' or 'blowing'. This is very strenuous and usually extremely wearing on the voice. You can recognise 'forced' notes by hearing that your voice is breathy, even though the tone is rather powerful. Usually, you can also feel the air on your hand if you put it up in front of your mouth when singing. If a singer 'forces', s/he usually cannot sing for very long without getting a 'tired' voice or without it becoming painful.
试图在大量的气流流出过程中产生强有力的音符被称为"强声""推动""吹奏"。这非常费力和消耗声音。您可以通过听到声音中有呼吸声来识别"强声"的音符，即使音调相当有力。通常，当您在唱歌时将手放在嘴前，也能感受到空气。如果一个歌手“强声”，他/她通常无法唱很长时间，否则声音会“疲劳”，或变得疼痛。

Avoid 'forcing' by singing whilst holding back your breath. You will feel that the outflow of air decreases on your hand in front of your mouth. Try to imagine 'singing inwards' or that you are 'drinking while you sing'. In the beginning the tones will often be less powerful but this is a natural step. Continue the training and soon you will be able to sing more powerfully without a noticeable outflow of air.
避免通过屏住呼吸唱歌来“强迫”发声。你会感觉到你的手放在嘴前时，呼出的气流减少了。尝试想象“向内唱歌”或“唱歌时喝水”。一开始，音调通常会比较弱，但这是一种自然的过程。继续练习，很快你就能在呼吸量不明显的情况下更强有力地唱歌了。

The support for speaking and singing is, in fact, an extension of the natural 'support' you use in everyday life, for example when you are about to cough or scold someone. Notice how you hold back your breath as if to gather extra energy just before everything breaks loose. In other words, singing and speaking are more about holding back your breath than exhaling.
事实上，演唱和说话都是自然使用“支持”的延伸，这些“支持”在生活中比比皆是，例如你即将要咳嗽或责骂某人。注意当你快要爆发时如何屏住呼吸以积蓄额外的能量。换句话说，唱歌和说话更多的是屏住呼吸，而不是呼气。

Feel the power of the diaphragm
感受横膈膜的力量

Feel the opposition of the diaphragm that you as a singer are fighting when it wants to release air. Breathe in, hold your breath for a long time, and feel the enormous power that accumulates as the diaphragm tries to release the air. In the end the diaphragm is 'stronger' than your will and, even though you don't want it to, it will release the air. You can only partly control the diaphragm and obviously cannot hold your breath until you die. So, it is difficult to hold back your breath, but easy to release the air.
感受横膈膜的阻力，作为一名歌手，当你想要释放空气时，横膈膜会进行抵抗。吸气，屏住呼吸很长时间，感受横膈膜试图释放空气时积累的巨大力量。最终，横膈膜会比你的意志“更强大”，即使你不想让它释放，它也会释放空气。你只能部分控制横膈膜，显然不能屏住呼吸直到死亡。所以，屏住呼吸很难，但释放空气很容易。

OVERALL PRINCIPLES
总体原则

Exercise with a candle
用蜡烛做运动

Early Italian singing teachers were conscious of the importance of support. They put a lit candle in front of a singer's mouth to check whether the support was correct. The test was not to let the flame flicker while the singer sang; that is how little air should be released. This is how perfectly singers must control their breathing. The less air released, the better the singing will be. (This also applies to singing with air added to the voice - see 'Air added to the voice' on page 206).
早期的意大利声乐教师意识到歌唱中气息支撑的重要性。他们会在一位歌手的嘴前放一支点燃的蜡烛来检查他们的气息支撑是否正确。测试要求在歌手歌唱时不能让蜡烛的火焰闪烁；这就是说明歌唱时应该释放出多少空气。这就是声乐歌唱者必须完美地控制他们的呼吸方式。释放的空气越少，歌唱的效果就越好。（这也适用于带气息的歌唱——见第 206 页的“带气息的歌唱”）。

Natural support develops gradually until adulthood. With small children the diaphragm dictates when a breath should be taken in. When children begin to speak they are not very good at holding their breath and therefore sound short of breath while speaking and breaking words in odd places.
自然支撑会逐渐发育至成年。幼儿的呼吸由横膈膜决定何时吸气。当孩子开始说话时，他们无法很好地屏住呼吸，因此在说话时听起来气喘吁吁，而且在奇怪的地方断词。

Do not take in too much air
不要吸入太多空气

The diaphragm works hard to release air, especially if you have inhaled too much. You must, of course, inhale enough air for it to last for a long note ora phrase, but if you inhale too much you will not benefit from the extra air as the pressure from the diaphragm increases accordingly. Although inhaling a lot of air makes it easier to reach higher volumes you must be physically very strong to control the pressure of the diaphragm. Only certain Wagnerian singers benefit from filling their lungs with so much air because they wish to achieve maximum volume and they have the necessary strength to hold back the air. You must be aware of how much air you need and how much physical strength you have to hold the air back. You may notice different songs need different degrees of support. Practise breathing with the amount of air that is comfortable for you until it becomes natural.
横膈膜努力释放空气，尤其是在你吸入过多空气时。你当然必须吸入足够的空气，使它能持续一个长音符或一个乐句，但如果你吸入过多空气，你将不会从额外的空气中获益，因为横膈膜的压力会随之增加。虽然吸入大量空气可以更容易地达到更高的音量，但你必须身体非常强壮才能控制横膈膜的压力。只有某些瓦格纳的歌唱家受益于用这么多空气填充他们的肺部，因为他们希望获得最大的音量，并且他们有必要的力量来 menahan 空气。你必须意识到你需要多少空气，以及你必须保持多少力量来 menahan 空气。你可能会注意到不同的歌曲需要不同程度的支持。练习用适合你的量的空气呼吸，直到它变得自然。

If a singer has problems with her/his breathing it could be because the air in the lungs is not used up before more is inhaled. This often causes uncontrolled constriction due to increased pressure from the diaphragm because you have too much 'old' air in your lungs. Sing some phrases of a song and when you feel the need to inhale, exhale instead. Note if there was an extra amount of air that you did not use.
如果一位歌手在呼吸方面遇到问题，可能是因为肺部的空气没有在吸入更多空气之前就被用完。这通常会导致由于隔膜压力增加而导致的无法控制的收缩，因为您的肺部中有太多“旧”空气。演唱歌曲中的一些短语，当您感到需要吸气时，请改为呼气。注意是否有您没有使用的额外空气。

Supporting muscles
支持肌肉

Diaphragm, ribs and their assisting muscles
横膈膜，肋骨及其辅助肌肉

To control exhalation you must control the diaphragm. When the diaphragm is contracted and thereby lowered, the lungs are filled with air. When the diaphragm relaxes and arches, the lungs are emptied. The aim is to keep the diaphragm lowered in order to keep the air in.
为了控制呼气，你必须控制横膈膜。当横膈膜收缩并降低时，肺部充满空气。当横膈膜放松并拱起时，肺部会清空。目标是保持横膈膜降低，以便保持空气在肺部。

The diaphragm is attached to the lower ribs. During Inhalation, it contracts and lowers, and in addition the ribs move outwards. If you are able to hold the ribs outwards for as long as possible during Exhalation you have a better chance of preventing the diaphragm from relaxing and thereby letting out ail the air. In order to find the right muscles that help keep the ribs spread outwards and help you hold on to your breath, you have to know the anatomy of the body.
横膈膜连接在下肋骨上。在吸气过程中，它会收缩并下降，另外肋骨也会向外移动。如果您在呼气时尽可能长时间地保持肋骨向外，您将更有可能防止横膈膜放松，从而排出所有空气。为了找到有助于保持肋骨向外张开并帮助您屏住呼吸的正确肌肉，您必须了解身体的解剖结构。

Abdominal muscles
腹肌

Hold your breath and notice that when you move the abdomen outwards you can feel that the ribs move inwards. Conversely, when you move the abdomen inwards you can feel the ribs move outwards. Thus the abdomen has to move inwards in order to keep the ribs outward. When you pull in the abdomen you use four abdominal muscles (see figure on the next page).
屏住呼吸，你会注意到，当你向外移动腹部时，你会感觉到肋骨向内移动。反之，当你向内移动腹部时，你会感觉到肋骨向外移动。因此，为了保持肋骨向外，腹部必须向内移动。当你把腹部收紧时，你会用到四块腹肌（见下页图片）。

The 'rectus abdominis' muscles are the outermost of these muscles. They connect the lower ribs with the pubic bone. Three fibrous bands stretch horizontally across these muscles which, if you are slim and well trained, makes the abdominal rectus muscles look like quadrangular areas - the so called 'six pack' (see figure on the next page).
腹直肌是这些肌肉的最外层。它们连接下肋骨和耻骨。三条纤维束水平横跨这些肌肉，如果你身材苗条，训练有素，腹直肌看起来像四个区域——所谓的“六块腹肌”(详见下页图)。

Behind the abdominal rectus muscles there are two sets of diagonal (oblique) muscles on both sides of the body. These are known as the 'external oblique' muscles and are the outermost of these muscles which connect the ribs with the hipbone. The 'internal oblique' muscles lie underneath and they connect the edge of the ribs with the pubic bone. The
腹直肌的后面有腹斜肌, 它是一组成对的肌肉, 位于身体的左右两侧, 呈对角线排列。腹斜肌可以分为两组: 外斜肌和内斜肌。外斜肌位于身体最外面, 连接着肋骨和髋骨。内斜肌位于内斜肌的下方, 并连接着肋骨边缘和耻骨。

deepest of all is the 'transversus abdominis' muscle which
最深处的是 “腹横肌”
forms the innermost layer (see figure).
构成了最内层（见图）。

Muscles of the back
背部肌肉

The large muscles on either sides of the back stretch from un-
大肌肉在背部的两侧从 un- 延伸
der the arms into tendonous tissue which attach to the hip
在腱膜组织下，手臂变成了附着在臀部的组织
bone and spine are called the 'latissimus dorsi' (see figure on
骨骼和脊柱被称为“背阔肌”（见
the next page). These muscles help keep the ribs expanded
下一页)。这些肌肉有助于保持肋骨扩张。
at the back. When contracted, they create the 'wings' you see
在背后。当收缩时，它们会形成你所看到的“翅膀”
on body builders.
健美运动员。

The internal
内部
oblique muscles
斜肌

The transversus
横突肌

abdominus muscles
腹肌

Muscles of the loin
腰肌

Sets of muscles known as 'quadratus lumborum' are found in the loin (see figure on the next page). They join the pelvis to the lowest rib preventing them from rising and allowing the diaphragm to work more effectively. When these muscles tighten they tilt the pelvis forwards so that the back curves. This is only possible when the abdominal muscles are relaxed. When the abdominal muscles are contracted at the same time, a battle starts between the quadratus lumborum muscles, which want to tilt the pelvis forward so your back curves, and the abdominal muscles which are trying to pull the pelvis up under your body so the back straightens. This battle is an important part of the support work, and is the main ingredient in inner support (see 'Inner support' on page 31). You can locate them by tilting your pelvis forwards so the back curves and then tightening the abdominal muscles and pull the pelvis up under your body so the back straightens. Feel how the muscles of the loin as well as how the abdominal muscles work. Make sure both groups of muscles are equally active, but do not push your pelvis forwards so the back curves.
腰部有一组肌肉叫做“腰方肌”（见下一页图片）。它们连接骨盆和最低的肋骨，防止它们上升，使膈肌更有效地工作。当这些肌肉收紧时，它们会向前倾斜骨盆，使背部弯曲。这只有在腹部肌肉放松的情况下才有可能。当腹部肌肉同时收缩时，腰方肌和腹部肌肉之间就会展开一场争斗，腰方肌想向前倾斜骨盆，使背部弯曲，而腹部肌肉试图将骨盆拉到身体下方，使背部伸直。这场争斗是支撑工作的重要组成部分，也是内支撑的主要因素（见第 31 页的“内支撑”）。你可以通过向前倾斜骨盆使背部弯曲，然后收紧腹部肌肉并将骨盆拉到身体下方使背部伸直来找到它们。感受腰部肌肉和腹部肌肉是如何工作的。确保这两组肌肉都处于相同程度的活动状态，但不要向前推你的骨盆使背部弯曲。

The muscles of the front of the abdomen (outer to inner layers): in the outer middle sits the rectus abdominus muscles with three tendons across. Next layer: the external oblique muscles on both sides. Next layer: the internal oblique muscles on both sides. Inner: the transversus abdominus muscles. Note that in the large diagram the lower two layers are hidden. The smaller diagrams show each set of muscles in isolation. The large diagram shows how they are put together.
腹部的肌肉（从外到内）：在最外层中间的是腹直肌，它有三个肌腱横跨其中。下一层：两侧的腹外斜肌。下一层：两侧的腹内斜肌。内部：腹横肌。请注意，在大的图表中，下两层是隐藏的。较小的图表显示了每组肌肉的独立情况。大图展示了它们是如何组成的。

OVERALL PRINCIPLES
总体原则

Quadratus Lumborum
方腰肌

The interaction of the three
三个的互动
groups of muscles
肌肉群

When we use these three groups of
当我们使用这三组
muscles (abdominal, back, and loin) to-
腹肌、背肌和腰肌：
gether, the ribs are extended and the
在一起，肋骨被拉长，并
diaphragm lowered. The interaction of
横膈膜下降。与
these three groups of muscles is what
这三组肌肉就是
we call 'support'.
我们称之为“支持”。

'Assisting'muscles
辅助肌肉

At the beginning of new and difficult training, singers often tighten muscles other than those that are necessary. It is not uncommon to see lifted shoulders, curled toes, tightened buttocks, or clenched fists. They tighten these 'assisting' muscles in the hope of activating the correct ones - "If it is difficult to isolate a specific muscle, I'll tighten everything" seems to be the common thought. This compares to when a weak person arm-wrestles a strong person. S/he will tighten as many muscles as possible, whereas the stronger person does not waste energy by tightening muscles that are not useful. In singing, it is often helpful to tighten these 'assisting' muscles until the singer has become more experienced
新晋歌手在开始艰苦的训练时，往往会紧张那些不必要的肌肉。看到抬高的肩膀、卷曲的脚趾、紧绷的臀部或握紧的拳头并不罕见。他们收紧这些“辅助”肌肉是为了激活正确的肌肉——“如果很难孤立某块特定的肌肉，我就把一切都收紧”似乎是普遍的想法。这与一个虚弱的人和一个强壮的人掰手腕时的情况类似。他会尽可能地收紧尽可能多的肌肉，而强者不会浪费能量去收紧无用的肌肉。在唱歌中，收紧这些“辅助”肌肉通常是有帮助的，直到歌手变得更有经验。

and knows the exact muscles to be tightened. Later s/he can concentrate on avoiding using 'assisting' muscles.
他知道要收缩哪些确切的肌肉。之后，他/她可以专注于避免使用“辅助”肌肉。

Muscle awareness
肌肉意识

Some singers are told to sense their muscles by concentrating on specific places in the body. Awareness of one's muscles varies from singer to singer, so instead of concentrating on a specific place in the body, it is often more useful to know which muscle should be used and how to locate this muscle. You may then be able to find another place in the muscle where it is easier for you to feel it. It makes no difference where in the muscle you concentrate on as long as you are working on the right ones. In general it is harder for tall singers to feel muscles far from the attachment points than it is for less tall singers. If a singer has difficulty feeling a certain muscle contraction, I suggest that s/he concentrates 'higher up' in the muscle, closer to its upper attachment point.
一些歌唱家被告知要通过专注于身体特定部位来感知他们的肌肉。歌唱家对自身肌肉的意识存在差异，因此，与其专注于身体的特定部位，不如了解应该使用哪些肌肉以及如何定位这些肌肉。然后，你可能会在肌肉的另一个地方找到让你更容易感知它的地方。只要你锻炼的是正确的肌肉，集中在哪里都无关紧要。一般来说，身材高大的歌唱家比身材矮小的歌唱家更难感知远离附着点的肌肉。如果歌唱家难以感知某个肌肉的收缩，我建议他们将注意力集中在该肌肉的“较高位置”，靠近其上附着点。

Summary
摘要

• Support means holding back your breath. This is done by:
- 闭气憋住呼吸，这可以通过以下方式完成：

- keeping the diaphragm down
-保持横膈膜向下

- keeping the ribs extended
-保持肋骨伸展

- the interaction of three muscle groups:
- 三个肌群的互动:

1) Pulling in the abdomen by the navel which pulls the pelvis up under your body so the back straightens (using the abdominal muscles: rectus abdominus, internal/external oblique, transversus abdominus).
1)腹部通过肚脐向内拉，使骨盆在身体下方抬起，背部挺直（使用腹肌：腹直肌、内/外斜肌、腹横肌）。

2) Contracting the muscles of the back which keep the ribs extended at the back (using the latissimus dorsi).
2) 利用背闊肌收縮背部肌肉，使肋骨在背部伸展。

3) Activate the muscles in the loin which will attempt to tilt the pelvis forwards trying to curve the back (using the quadratus lumborum muscles).
3) 激活腰部肌肉，这将试图向前倾斜骨盆，试图弯曲背部（使用腰方肌）。

• A battle takes place between the loin muscles which try to curve the back and the abdominal muscles which try to straighten the back.
腰部肌肉试图弯曲背部，腹部肌肉试图伸直背部，这两组肌肉之间的对抗形成了腰椎的正常曲度。

• The interplay between these three muscle groups should happen in a sustained, gradual, continuous movement as though working against resistance.
这些肌肉群之间的相互作用应该以持续、渐进、连续的动作方式进行，模拟对抗阻力的感觉。

• The support should be in motion at all times; when the support is locked, the constrictors become active.
• 托架应始终处于运动状态；当托架锁定时，收缩器将变为活动状态。

Inner support
内在支撑

The continuous and sustained contraction of the support, resistance in the movement
支撑的持续收缩，运动中的阻力

To support a note, the support needs to be a continuous and dynamic movement, and this should be done in a sustained way 'as though the work is against a resistance'. Inner support is the best way to economize the support. To illustrate this resistance, raise an arm away from the body without any resistance and feel the work of the muscles in the arm. This is not particularly hard. Now do the same thing, but this time, press against the movement of your arm with the other arm. You will now feel the muscles work harder. Now raise your arm in exactly the same way but without pushing against it, this time
支持一个音符，支持需要是一个持续不断的动态运动，这应该以一种“好像工作是在对抗阻力”的方式持续进行。内在支持是节约支持的最佳方式。为了说明这种阻力，手臂离开身体抬起，没有任何阻力，感受手臂肌肉的运动。这并不难。现在做同样的事情，但这一次，用另一只手臂抵抗手臂的运动。你现在会感到肌肉更加努力地工作。现在，以完全相同的方式抬起手臂，但这次不要推它，

HOLDING BACK THE BREATH
屏住呼吸

is done by
由......完成

HOLDING THE DIAPHRAGM DOWN
憋住橫膈膜

is done by
由......完成

KEEPING THE RIBS EXTENDED
保持肋骨伸展

is done by
由......完成

/ PULLING IN THE TIGHTENING
// 拉紧
/ ABDOMEN THE MUSCLES

/ AROUND THE NAVEL OF THE BACK
围绕背部的肚脐

ATTEMPT TO CURVE THE BACK
尝试弯曲背部

A CONTINUOUS MOVEMENT
连续运动

as though working against a resistance
仿佛在对抗阻力

OVERALL PRINCIPLES
总体原则

creating the resistance in the arm itself so that the movement looks and feels as though it is pushing against a resistance. By doing this the movement becomes smooth and sustained and the cost in energy terms is relatively high. Feel the muscles work. It is this 'as though working against a resistance' that is so important. This resistance and sustained muscle contraction should be worked into your support. You can experience this sensation when you gently blow up balloons.
感受手臂本身的阻力，让动作看起来像是在对抗阻力一样。通过这种方式，动作变得平稳而持久，能量消耗相对较高。感受肌肉的运转。正是这种“仿佛在对抗阻力”的感觉如此重要。这种阻力和持续的肌肉收缩应该融入到你的支撑中。你可以在轻轻吹气球的时候体验到这种感觉。

with let's say a force of 20 out of 100. It is now the task for the other singer, the one with the outer pair of hands, to maintain the distance between the inner pair of hands. To do this, if the 'inner' presses outwards with a force of 20, the 'outer' must press inwards with a force of 20. If the 'inner' applies an outgoing force of 40, then the 'outer' must answer with a force of 40. If the 'inner' releases the force, the 'outer' must release accordingly in order to maintain the exact same distance.
以 20/100 的力量为例。现在，作为外侧手对手的另一位歌手的任务是保持内侧手对手之间的距离。为此，如果“内侧”用手腕向外施加 20 的力，“外侧”必须用手腕向内施加 20 的力。如果“内侧”施加 40 的向外力，则“外侧”必须以 40 的力进行回应。如果“内侧”松开力，则“外侧”必须相应地松开力，以保持完全相同的距离。

Finding inner support
寻找内心支持

Place your hands on your waist, cough,
双手放在腰上，咳嗽，
and as you do so feel the muscles of the
以及当你这样做的时候，感受一下你的
waist pushing your hands outwards.
腰部推手向外.

Now press your hands inwards as much
现在向内按压双手
as possible but without feeling uncom-
但不要感觉不适
fortable. Make a tiny contraction of the
舒服的。稍微缩小一下。
muscles you found by coughing and
你通过咳嗽找到的肌肉
make them work as though against a re-
作为对 re 的反对
sistance. Feel this tiny contraction in your
如果你感到轻微的收缩。
waist; this is 'inner support'. Enlarge this
内腰，这个是“内支撑”。扩大它。

support by contracting the muscles a little bit more. Even-
通过稍微收缩肌肉来提供支持。即使-
tually the muscles will push outwards against your hands.
实际上，你的肌肉会向外推向你的手。
When this happens you have surpassed inner support.
当这种情况发生时，你就超越了内在的支持。

Start again and feel the contraction in the muscles again, but make sure it does NOT move your hands outwards. It might feel like the muscles are just meeting the hands, but do not push them outwards. The instant you feel your hands being pushed outwards there is little support left and you will not be able to contract the muscles any more and therefore you will run out of support. This inner support is very economical and you can achieve much strength in singing with this support. In addition you will have the rest of the movement (when the hands are pushed outwards) in reserve when needed. Be careful that the abdomen doesn't harden so you don't risk creating incorrect support or hidden incorrect support (see page 36).
再次开始，感受肌肉的收缩，但确保它不会让你的手向外移动。这可能会感觉像是肌肉刚接触到手，但不要推它们向外。你感觉到你的手被向外推的那一刻，几乎没有任何支撑力了，你将无法再收缩肌肉，因此你会失去支撑。这种内部支撑非常经济，你可以在歌唱中通过这种支撑获得强大的力量。此外，你将保留其余的动作（当手被向外推时），以便在需要时使用。注意不要让腹部变硬，以免造成错误的支撑或隐藏的错误支撑（见第 36 页）。

An Exercise
一次练习

Two singers stand in front of each other with their hands in front of their bodies as if they were going to clap. One singer places her/his hands on the back of the partner's hands. Notice the distance between the inner pair of hands. The singer with the inner pair of hands presses her/his hands outwards
两名歌手面对面站立，双手放在身体前方，仿佛要鼓掌。一名歌手将手放在另一名歌手手的背上，注意内侧两手之间的距离。内侧两手的歌手向外按压双手。

This exercise can be transferred to support if you imagine that the inner pair of hands is placed inside the waist. Press your hands into your waist as much as possible without feeling uncomfortable. Notice the distance between the hands. This distance must be maintained. Cough, and feel how the muscles are pushing your hands outwards. Imagine that these muscles correspond to the pair of hands that in the earlier exercise pressed outwards. If the muscles press outwards with a force of 20, you must press inwards with a force of 20. Practise by holding the muscles in check with forces or perhaps more easily thought of as'support energies'from 1 to 100.
这组练习可以通过以下方式扩展到支撑运动：想象将内层手置于腰内。尽量将手置于腰部，但不要感到不适。注意双手之间的距离。必须保持这一距离。咳嗽，感受肌肉如何将手向外推。想象这些肌肉对应于先前练习中向外按压的那对手。如果肌肉以 20 的力量向外按压，则必须以 20 的力量向内按压。通过以力量的形式控制肌肉来进行练习，或者可能更易于理解为 1 到 100 的“支撑能量”。

When you control this, sing a note and feel how the muscles immediately press outwards to a certain degree. This corresponds to how much support this note demands. If the note demands a support energy of 20, you must hold it at check with an equivalent amount of energy ('counter energy'). Sing a little scale up and down and feel how each note demands its own degree of support. Keep the outgoing energy in check by applying an appropriate amount of counter energy; the abdomen should not harden as with incorrect support. Go back to the start frequently. Press your hands into your waist as much as possible without it being uncomfortable. Notice the distance between your hands. This is the distance to maintain when you sing. Highly trained singers can maintain an almost constant small distance between their hands. It is hard work to keep the distance and not allowing the waiste to move outwards.
当你控制住这个音时，唱一个音，并感受一下肌肉如何立即向外压迫到一定程度。这对应于这个音符需要多少支持。如果这个音符需要 20 的支持能量，你必须用等量的能量来控制它（“反作用能量”）。唱一个小的音阶上下，感受每个音符都需要自己程度的支持。通过应用适当的反作用能量来控制向外的能量；腹部不应该像不正确的支撑那样变硬。经常回到起点。尽量将手按压在腰部，但不要感到不舒服。注意你的双手之间的距离。这就是你在唱歌时要保持的距离。训练有素的歌手可以保持双手之间几乎不变的小距离。保持距离并且不允许腰部向外移动需要付出很多努力。

Notice that when you miss a note, the inner energy (which goes in an outwards direction) has become greater than the counter energy (going inwards). Try again and apply more energy in maintaining the distance between your hands. Be constantly aware of using enough support, the necessary twang, and avoid protruding the jaw and tightening the lips even though you are working hard. Take care not to provoke incorrect support or hidden incorrect support.
注意，当你漏拍时，内能（向外方向运行）会大于反向能量（向内运行）。请再次尝试，并在保持手部距离方面运用更多能量。时刻注意运用足够的支撑、必要的弹拨，避免下颌突出、嘴唇紧闭，即使你正在努力。注意不要引发错误的支撑或隐藏的错误支撑。

Inner support through images and sensations
内部支持通过图像和感觉

• A helpful way of imagining the inner support could be to imagine sucking your stomach inwards, without the perimeter changing noticeably. In other words you suck the stomach inwards on the inside while it does not move much on the outside.
• 可以这样想象一下内部支撑：想象一下你的腹部向内收缩，而外围没有明显变化。换句话说，你的腹部在内部向内收缩，而外部没有明显变化。

• You can also imagine that you are ready for a 100 m sprint.
• 你也可以想象你已经为 100 米冲刺做好了准备。

• You can think of inner support as the perfect balance between abdomen muscles and muscles of the loin.
• 您可以将内在支撑视作腹部肌肉和腰部肌肉之间的完美平衡。

• It might feel like the inwards movement of the abdomen could go on forever
• 腹部向内的运动似乎可以无限进行

When you have achieved this you can always return to this chapter and refine your support by working on inner support.
当你完成了这一点，你总是可以回到本章，并通过内在支持来完善你的支持。

Feeling support
感受到支持

It is important to realise that the feelings of support may vary from singer to singer. I will, however, go over a number of ways of feeling support that have been most efficient in my work with singers.
了解到每个歌手的支持感受可能有所不同这一点非常重要。我将在下文中分享一些在我与歌手合作中被证明最有效的方式，帮助他们感受到支持。

N.B: These images and sensations are only meant as an aid. If you do not respond to them immediately, forget them. Do not confuse them with what is actually happening!
注意：这些图像和感觉只是作为一种辅助。如果您没有立即对它们做出反应，请忘记它们。不要将它们与实际发生的事情混淆！

Support = Movement
支持 = 运动

Even if you try to maintain the same distance between your hands, it is essential to understand support as being a MOVEMENT, even though it is a small one. As long as the movement is continuous, as though working against a resistance, there will be support for the voice. The more support you need, the more resistance is needed in the movement. It is this resistance and the strength it requires that makes it possible to prolong this movement throughout singing. Take care not to confuse inner support with 'locked' support. In locked support the movement stops the tension hardens and you will quickly run out of support. A locked support may actually require as much strength as correct support (i.e. the support that works against a resistance), but you do not profit from it because the muscles are locked.
即使你尝试保持双手之间的距离，但重要的是将支撑理解为一种运动，即使它很小。只要运动是连续的，就像在抵抗阻力一样，声音就会得到支撑。你需要多少支撑，运动中就需要多少阻力。正是这种阻力和它所需要的强度，使这种运动在整个歌唱过程中得以持续。注意不要将内在支撑与“锁定”支撑混淆。在锁定支撑中，运动停止，张力变硬，你很快就会失去支撑。锁定支撑实际上可能需要与正确支撑（即抵抗阻力的支撑）一样多的力量，但你不会从中获益，因为肌肉被锁定了。

Inner support
内在支撑

It is an important part of a singer's job to keep support strong and flexible, and to find out how to make the most of the energy. This can be practiced by discovering and using inner support. This inner support is so subtle and yet gives so much energy to the voice that it alone can provide all the energy needed. However, it often takes an experienced singer to find and use it.
它是一个歌手工作的重要组成部分，保持支撑的强大和灵活，并找到如何充分利用能量的方法。这可以通过发现和使用内在支撑来练习。这种内在支撑是如此微妙，却给声音带来了如此多的能量，以至于它本身就可以提供所有需要的能量。然而，找到并使用它通常需要一位经验丰富的歌手。

If you find it difficult to locate inner support at once do not worry. If this chapter does not appeal to you, just go ahead and work with the support described further on in this book.
如果您发现难以立即找到内在支持，请不要担心。如果您对本章不感兴趣，请继续阅读本书中进一步描述的支持。

Natural vs. active support
自然支持与主动支持

In order to find the correct support for certain notes, a singer has to consider her/his natural support. During inhalation, the diaphragm is contracted and lowered and will naturally stay there for a short period of time while the initial amount of air is used. This is known as 'natural support'. At this point the singer does not have to use physical strength to support the voice because the diaphragm is already naturally contracted. But as soon as the initial amount of air has been released, the diaphragm will want to relax and release the rest of the air. This is where a singer should gradually apply 'active support' to hold onto the air as long as possible. Eventually, when almost all the air has been released, the active support will be at its maximum. At this point, support can no longer control exhalation and air escapes irregularly. This often happens in small jerks and the tone becomes irregular and weak.
为了找到特定音符的正确支撑，歌手必须考虑他/她的自然支撑。在吸气过程中，横膈膜收缩并下降，并在最初的空气量使用时自然保持在那里一段时间。这被称为“自然支撑”。在这一点上，歌手不需要用体力支撑声音，因为横膈膜已经自然收缩。但一旦最初的空气量被释放，横膈膜就会想要放松并释放剩余的空气。歌手应该逐渐施加“主动支撑”以尽可能长时间地保持空气。最终，当几乎所有空气都被释放时，主动支撑将达到最大值。此时，支撑无法再控制呼气，空气不规则地逸出。这通常发生在小幅的颤动中，音调变得不规则和微弱。

So, ONLY use active support when necessary. Conserve support at the beginning of the note or the phrase. Do not apply active support until your natural support begins to fade. You will gradually have to work harder and harder, and eventually you will only be using active support.
因此，只有在必要时才使用主动支持。在音符或短语的开头保留支持。在你自然的支撑开始减弱之前，不要应用主动支撑。你将不得不逐渐地越来越努力，最终你将只使用主动支撑。

Natural versus Active support
自然与主动支持

Natural support Active support Minus side
自然支持活动支持负面支持

OVERALL PRINCIPLES
总体原则

The 'zero point' of support
支持的'零点'

It is very useful to be able to economise your support. This can be practised in the following way. The illustration below shows sensations during support. Begin by releasing a very small amount of air by making an 'sss' sound or a note, smaller than the diaphragm would want to release. At first it feels like holding your breath, like holding back the air. This is the plus side. It does not require a lot of physical strength, but feels like holding the diaphragm in check. At a certain point, whilst supporting and making the 'sss' sound or the note, the pressure from the diaphragm increases and the sensation changes. This is the zero point of support. As you continue to make the 'sss' sound or the note the pressure from the diaphragm increases considerably, and from this point on it gets harder to resist its movement. This is the negative side. The singer usually feels as if the air needs to be pushed out. This feeling often lingers until the next inhalation.
能够节省你的支持是非常有用的。这可以通过以下方式练习。下图显示了支持期间的感觉。首先，通过发出“sss”音或一个音符来释放非常少量的气体，这比横膈膜想要释放的要少。起初感觉像是屏住呼吸，像是憋住气。这是正面的。它不需要很多体力，但感觉像是控制住横膈膜。在某个时刻，在支撑并发出“sss”音或音符时，来自横膈膜的压力会增加，感觉会发生变化。这是支撑的零点。随着你继续发出“sss”音或音符，来自横膈膜的压力会大大增加，从这一点开始，抵抗它的运动会变得更加困难。这是负面的。歌手通常会感觉好像需要把空气呼出去。这种感觉通常会持续到下一次吸气。

Sensations during support
支撑期间的感觉

So, the longer the exhalation, the more difficult and harder it becomes to hold back the air. How long you can fight the pressure of the diaphragm depends on your technique, your physical strength and stamina.
因此，呼气时间越长，憋住气就越困难。你能抵抗住膈肌压力的时间取决于你的技术、体能和耐力。

In general, the longer you are able to extend the feeling of holding back your breath, in other words the longer you maintain the plus side, the better. When the feeling changes and you feel as though you are fighting to expel the air, you are getting close to wanting to take a new breath.
总的来说，你越能延长屏住呼吸的感觉，换句话说，你保持正侧时间越长，效果越好。当感觉改变，你感觉到好像在努力呼出空气，你就快想要吸入新空气了。

Feeling support at the solar plexus
感到太阳神经丛的支持

Place one hand on the solar plexus and the other on your abdomen around the navel. When you exhale, the areas underneath your hands normally flatten.
将一只手放在太阳神经丛上，另一只放在肚脐周围的腹部上。当您呼气时，您手下的区域通常会变平。

When you inhale, the areas underneath both your hands normally expand.
当您吸气时，您双臂下方的区域通常会扩张。

When you use support the upper bulge at the solar plexus must COME OUT, while the lower bulge at the abdomen around the navel must GO IN.
当你使用时，太阳穴上方的隆起必须出来，而肚脐周围的下方隆起必须进去。

In the beginning, it may be difficult to make the two areas work opposite each other but practise slowly. If it seems difficult, start by making the bulge at the solar plexus expand as much as possible and let the abdomen around the navel follow and come out too. When the bulge at the solar plexus is as big as possible, keep it there. If necessary increase the pressure from inside to keep it distended. Now carefully pull in the abdomen around the navel without letting the bulge at the solar plexus disappear. The pulling in of the abdomen does not have to be particularly strong, just feel it draw in a little without allowing the solar plexus to flatten. Hold onto this feeling. When you become familiar with it you will notice an interaction between the solar plexus and the abdomen. The more the abdomen around the navel is pulled in (to a certain degree) the more the bulge at the solar plexus
在开始时，让这两个区域彼此相反地运动可能比较困难，但要慢慢练习。如果感觉困难，可以先尝试尽可能地扩大太阳神经丛处的隆起，并让肚脐周围的腹部随之隆起。当太阳神经丛处的隆起达到最大程度时，保持住。如有必要，增加内部压力以保持膨大。现在小心地收缩肚脐周围的腹部，不要让太阳神经丛处的隆起消失。收缩腹部时不必特别用力，只需感觉它略微收缩，而不要让太阳神经丛变平。保持这种感觉。当你熟悉它时，你就会注意到太阳神经丛和腹部之间的相互作用。肚脐周围的腹部收缩得越多（到一定程度），太阳神经丛处的隆起就越大。

1: Place your hands.
1: 请举起你的手。

2: When you exhale, the areas underneath your hands flatten.
当您呼气时，您的手掌下方区域会变平。

3: When you inhale, the areas underneath your hands expand.
当您吸气时，您手下的区域会扩张。

4: During support, the upper bulge at the solar plexus must COME OUT,
4：支撑时，太阳神经丛处的上部凸起必须伸出，
while the lower bulge at the abdomen around the navel must GO IN.
下腹部肚脐周围的隆起必须缩进去。

will protrude. Familiarise yourself with this interaction and remember to maintain the sensation as though working against a resistance as this continuous sustained movement is in fact support.
将突出。熟悉这种互动，并记住保持对抗阻力的感觉，因为这种持续的持续运动实际上是支撑。

You can now practise support slowly by moving the two hands back and forth, opposing each other, using only muscles and without inhaling or exhaling.
您现在可以通过来回移动双手来慢慢练习支撑，双手互相反对，仅使用肌肉，不用吸气或呼气。

the lower ribs of the back pushing your
背部下肋骨的挤压
hands outwards. Contract these muscles
双手向外伸展。收紧这些肌肉。
without coughing. Gently pull in the ab-
无需咳嗽。轻轻吸入腹部，
domen around the navel. When this feel-
肚脐周围，当这感觉 -
ing becomes familiar, notice that when
熟悉起来，请注意，当
the abdomen around the navel comes
脐部周围的腹部出现
inwards, the muscles at the lower ribs of
向内，下肋的肌肉处
the back go outwards.
向外延伸。

Feeling support in the abdomen
下腹部有支持感

Feel theabdomen pulling inwards in one
感受腹部被向内拉动
continuous movement as though work-
连续的移动，仿佛在工作
ing against a resistance. Be careful not to
反对抵抗。小心不要
lock at any time (see 'incorrect support').
随时锁定（参见“错误支持”）。

Feeling support at the waist
感受腰部的支撑

Placing your hands on your waist, cough,
双手放在腰上，咳嗽
and feel the muscles of the waist push-
感受腰部的肌肉推力
ing your hands outwards. Contract these
**收起双手，然后向外伸展双臂。收紧这些**
muscles without coughing, feel how the
肌肉无咳嗽地感觉如何
solar plexus also tightens and then pull
太阳神经丛还收紧，然后拉
in the abdomen around the navel gently.
在腹部周围轻轻地按压肚脐。
When this feeling becomes familiar, no-
当这种感觉变得熟悉时，
tice that when the abdomen around the
我注意到腹部周围
navel comes inwards, the muscles of the
肚脐凹陷，肌肉
waist and solar plexus go outwards.
腰和腹部向外扩展。

Feeling support at the ribs
感到肋骨的支持

Place your hands on your lower ribs,
请将双手放在下肋骨上，
cough, and feel lower ribs pushing your
And coughs, you can feel your lower ribs being pushed. 咳嗽，你会感到下肋骨被推着
hands outwards. Expand the lower ribs
hands outwards. 扩展下肋.
without coughing. Keep the ribs ex-
无需咳嗽。保持肋骨扩张，
panded for as long as possible during
尽可能延长了
singing. Flere you feel whether the sup-
唱歌。您是否在此感受到 SUP-
port is kept or not.
端口是否保持。

Feeling support at the back
感受到身后的支持

Placing your hands on your back by the
放置双手在你的背后靠着
lower ribs, cough, and feel the muscles at
下肋骨、咳嗽，并感觉到肌肉 at

These five feelings of support (at the solar plexus, the abdomen, the waist, the ribs, and the back) are different, but they come down to the same physical process and are simply different ways of FEELING support. Note that regardless of which feeling of support you use, you have to apply energy. Choose the feeling that seems to be the most efficient for you, or change between them.
这些五个支撑点的感觉（上腹部、腹部、腰部、肋骨和背部）是不同的，但它们都由相同的生理过程引发，只是感觉的方式不同。请注意，无论您使用哪种支撑感觉，您都需要运用能量。选择最适合您的感觉，或在它们之间切换。

Support as images and sensations
以图像和感觉为媒介

Become familiar with the feeling of support and try to relate this feeling to an image in your mind that you will always be able to recognise. Your personal images and sensations will always be best and the most efficient way of re-establishing the feeling of support.
熟悉被支持的感觉，并尝试将这种感觉与你脑海中能够始终识别出的图像联系起来。你个人的图像和感觉将始终是重新建立支持感觉的最佳和最有效的方式。

You may be inspired by images and sensations that other singers or singing teachers have used, but remember that these images, as well as your own, are based on subjective feelings and do not have any connection with the anatomy of the body. Therefore, ONLY regard these images as educational tools.
您可能会受到其他歌手或声乐老师使用过的图像和感觉的启发，但请记住，这些图像以及您自己的图像都是基于主观感受的，与身体的解剖结构没有任何联系。因此，仅将这些图像视为教育工具。

The following images and sensations are of help to some singers but confusing to others. Use them if they appeal to you, but if you do not respond to them immediately, forget them. Again, do not confuse these images and sensations with what is actually happening. Such images and sensations of support include:
以下图像和感觉对某些歌手有所帮助，但对另一些歌手来说则会造成混淆。如果您喜欢它们，请使用它们，但如果您没有立即对其做出反应，请忘记它们。同样，请不要将这些图像和感觉与实际情况混淆。此类支持性图像和感觉包括：

• getting ready for a 20 meter sprint
准备参加 20 米短跑

• blowing up a balloon
吹气球

• two muscles working against each other and meeting in the middle
两个肌肉彼此对抗并在中间相遇

OVERALL PRINCIPLES
总体原则

pushing something heavy away from you
用力推开沉重的东西

pulling your shoulders down in a slow, continuous
缓慢连续地拉低你的肩膀

movement
动作

being reserved, feel a resistance, an aversion separating two pieces of very strong tape in a slow continuous movement 'pulling up'the uterus
将保留，感觉到阻力，有抵触，将两条非常牢固的胶带以缓慢的连续动作分离开来，'拉起'子宫

'pulling up' through the rectum (mostly for men) a flap attached at the navel tips down when supporting singing from a lower place in your body singing on a line inside, without leaving this line
‘拉起’穿过直肠（主要用于男性），一个连接在肚脐的皮瓣，当你从身体下方唱歌以支持从身体内部沿着一条线唱歌时向下倾斜，而不会离开这条线

Incorrect support
错误的支持

You must be careful not to use support incorrectly. This can be called the 'lavatory support', meaning that while the bulge at the solar plexus is distended the abdomen is ALSO pressed outwards, as if you are going to the lavatory. If this happens there will be a strong pressure on the bowels and this can trigger uncontrolled constriction in the throat (try to imitate going to the lavatory and feel the uncontrolled constriction when
您必须小心不要错误地使用支撑。这可以称为“支持”，这意味着当太阳神经丛的隆起膨胀时，腹部也会向外压，就像您要去厕所一样。如果发生这种情况，腹部会承受很大的压力，这可能会触发喉咙中不受控制的收缩（尝试模仿去厕所，感受不受控制的收缩）。

you push out your abdomen). If
你推出去你的腹部）。如果你
singing it could obstruct your
可能妨碍你的歌唱
voice. In general, you must
一般情况下，您必须
avoid pressing down on the
请勿按压
lower abdomen for any length
下腹部任何长度
of time. In women, prolonged
在时间上。在女性中，长时间的
increases in abdominal pres-
腹腔压升高
sure can lead to a prolapsed
当然会导致脱垂
uterus. Many wind instrument
子宫。许多管乐器
players have developed her-
球員們已經完成了她的-
nias by pressing the abdomen
用手按压腹部
outwards whilst trying to use
试图对外使用时
support. In general, no pres-
支持。通常情况下，没有 pres-
sure should be present in the
当然应该在...中出现
abdominal cavity.
腹腔。

lis happens while you are
你正在做的事情时会发生

Support must not feel like going to the lavatory.
支持不能感觉像去洗手间。

Feeling the difference between incorrect and correct support at solar plexus and at the abdomen around the navel
感受正确的太阳神经丛和腹部周围的脐部支撑与错误支撑之间的差异

NB: Pregnant singers or singers with abdominal problems should avoid this exercise.
孕妇或腹部有问题的歌手，请不要练习此动作。

Place one hand on the solar plexus and the other on the abdomen around the navel. Exhale and feel how the areas flatten under both hands while the air is exhaled. Inhale and feel that both solar plexus and abdomen expand. This is natural during inhaling but should be avoided during exhaling, singing and supporting. With incorrect support, the pressure outwards is maintained on BOTH the solar plexus AND the abdomen around the navel. Feel the pressure on the lower abdomen, and feel how it triggers uncontrolled constriction.
将一只手放在太阳神经丛上，另一只手放在肚脐周围的腹部。呼气，感受双手下的区域在呼气时如何变平。吸气，感受太阳神经丛和腹部都膨胀起来。这在吸气时是自然的，但在呼气、唱歌和支撑时应该避免。如果支撑不正确，向外的压力将同时保持在太阳神经丛和肚脐周围的腹部。感受下腹部压力，以及它如何引发不受控制的收缩。

Incorrect support Correct support
错误的支持，正确的支持

You must change incorrect support into correct support by pulling in the abdomen around the navel in a continuous and sustained way while the bulge at the solar plexus remains.
你必须通过持续而有控制地收缩肚脐周围的腹部，同时保持太阳神经丛处的隆起，将不正确的支撑转换为正确的支撑。

Feeling the difference between incorrect and correct support at the waist
感受腰部支撑的正确与否

NB: Pregnant singers or singers with abdominal problems should avoid this exercise.
孕妇或腹部有问题的歌手，请不要练习此动作。

Place your hands on each side of the waist. Feel how when you cough the muscles of the waist push your hands outwards. In incorrect support BOTH the muscles at the waist AND the abdomen around the navel are pressed outwards. Feel the pressure on the lower abdomen and feel how it triggers uncontrolled constriction.
双手放在腰部两侧。感受咳嗽时腰部肌肉如何将手向外推。在错误的支撑中，腰部和肚脐周围的腹部肌肉都会向外推。感受下腹部和脐部区域的压力，以及它如何引发不受控制的收缩。

You must change incorrect support to correct support by gently pulling IN the abdomen around the navel while the muscles at the waist remain extended.
您必须通过轻轻拉动肚脐周围的腹部来将错误的支撑改变为正确的支撑，同时保持腰部的肌肉伸展。

Hidden incorrect support
隐式错误支持

Even though it may seem as though you are supporting correctly, by pulling in the abdomen around the navel, you still run the risk of producing incorrect support. Another form of incorrect support is when you are pulling in the abdomen too vigorously and making it too firm. It is known as hidden incorrect support and is more difficult to detect than incorrect support. Usually it is detected when a singer contracts the support muscles vigorously without producing any positive results in the voice. In hidden incorrect support you can usually hearthat it triggers uncontrolled constriction, and the singer often feels a strong pressure in the solar plexus and abdomen.
即使看起来好像你通过收缩肚脐周围的腹部来进行正确的支撑，但你仍然有可能产生错误的支撑。另一种错误的支撑形式是你用力拉紧腹部，使它变得过于僵硬。这被称为隐藏的错误支撑，比错误的支撑更难察觉。通常情况下，当一个 singer 用力收缩支撑肌肉却没有在声音中产生任何积极的结果时，就能检测到它。在隐藏的错误支撑中，你通常可以听到它会引发不受控制的收缩，而 singer 通常会感觉到太阳神经丛和腹部有强烈的压力。

Currently many singers believe that it really takes this much strength to create support. Even though they tighten their abdominal muscles the sound produced is not as they wish it. In an attempt to support even more the singer continues to increase the pressure. Finally they conclude that the problem could be due to overdoing the support.
目前，许多歌唱者认为创造良好的气息支撑真的需要这么大的力气。尽管他们收紧腹部肌肉，但发出的声音却不如他们所愿。为了获得更多支撑，歌唱者不断增加压力。最后他们得出结论，问题可能是过度支撑造成的。

Neither of these two conclusions is correct. There is no support at all. In fact, what the singer believes to be support has become muscular tension and, however much it is intensified, it will not improve the support or sound. The body has lost its control of the diaphragm which will have released most of the air, and the work of the abdominal muscles is in vain. Hidden incorrect support is experienced as a feeling of hardness in the abdomen around the navel, as with incorrect support. The only difference between hidden incorrect support and incorrect support is that in hidden incorrect support the abdomen around the navel is pulled in.
两者都没有正确。完全没有支撑。事实上，歌手认为的支撑已经变成了肌肉紧张，无论它被强化多少，都不会改善支撑或声音。身体失去了对膈肌的控制，这将释放大部分空气，腹部肌肉的工作是徒劳的。隐藏的不正确的支撑在肚脐周围的腹部作为硬度的感觉被体验到，与不正确的支撑一样。隐藏的不正确的支撑和不正确的支撑之间的唯一区别在于，在隐藏的不正确的支撑中，肚脐周围的腹部被拉近。

Feeling the difference between incorrect, hidden incorrect, and correct support
错误、隐藏错误和正确支持之间的区别

Place one hand on the solar plexus and the other on the abdomen around the navel. Exhale and feel both hands move inwards as the air is released from the lungs. Then inhale and feel how both the solar plexus and the abdomen around the navel expand.
将一只手放在太阳神经丛上，另一只手放在脐周腹部。呼气，感觉两只手随着肺部空气排出而向内移动。然后吸气，感受太阳神经丛和脐周腹部如何扩张。

• With incorrect support, the solar plexus and the abdomen around the navel are both pushed outwards.
由于支撑错误，太阳神经丛和肚脐周围的腹部都被向外推。

• With hidden incorrect support, the solar plexus remains extended while the abdomen around the navel is pulled
• 与隐藏的错误支撑, 脾阳穴保持舒展, 同时腰部周围的腹部被拉近

in. Even though the abdomen around the navel is pulled in, it is hard and tense as if it is still being pressed outwards. To demonstrate this, make the abdomen around the navel hard without pushing it outwards. It can be difficult to detect that this is incorrect support as the abdomen is pulled in.
即使肚脐周围的腹部被向内拉，但仍然坚硬而紧张，好像仍在向外挤压。为了证明这一点，使肚脐周围的腹部变硬，但不要向外推。当腹部被拉入时，很难发现这是不正确的支撑。

• With correct support the solar plexus remains extended, while the abdomen around the navel is gently pulled in. It is a pull inwards, not a pushing outwards.
•在正确的支撑下，太阳神经丛保持伸展，而肚脐周围的腹部被轻轻地向内拉。这是向内拉，而不是向外推。

How to release hidden incorrect support
如何释放隐藏的不正确支持

It is important that you know how to release the tension and replace hidden incorrect support with correct support at any time. Harden the abdomen around the navel. Then relax the outward pressure and note how it is possible to gently pull in the abdomen even further. You should become familiar with this feeling of releasing incorrect support. Almost all singers need to do this at one time or another while they are working on support. If you have not economised your strength sensibly, you easily run the risk of leaving your abdominal muscles tense and locked, i.e. incorrect support or hidden incorrect support.
重要的是，您知道如何随时释放紧张并用正确的支撑取代隐藏的不正确支撑。收紧肚脐周围的腹部。然后放松向外的压力，并注意如何进一步轻轻地拉动腹部。你应该熟悉这种释放不正确支持的感觉。几乎所有歌手在做应援工作的时候都需要这样做。如果你没有明智地节省你的力量，你很容易面临腹部肌肉紧张和锁定的风险，即不正确的支撑或隐藏的不正确支撑。

Summary
概括

• Postpone using active support in your singing for as long as you possibly can, as natural, 'free' support comes after an inhalation.
•尽可能推迟在歌唱中使用积极的支持，因为吸气后会出现自然的“免费”支持。

• The longer the support feels like holding back your breath (i.e. the 'plus' side) rather than pressing the air out (i.e. the 'minus' side), the better the result.
• 支撑感觉像是屏住呼吸（即“正”侧）而非将空气压出（即“负”侧）的时间越长，效果就越好。

• Support can be felt by keeping the ribs extended for as long as possible during singing.
•唱歌时尽可能长时间地保持肋骨伸展，可以感受到支撑。

• You can feel the work of the support muscles by feeling solar plexus moving outwards, whilst the abdomen around the navel moves inwards.
•您可以通过感觉太阳神经丛向外移动，同时肚脐周围的腹部向内移动来感受到支撑肌肉的工作。

• You can feel the work of the support muscles by feeling the waist moving outwards, whilst the abdomen around the navel moves inwards.
•通过感觉腰部向外移动，同时肚脐周围的腹部向内移动，您可以感受到支撑肌肉的工作。

• You can feel the work of the support muscles by feeling the muscles at the lower ribs at the back are moving outwards, while the abdomen around the navel moves inwards.
•通过感觉背部下肋骨的肌肉向外移动，而肚脐周围的腹部向内移动，您可以感受到支撑肌肉的工作。

OVERALL PRINCIPLES
总体原则

■ You can feel the work of the support muscles by feeling the abdomen pulling inwards in one continuous movement as though working against a resistance.
■ 通过感觉腹部在一个连续的运动中向内拉，就好像在对抗阻力一样，您可以感受到支撑肌肉的工作。

• Inner support is the best way to economize the support.
•内部支持是节省支持的最佳方式。

• Avoid incorrect support, which occurs when the abdomen around the navel is pushed outwards.
•避免不正确的支撑，这种情况发生在肚脐周围的腹部被向外推时。

• Avoid hidden incorrect support which occurs when the abdomen around the navel becomes hard although pulled in.
•避免隐藏的不正确支撑，当肚脐周围的腹部虽然被拉入但变得坚硬时，就会出现这种情况。

• Support requires energy and strength.
•支持需要能量和力量。

Support training
支持培训

Try to tighten the diaphragm without breathing. Expand the ribs at the sides and back, pull in the abdomen around the navel, contract the muscles of the back (the 'wings'), and push the pelvis backwards so the curve of the back is straightened. Practise this until you become familiar with how each muscle works, and how all the movements can be combined into one sensation.
尝试在不呼吸的情况下收紧隔膜。扩张两侧和背部的肋骨，拉动肚脐周围的腹部，收缩背部的肌肉（“翅膀”），并将骨盆向后推，使背部的曲线变直。练习这一点，直到您熟悉每块肌肉的工作原理，以及如何将所有运动组合成一种感觉。

Rock the support, while holding your breath. Place one hand on the solar plexus and the other on the abdomen around the navel. Pull in the abdomen while maintaining the bulge at solar plexus. Rock the solar plexus and the abdomen back and forth alternately.
摇晃支撑物，同时屏住呼吸。将一只手放在太阳神经丛上，另一只手放在肚脐周围的腹部。拉动腹部，同时保持太阳神经丛的隆起。交替来回摇动太阳神经丛和腹部。

‘Rock¹ the support
'摇滚¹支持

Exhale and then inhale. While exhaling make a quiet 'sss' sound with your tongue. The 'sss' sound must be even and last as long as possible, so hold back the exhalation. Feel
呼气，然后吸气。呼气时，用舌头发出轻柔的“sss”声。 “sss”的声音必须均匀且持续时间尽可能长，因此要屏住呼气。感觉

how the bulge at the solar plexus gradually comes out more and more while you sustain the 'sss' sound. The bulge must not diminish, and must be kept expanded. Remember to keep the ribs expanded all the way around and gradually pull in the abdomen around the navel, straighten the curve of the back, and keep the muscles of the back contracted. Sustain the feeling of holding back your breath while the air is gradually released. You should continue practising until the 'sss' sound lasts for one minute. ^>) 336
当你持续发出“sss”的声音时，太阳神经丛的凸起如何逐渐变得越来越大。凸起不能减少，而必须保持扩大。记得保持肋骨向四周扩张，并逐渐将肚脐周围的腹部向内收，拉直背部的曲线，并保持背部肌肉收缩。保持屏住呼吸的感觉，同时逐渐释放空气。您应该继续练习，直到“sss”声音持续一分钟。 ^>) 336

Place your hands on your lower ribs, inhale and feel that the lower ribs are pushing your hands outwards. While exhaling make a quiet 'sss' sound or sing. Follow the instructions for the 'sss' exercise. Keep the lower ribs expanded for as long as possible during the 'sss' sound or the singing. ^>) 336
将双手放在下肋骨上，吸气，感觉下肋骨将双手向外推。呼气时发出安静的“sss”声或唱歌。按照“sss”练习的说明进行操作。在发出“sss”声或唱歌时，尽可能长时间地保持下肋骨扩张。 ^>) 336

Stand with your back against a wall, so that your lumbar region, shoulder blades, and the back of your head all touch the wall at the same time. You may bend your legs and place your feet a short distance from the wall to ease the work of the muscles in your abdomen. If your head is protruded forwards or the upper part of your back is too rounded, place a small pillow behind your neck for support. Now try to get your feet as close to the wall as the abdominal muscles will allow while making sure that the lumbar region stays in contact with the
背靠墙站立，让腰部、肩胛骨和后脑勺同时接触墙壁。您可以弯曲双腿，将脚放在离墙壁不远的地方，以减轻腹部肌肉的工作。如果你的头向前突出或者背部的上部太圆，可以在脖子后面放一个小枕头来支撑。现在，在腹部肌肉允许的范围内，尝试让双脚尽可能靠近墙壁，同时确保腰部区域与墙壁保持接触。

To work in good support let the head, shoulders and lumbar region have contact with the wall. Gradually move your feet closer to the wall.
为了获得良好的支撑，让头部、肩膀和腰部区域与墙壁接触。逐渐将脚移近墙壁。

wall. It is important to be able to stay in this position without too much effort. Make the 'sss' sound and feel your supporting muscles work as in the previous exercise. By focusing on the areas where the body is in contact with the wall while singing you will obtain a good overview of your support. This is also an excellent way of practising your posture if you think it is needed.
保持这个姿势时，重要的是要能够轻松地保持这个姿势。发出“sss”的声音，感受你的支撑肌肉像前一个练习一样工作。通过专注于唱歌时身体与墙壁接触的区域，你将获得对你的支撑的良好概述。如果你认为需要，这也是练习你姿势的一个好方法。

You can also control your support by holding a piece of tissue paper in front of your mouth. Exhale, inhale and make a slow and even exhalation. The tissue paper should not move during the exhalation; this is how perfectly you should be able to control the outflow of air. Follow the instructions for the previous 'sss' exercise.
你也可以用一张薄薄的纸巾，放在嘴巴前面，进行控制支撑练习：呼气、吸气，并进行慢而均匀的呼气，纸巾在呼气过程中不应该移动；这正是你应该能够完美控制气流输出的方式，按照之前“sss” 练习中的说明进行操作。

points of support: the bulge at the solar plexus is extended, the abdomen around the navel is pulled in, the back muscles are contracted, and the lumbar region is pulled in. Follow the instructions for the 'sss' exercise.
支撑要点：上腹部凸出，脐周围腹部内收，背肌收缩，腰部内收。按照“sss”练习的说明进行。

Physically strong singers can practise support by lifting something heavy and holding it at a distance from their body while sustaining the 'sss' sound. Be careful not to curve the back, keep the abdomen around the navel pulled in, and the bulge at the solar plexus extended. You can begin by standing against a wall, pressing head, shoulders, and loin flat against it. When you can achieve this posture, move away from the wall and repeat the exercise. Follow the instructions for the 'sss' exercise.
强壮的歌手可以通过举起重物并将其保持在离身体一段距离的位置，同时发出“嘶嘶”的声音来练习支撑。注意不要弯曲背部，保持肚脐周围的腹部收紧，并伸展太阳神经丛处的隆起。你可以先靠在墙上，头部、肩膀和腰紧贴墙面。当你能够达到这种姿势时，离开墙壁并重复练习。按照“嘶嘶”练习的说明进行。

Two singers practising together can pull each other while sustaining the 'sss' sound. Stand in front of each other and hold hands. Put one foot in front of the other and bend your knees slightly while you pull each other EVENLY. Do not make sudden jerks but pull steadily as though in a tug-of-war. The pull becomes harder, the longer you withstand it. Feel the
并肩站立，手牵手。一前一后站立，弯曲膝盖，均匀地互相拉扯。不要突然抽动，要像拔河一样稳稳地拉。拉力会随着时间的推移而越来越大。感受

Energy
能量

The techniques in this chapter apply to both singers and wind instrument players.
本章中的技巧适用于歌唱者和管乐演奏者。

Singing requires energy
歌唱需要能量

It is important to realise that whatever the mode (See vocal modes on page 81) or style of music, it requires energy to sing in a healthy way. The myth that EVERYTHING in your body must be relaxed and loose when you sing has caused much harm. In my experience, more voice problems have arisen from using too LITTLE physical energy than from using too much.
无论你用哪种模式（见第 81 页的语音模式）或音乐风格，以健康的方式唱歌都需要能量。有一种说法认为唱歌时你身体的每一部分都必须放松，这其实是非常有害的。根据我的经验，由于使用过少的体力而导致的声音问题比使用过多的体力要多。

When beginners have problems reaching high notes it is often because they are afraid of using physical strength or simply because they lack it. They falsely believe that singing must be a relaxed process because that is what they have been told. Once they learn to use more strength and to sweat during singing, many problems disappear.
当初学者在达到高音时遇到困难时，通常是因为他们害怕使用身体力量或只是因为他们缺乏力量。他们错误地认为唱歌必须是一个轻松的过程，因为这是他们被告知的。一旦他们学会在唱歌时使用更多力量并出汗，许多问题就会消失。

It is a fallacy to believe that singing is a relaxed process with no need for physical strength! To sing in a rough, raw, or powerful manner requires even more physical strength.
误以为唱歌是一个轻松的过程，不需要体力！以粗犷、原始或强有力的方式唱歌需要更大的体力。

OVERALL PRINCIPLES
总体原则

A case story
一个案例故事

A large, muscularly toned rock singer had a had inflammation of the throat about six months ago. Although the specialist doctor had declared him well, after about two months he still had not regained his voice. He had consulted singing teachers and speech therapists who advised him to be careful with his voice, giving him gentle, cautious exercises. These had not helped and he still could not sing as he used to.
一位肌肉发达的摇滚歌手大约六个月前患有喉咙发炎。尽管专科医生已经宣布他身体健康，但大约两个月后，他仍然没有恢复声音。他咨询了声乐老师和言语治疗师，他们建议他小心使用声音，并给他做了轻柔的、谨慎的练习。这些都没有帮助，他仍然不能像以前那样唱歌。

When he sang for me he produced the faintest note, which seemed absurd in comparison to how he looked. I asked him to try with more energy, as singing requires strength and hard work to be done healthily. After half an hour of supporting correctly and working on singing loudly, his voice was back again. During all those months he had simply suppressed his voice out of caution.
当他为我唱歌时，发出的声音微弱得几乎听不见，与他的外表相比，这似乎很奇怪。我让他试着使劲唱，因为唱歌需要力量和努力才能健康地进行。在经过半小时的正确支持和进行大声歌唱练习后，他的声音又恢复了。在过去的那些日子里，他只是出于谨慎而压抑着自己的声音。

The dilemma between looks and physical strength
外貌和体能之间的两难境地

To satisfy commercial demands of being attractive, female singers are often expected to be unnaturally thin. Many female singers spend their lives close to starvation which conflicts with the demands of being in good physical shape for singing. Male singers do not usually experience such problems, as it is fashionable for them to be in good physical shape. On several occasions I have been called out to assist a singer on a difficult vocal assignment only to conclude that it was impossible until the singer was physical stronger. This applies to both sexes.
为了满足市场对吸引力的商业需求，女歌手常常被期望要保持非自然的纤瘦身材。许多女歌手终日处于接近饥饿的状态，这与保持良好的歌唱体能需求相冲突。男歌手通常不会遇到这样的问题，因为保持良好的体能对他们来说是时尚的。在一些情况下，我被叫去帮助一位歌手完成一项高难度的演唱任务，结果却发现除非歌手的身体更强壮，否则是不可能完成的。这适用于任何性别。

Another problem is that many female singers do not use their physical strength because they feel they have to appear cute. When you ask them not to conform to only the cute part of the feminine role, a different and more direct sound emerges.
另一种问题是，许多女歌手没有发挥出自己的体力，因为她们觉得自己必须表现得可爱。当你要求她们不要只迎合女性角色的可爱一面时，就会出现一种截然不同的、更加直接的声音。

And remember
请记住

• Singing must ALWAYS feel comfortable.
• 唱歌必须始终感觉舒适。

• The technique must have the intended effect right away, otherwise you are not working correctly
•该技术必须立即产生预期效果，否则您将无法正常工作

• If an exercise hurts, feels uncomfortable, or wrong, then it IS wrong. Only you know how it feels so trust your feelings.
• 如果你在运动中感到疼痛、不适或错误，那么它就是错误的。只有你知道它的感觉，所以相信你的感觉。

40 Complete Vocal
40 首完整演唱曲

Using support
支持使用

The techniques in this chapter apply to both singers and wind instrument players.
本章中的技巧适用于歌唱者和管乐演奏者。

Developing a connection between support and sound
建立支持和声音之间的连接

Place your hands on the sides of the ribs at the lower end of the chest and feel how the ribs almost always remain extended throughout support if done correctly. At the same time, push the muscles at the solar plexus and the waist in a gradual, physical movement outwards for as long as you are producing a note. The production of sound must automatically be linked to the sustained continuous, OUTWARD movement at the solar plexus or the waist. This should help you to develop a connection between support and sound. When you have become familiar with this feeling of supporting in a sustained continuous movement, as though working against a resistance, you can use this feeling to test whether you are supporting efficiently.
将双手放在胸腔下端肋骨的两侧，感受肋骨在正确支撑下几乎总是保持伸展。同时，在发出声音时，逐步向外推压太阳神经丛和腰部的肌肉。声音的产生必须自动与太阳神经丛或腰部的持续连续的向外移动相连。这将帮助你建立支撑和声音之间的联系。当你熟悉了这种持续、连续的支撑感觉，仿佛在对抗阻力，你可以用这种感觉来测试你是否在有效地支撑。

Economising support
优化支持

An important part of supporting is being able to economise on it. It is important to economise on energy so that you have enough support to give the last words and notes in a phrase a good sound.
节约能源很重要，这样您才有足够的支撑力，让语句中的末尾词和音符听起来不错。

Try to use 100% support. Feel, for instance in the waist, the physical sensation from 0 to 100%. The hands move about 3-4 cm on each side. Then try to support in steps, first 10 %, then 20%, then 30%, and so on. Be sure not to reach the maximum possible movement before you need 100% support. During this exercise most singers realise how easy it is to waste support before it is actually needed.
尝试使用 100% 的支撑。例如，在腰部，感受从 0 到 100% 的身体感觉。双手在每一侧移动大约 3-4 厘米。然后尝试逐步支撑，首先是 10%，然后是 20%，然后是 30%，依此类推。在你需要 100% 支撑之前，请确保不要达到最大的可能移动范围。在这个练习中，大多数歌手都会意识到在实际需要之前，浪费支撑是多么容易。

Support value
支持价值

The concept of a 'support value' is a measure you can use to recognise how much energy is needed to support a particular note, it is not a physical measure but a relative scale that can help you quantify the amount of support you need for different vocal tasks. A support value depends on many
支持值的概念是一个衡量你需要多少能量来支撑某个音符的指标，它不是一个物理测量，而是一个相对的刻度，可以帮助你量化不同歌唱任务所需的支撑量。支持值取决于许多 factors, such as the pitch of the note, the length of the note, and the dynamics of the note.

different factors including pitch, volume, vowel, sound colour, time (since the last inhalation) and vocal mode (see 'Vocal Modes' on page 81).
包括音调、音高、元音、音色、时间（自上次吸气起）和声音模式（参见第 81 页的“声音模式”）等不同的因素。

Singers differ in their physique, strength, energy, stamina, and vocal control. That is why the support value needed for a given note varies from singer to singer. Each singer's work with support consists of becoming familiar with her/his individual support values and always being able to produce the right amount of support energy required for each note or phrase.
专业人士的身材、体力、精力、耐力和声音控制能力各有不同。这就是为什么给定音符所需的支撑值因人而异。每位歌手在运用支撑时的训练过程都包括熟悉他／她个人的支撑值，并始终能够为每个音符或乐句提供所需数量的支撑能量。

It is important that a singer knows her/his energy in order to produce the exact support value for each note in all contexts. In this way, s/he can always control the singing, just like all other musicians have to know their instruments. Find out how much energy you have. Give it a value. When you use no energy at all, the value is 0. When you use all the energy you have, the value is 100. Now practise being aware of the gradations between 0 and 100. Start by dividing the energy into ten equally sized parts. Practise finding an exact energy. Later you can be even more precise in the gradations. This work will give you a great awareness of your body and energy. When you become aware of the exact support value for a note, it becomes much easier to reach.
它对于一个歌手来说，为了在所有情况下都为每个音符提供准确的支持值，了解自己的能量是至关重要的。这样，他/她可以始终控制歌唱，就像其他所有音乐家都必须了解自己的乐器一样。找出你拥有多少能量。给它一个值。当你没有任何能量的时候，这个值是 0。当你用尽你所有的能量时，这个值是 100。现在练习意识到 0 到 100 之间的等级。首先将能量分成十等份。练习找到一个精确的能量。以后你可以在等级上更加精确。这项工作将会让你很好地了解你的身体和能量。当你意识到一个音符的精确支持值，你就更容易达到它。

Pitch
推销

If you have difficulties producing high notes it is often because you are not using the right amount of support energy. It is important to practise and develop a conscious awareness of the particular energy required for different notes.
如果你在演唱高音时遇到困难，通常是因为你没有使用足够的支持能量。练习并培养对不同音符所需特定能量的意识非常重要。

If notes do not get their required support value it triggers uncontrolled constriction and it is difficult to produce the notes as required. The high and low parts of your voice usually
如果音符没有获得所需的支撑值，就会触发不受控制的收缩，很难按要求产生音符。你声音的高低部分通常

require more energy than the middle part and are therefore often considered as more difficult to sing. Give each energy a specific support value. Singers must be familiar with the minimum support they require for each note.
需要比中部更多的能量，因此通常被认为更难演唱。为每个能量指定一个具体的支撑值。歌唱者必须熟悉每个音符所需的最小支撑。

Exercise for support values of high notes
高音的辅助值练习

Sing a scale from the middle part of your voice up and down an octave regardless of the mode (see 'Vocal Modes' on page 81). All the notes should have a similar volume, but allowthe metallic modes to get louder as you sing higher. Make sure that you do not trigger uncontrolled constriction. Feel how supporting the higher notes require more strength. Give the effort a specific support value, e.g. 1, 2,4, 8 etc, and become familiar with your own support values. Transpose the exercise upwards (repeat the exercise beginning half a note higher each time).^>) 1
按照你的声部中心部分，以一个八度音程上下吟唱一个音阶，不考虑调式（参见第 81 页的“声调模式”）。所有音符都应该有相似的音量，但允许金属模式在你唱得更高时变得更响亮。确保你不会触发不受控制的收缩。感受一下支撑高音需要更多的力量。给这个努力一个特定的支撑值，例如 1、2、4、8 等，并熟悉你自己的支撑值。将练习向上移调（每次从高半音开始重复练习）。

Sing up and down an octave cf start F3
上下唱一个八度，起始音为 F3


		m Pm 米午后
	m «	r r * m r r * 米
#T J •	—	fTT ⁹

Exercise for support values of low notes
低音支持值的练习

Sing an scale from the middle part of your voice down five notes, regardless of the mode. Be sure that all the notes have a similar volume. Feel how supporting the lower notes requires more strength. Give the effort a specific support value and become familiar with your own support values. Transpose the exercise downwards. ^ ²
从你的中声部开始，往下五个音阶唱歌，不考虑调式。确保所有的音符音量相近。感受一下支撑低音符需要更多力量。给这个力度设定一个特定的支撑值，并熟悉你自己的支撑值。向下进行移调练习。^ ²

Sing down five
往下唱五个音符
notes
笔记

cf start Bb3
cf 开局 Bb3'

Exceptions
异常

Support values vary from singer to singer. Very 'light' sopranos, for example, often find it difficult to sing in the middle part of their voice and therefore need extra support energy here, which is the opposite to a lot of other singers who find this part of the voice very easy and therefore do not need to
支持值因歌手而异。例如，非常“轻”的男高音发现很难在他们声音的中段唱歌，因此需要额外的支持能量，这与许多其他歌手恰恰相反，他们发现这部分声音非常容易，因此不需要

OVERALL PRINCIPLES
总体原则

support in his area. You must become familiar with where you need to support and what your individual support values are.
支持他的工作。您必须熟悉您需要支持的地方以及您个人的支持价值观。

and this value should be sustained all the way through the descending scale. Transpose the exercise higher. ^>)4
和这个值应该在整个下降音阶中持续下去。把练习移高一个八度。 ^>)4

Time factor
时间因素

The time elapsed since the last inhalation is also a factor when working out support values. The more time since the last inhalation, the more the diaphragm will try to release air. In other words, the longer you sustain a phrase or note, the more support energy is required to keep the diaphragm down. It is important to economise on your energy so as not to use too much at the beginning of a note or phrase.
最后一次吸气以来的时间也关系到支撑值的计算。最后一次吸气以来的时间越长，横膈膜越会试图释放空气。换句话说，你维持一个词组或音符的时间越长，保持横膈膜下降所需的支撑能量就越多。重要的是在音符或词组的开始不要使用太多能量，从而节省你的能量。

Exercise for support values of long notes
长音符支持值的练习

Sing a note, regardless of vocal mode, and sustain it for a long time. Feel how much support energy is required to avoid uncontrolled constriction at the beginning of the note. Give this energy a support value, for example 5. Feel how, little by little as the note continues, the support value of 5 is no longer sufficient. Now you must add in the time factor and the total support value must rise (5 to 6 to 7, etc) to avoid uncontrolled constriction in the throat. Consequently, the longer a note is sustained, a higher support value is needed. ^>) 3
保持长时间发声，无论采用哪种发声模式。感受避免声带在音头瞬间不受控制地收紧，需要多少支撑能量。给这种能量一个支撑值，例如 5。感受随着音符的持续，5 的支撑值逐渐不够。现在您必须加入时间因素，总支撑值必须上升（5 到 6 到 7，等等），以避免喉咙不受控制地收紧。因此，音符持续时间越长，需要的支撑值就越高。 ^>) 3

Exercise for support values as regards to pitch and time factor
音高和时间因素的支持值的练习

Sing an even, legato scale from the middle part of your voice up and down through an octave in any vocal mode. Be sure that all the notes have the same volume and that you do not trigger uncontrolled constriction. Remember to allow the metallic modes to become louder as you sing higher. Feel how, the higher the notes, the more physical strength the support requires. Gradually the time factor intervenes, so descending on the scale requires higher support values. In general, the support value reaches a peak on the highest note of the scale,
用任何声乐模式，从你声音的中间部分向上和向下演唱一个平稳的连音音阶，跨越一个八度。确保所有音符都具有相同的音量，并且不要触发不受控制的收缩。随着音调升高，请记住让金属模式变得响亮。请注意，音调越高，支撑所需的体力就越多。逐渐地，时间因素也会介入，因此在音阶上下降需要更高的支撑值。通常情况下，支撑值在音阶的最高音上达到峰值，

An octave scale (/start C3
一个八度音阶（/开始 C3 C3-D3-E3-F3-G3-A3-B3-C4） = C4-D4-E4-F4-G4-A4-B4-C5 = C5-D5-E5-F5-G5-A5-B5-C6 = C6-D6-E6-F6-G6-A6-B6-C7 = C7-D7-E7-F7-G7-A7-B7-C8

Exercise for support values as regards to volume
针对支持价值观的锻炼，在数量上

Support is NOT equal to volume, but singing at a higher volume often requires more support. This becomes more pronounced the higher or lower you sing. Up to a certain point, if you choose a powerful volume rather than a weak one the support value for any note usually increases. Give the volume a value between 1 and 10, where 1 represents very quiet ('pp' or 'pianissimo') and 10 represents very loud ('ff' or 'fortissimo'). The support values needed for the notes must be multiplied by the values of the volume. In other words, if you choose volume 10 instead of volume 5, the support values of the notes need to be five times greater. Therefore, if a note at volume 5 requires 8 support values, it will require 40 at volume 10. Remember to be aware of the volumes of the modes (see the chapters on 'Neutral' on page 87, 'Curbing' on page 96, 'Overdrive' on page 106, and 'Edge' on page 116). Transpose the exercise higher and lower. ^)) 5
支持并不等于音量，但高音量演唱通常需要更多支撑。这在你唱得越高或越低时会变得更加明显。在一定程度上，如果你选择强力音量而不是弱音量，任何音符的支持值通常都会增加。给音量一个 1 到 10 之间的值，其中 1 代表非常安静（'pp' 或 'pianissimo'），10 代表非常响亮（'ff' 或 'fortissimo'）。音符所需的支持值必须乘以音量的值。换句话说，如果你选择音量 10 而不是音量 5，音符的支持值需要大五倍。因此，如果一个音符在音量 5 时需要 8 个支持值，那么在音量 10 时它将需要 40 个支持值。请注意模式的音量（参见第 87 页的“中性”、第 96 页的“抑制”、第 106 页的“超速”和第 116 页的“边缘”章节）。将练习向上和向下转调。^)) 5

It requires a great deal of strength for singers to support a
演唱者需要非常强大的力量来控制和发声
note which is both high and which has a powerful volume.
请注意哪些音符既高音又响亮。

This is where the physical condition and stamina of the singer becomes important. The work of a singer is not only about body consciousness and control, it also includes physical training to improve strength and stamina. Strong singers in good shape are therefore able to sing higher and more powerfully than weaker ones.
这正是歌手的体能和耐力变得重要的原因。歌手的工作不仅是身体意识和控制，还包括提高力量和耐力的体能训练。因此，体能状态良好的强壮歌手比体能较弱的歌手能够唱得更高更强。

Note, that it is technically very difficult to sing in very quiet volume (pp) and requires a disproportionately large amount of support energy (see 'Pianissimo and thinning' on page 64).
请注意，以非常安静的音量（pp）唱歌在技术上非常困难，并且需要不成比例的大量支撑能量（参见第 64 页的“弱奏和变薄”）。

Know your exact support values
了解您的确切支持值

A skilled singer must get to know her/his support values for every single note with regard to pitch, time factor, volume, vowel and so on. You must practise support values until your body, by means of muscle memory, (see 'Muscle memory' on page 12), figures out which support value is required for a given note in a given circumstance. This is the main objective of singing exercises. Once the correct support is worked into muscle memory you usually only need to concentrate on it if something doesn't work.
一位技艺娴熟的演唱者必须针对每一个音符的音高、时间节奏、音量、元音等，了解其支撑值。必须练习支撑值，直到你的身体，通过肌肉记忆（参见第 12 页“肌肉记忆”），了解在特定情况下给定的音符需要什么支撑值。这是声乐练习的主要目标。一旦正确的支撑值融入肌肉记忆，通常只有当某些东西不起作用时你才需要集中注意力。

Connection between note and support
支持与笔记之间的联系

Learn to feel the connection between the note and the support. Notice how to avoid uncontrolled constriction. The bulge at the solar plexus or muscles of the waist have to move outwards, as though working against a resistance, as you reach and hold higher and more powerful notes. You will find that when you fail to support, when the muscles at the solar plexus or waist relax, the notes become weak or restricted.
学习感受音调和支撑之间的连接。注意如何避免无控制的收缩。当你高亢而有力的音调达到并保持住时，太阳神经丛或腰部肌肉的隆起应该向外移动，就像对抗阻力一样。你会发现，当你未能支持时，当太阳神经丛或腰部的肌肉放松时，音调会变得无力或受限。

Humming exercise for support values
支持音色的哼唱练习

You can practise support values by humming up and down through an octave scale. Remember to save energy for the highest note and the descending scale. Make sure that you have enough strength to move the bulge at the solar plexus
你可以通过在一个八度音阶上哼唱来练习支持值。记住为最高音和下降音阶节省能量。确保您有足够的力气移动太阳神经丛处的隆起。

or the muscles of the waist outwards, as though working against a resistance, as the notes become higher. Many singers find it difficult to hum because even the slightest tension might trigger uncontrolled constriction that makes the notes disappear, but humming is a useful exercise; you can discover uncontrolled constriction instantly. If a note fails, try again with a bit more support or with greater emphasis on conserving energy for the higher notes. Transpose the exercise upwards. ^>) 6
或者，腰部的肌肉向外用力，好像在对抗阻力，音调越高，这种感觉越强烈。许多歌手发现哼唱很难，因为即使是最轻微的紧张也可能引发不受控制的收缩，使音调消失，但哼唱是一个有用的练习，你可以立即发现不受控制的收缩。如果某个音符失败了，可以尝试用更多的支撑或更强调音调来再次尝试。将练习向上移动。^>) 6

cf start C3
启动 C3

Exercise in support values: humming through two octaves
练习以支持值：通过两个八度音阶哼唱

Once you have perfected humming through one octave you can extend the exercise by humming through two octaves. Hum a scale up and down through two octaves. Make sure that all the notes keep more or less the same volume and that you do not trigger uncontrolled constriction. Notice how important it is to economise on the support. Transpose the exercise upwards. ^>) 7
保持音高一致，在两个八度音程内上下哼唱音阶。确保所有音符保持大致相同的音量，并且不要触发不受控制的收缩。注意节约支撑的重要性。向上移调练习。

Summary
总结

• The more difficult it is for you to produce the note, the more strength will be required in your support.
• 越难为你生成笔记，你需要越强大的支持。

• The higher the note, the more strength is required to support the note.
• 音符越高，演奏该音符所需的力度就越大。

■ The lower the note, the more strength is required to support the note.
■ 音符越低，支撑该音符所需的力度就越大。

• The more time elapsed since last inhalation, the more strength is required to support the note.
随着距离上次吸入的间隔时间越长，维持音调所需的力度越大。

• Practise the support values for any given note.
* 练习任何给定音符的支持值。

• Learn to economise on energy to make certain you have enough support for the whole phrase.
•节约能源，以确保您有足够的资金支持整个短语。

Two octaves
八度
C? start C3
C？开始 C3

0 , 1 1 J. 0，1 1 J.	> p rrf ff 原始文本：p rrf ff 简体中文：p rrf ff	j—1—

im - m ^w - m ^w		^w m _m m _m

OVERALL PRINCIPLES
总体原则

The Vocal Cords
声带

The larynx
喉咙

The vocal cords are positioned inside the larynx, also known as the voice box. This is where sound is produced. The vocal cords are positioned above and across the windpipe (trachea). When we inhale and exhale without sound the cords are open and air passes between them in and out of the lungs. We can choose to bring the vocal cords together as we exhale and this makes their mucous membranes vibrate to produce sound.
声带位于喉部内部，也称为声门。声音就在这里产生。声带位于气管上方和横跨气管。当我们无声地吸气和呼气时，声带是打开的，空气在声带之间进出肺部。我们可以选择在呼气时将声带合拢，这会使其粘膜振动产生声音。

Anatomy of the larynx
喉的解剖结构

The larynx consists of numerous parts. The thyroid cartilage, positioned around the front of the vocal cords, serves to protect them and creates the pointed structure you can feel in the front of your neck (the 'Adam's apple'). Inside this pointed structure, the vocal cords are attached together at the front. They are positioned above and across the windpipe. At the back, the two vocal cords are each attached to an arytenoid cartilage. The arytenoid cartilages sit on the rim of the cricoid cartilage which is the top of the windpipe. It is, in fact, the arytenoid cartilages that move from side to side, opening the vocal cords when we breathe, or closing them when we speak or sing. The arytenoid cartilages are also able to tilt up or down, thereby altering the length of the vocal cords.
喉由多个部分组成。甲状软骨位于声带前方，用于保护声带并形成您在脖子前面感觉到的尖锐结构（“亚当的苹果”）。在这个尖锐结构内部，声带在前部连接在一起。它们位于气管上方，横过气管。在后面，这两条声带分别连接到一块杓状软骨上。杓状软骨位于环状软骨的边缘上，环状软骨是气管的顶部。实际上，是杓状软骨从侧到侧移动，在呼吸时打开声带，或在说话或唱歌时关闭声带。杓状软骨还能够向上或向下倾斜，从而改变声带的长度。

When the vocal cords are stretched and lengthened the pitch is raised.
声带伸展和拉长会提高音调。

Above the vocal cords are the false folds (ventricular folds). They consist of ligaments, muscles and glands. Outside this is a cover of mucous membrane like the rest of the inside of the body. This mucous membrane is not as flexible as that
声带上方是假声带（室带）。它们由韧带、肌肉和腺体组成。在外面覆盖着一层粘膜，就像身体内部的其他部分一样。这种粘膜不如 that 灵活。

Looking down the throat with a mirror as shown in the diagram above.
用如图所示的镜子向下看喉咙。

Arytenoid
杓状软骨

Aryepiglottisfold

Ventricular folds
声带

l (false folds) / / 1 l（假声带）// 1	—- A - 一个
1 Vocal cords 1 1 声带 1

Epiglottis
会厌

Inhale/exhale
吸 khí , 呼气

Producing sound
发声

front direction back
前方向后方

inhale/exhale
吸气/呼气

Producing sound
发声

The bones and cartilages of the larynx as seen from the back of the neck. The left arytenoid cartilage is transparent (red) to enable you to see the vocal cords attached together at the front at the thyroid cartilage
从颈后看到的喉骨和软骨。左侧杓状软骨是透明的（红色），以便让你看到附着在前方甲状软骨上的声带。

of the true vocal folds. The epiglottis is attached to the front of the upper rim of the thyroid cartilage. When we swallow, food slides down over the tongue and the epiglottis tilts backwards. This helps prevent food passing into the trachea (windpipe) which would cause us to choke (see 'Swallowing' on page 48). Once the food has passed through, the epiglottis returns to its original position, standing up from the thyroid cartilage. The hyoid bone is positioned at the very top, attached to the thyroid cartilage (the hyoid bone is not shown on the figure above).
杓状软骨的内表面。会厌附着于甲状软骨上缘的前方。我们吞嚥时，食物顺着舌头滑下，会厌向后倾斜。这有助于防止食物进入气管，否则会导致我们呛咳（参见第 48 页的「吞嚥」）。食物通过后，会厌恢复其初始位置，竖立在甲状软骨上。舌骨位于最顶部，与甲状软骨相连（舌骨在图中未显示）。

Sound
声音

Sound is vibration or pulsation of air. The faster these pulsations are, the higher the pitch. Pitch is defined by the number of pulsations per second, also known as Hertz (Hz). It is the vocal cords and their mucous membranes that create the pulsations with which we speak or sing. The note A4 is equal to 440 Hz, so to sing A4 the mucous membranes of the vocal cords must vibrate 440 times every second you sing this note!
声音是空气的振动或脉动。脉动越快，音调越高。音调由每秒钟的脉动次数决定，也称为赫兹 (Hz)。正是声带及其粘膜产生了我们说话或唱歌的脉动。A4 音符等于 440 Hz，所以要唱出 A4 音符，声带的粘膜每秒必须振动 440 次！

Vibrations of the vocal cords and volume
声带的振动和响度

The vocal cords are two ligaments controlled by muscles and arytenoid cartilages, and which are lined by a moveable mucous membrane. This membrane creates sound through its movements, by pushing the air and making vibrations. The larger the vibrations of the air, the more powerful the volume.
声带是由肌肉和杓状软骨控制的两条韧带，并被活动性粘膜覆盖。该膜通过推动空气并产生震动而通过其运动产生声音。空气的振动越大，音量越大。

Cross section of the vocal cords
声带的横截面

One pulsation/vibration
一次脉冲/振动

The vocal cords form a narrowing of the air passage (a). When the air stream passes through this narrowing, a partial vacuum is created, thus bringing together the membranes of the vocal cords (b- e). (The same effect occurs when a bus passes you at great speed, you can get sucked in behind it). The movement where the membranes close is called the 'closed phase' (f- j). The closed phase begins with a suction movement at the bottom edge of the vocal cords and moves upwards in a rolling motion. In the closed phase the flow of exhaled air is momentarily stopped which creates an increase in pressure beneath the vocal cords. The upwards rolling motion ends with the vocal cords separating when the pressure is released (k). Now the cords have completed one pulsation/vibration and are ready for the next one. This repeated interruption of the air stream by the mucous membranes coming together creates a series of pulsations known as a 'sound wave'.
声带在气管内形成一个狭窄的通道（a）。当气流穿过这个狭窄处时，会产生一个部分真空，从而使声带的膜片结合在一起（b-e）。（当一辆公共汽车以高速行驶经过你时，你也会被吸到它的后面，这与这种情况相同）。膜片闭合的过程称为“闭合阶段”（f-j）。闭合阶段始于声带底部边缘的吸力运动，并以滚动的方式向上移动。在闭合阶段，呼出气流会被暂时停止，这会在声带下方形成一个压力增加。当压力释放时，向上的滚动运动以声带分离结束（k）。现在声带已经完成了一个脉动/振动，并准备进行下一个。通过粘膜的结合来反复中断气流，将创造出一系列称为“声波”的脉动。

For the note A4 the mucous membrane vibrates at 440 pulsations per second, and this requires a very stable speed of the airflow. By increasing the airflow, the vacuum strengthens and the mucous membranes go into bigger movements - this creates bigger volume. At a certain point the air is exhaled so strongly that it is forcing the membranes apart. This impairs the refined vibration, so to obtain a note you have to bring the
airflow back to a stable speed.

cords together by uncontrolled constriction. Now the singer gets into problems. The uncontrolled constriction limits the movement of the cords which thereby limits the volume. This is what is called 'forcing' the voice and causes much damage.
由于不受控制的收缩，声带无法自由震动。现在，歌唱者遇到了问题。不受控制的收缩限制了声带的运动，从而限制了音量。这就是所谓的“用力”发声，会导致很大的损害。

Consequently there is a limit to how fast the air should be let out while singing. Above this limit the voice does not work efficiently. Even at very powerful volumes the speed of the air stream should not be so fast that it no longer feels like you are holding back the air. This is why correct singing and speaking always has the sensation of holding back the air. This control of the exhalation is achieved by using support.
因此，在歌唱时，呼出的空气的速度存在一个极限。超过这个极限，声音将无法高效地运作。即使在非常响亮的音量下，气流的速度也不应该快到不再感觉像是你在控制住它。这就是为什么正确的歌唱和说话始终有一种控制住空气的感觉。这种呼气控制是通过支撑来实现的。

To keep the speed of the air within the range where the vocal cords can move freely is a balancing act and requires support energy. This is even more applicable when you reach the extreme ranges of voice and volume. On very powerful tones the danger of 'forcing' is great. On very quiet tones it is often more difficult to avoid uncontrolled constriction, and here even a minor change in the speed of the air may interrupt the small vibrations. So the work of supporting powerful and quiet tones is both physically and technically demanding. It is not enough for the singer to be technically skilled, s/ he should also be in excellent physical shape and have great stamina.
保持声带能够自由震动的空气速度范围是一个平衡的行为，它需要支撑能量。当你达到声音和音量的极限范围时，这一点尤其适用。在非常强力的音调上，“用力”的危险很大。在非常安静的音调上，避免不受控制的收缩通常更困难，而且即使是空气速度的微小变化也可能会中断微小的振动。因此，支持强力和安静音调的工作在身体上和技术上都要求很高。歌唱者不仅要具备技术技能，还要有良好的身体状态和极佳的耐力。

Uncontrolled constriction
无法控制的收缩

The work of the vocal cords is a very refined process and it does not take much to spoil these delicate, rapid movements. The aim for singers is to give their vocal cords the best possibleworking conditions, by controlling the outflow of air and preventing uncontrolled constriction in the throat.
声带的工作是一个非常精细的过程，只需要一点点的力量就能破坏这些精细、快速的动作。对于歌手来说，目标是通过控制气流和防止喉咙过度收缩，为声带提供最佳的工作条件。

A solid support technique is vital otherwise the membranes of the vocal cords grow weary from the constant pressure of out-flowing air. A consequence of this might be tired, swollen vocal cords vibrating irregularly. It is very strenuous for the muscles of the vocal cords to keep them together while there is constant pressure from out-flowing air. This could lead to uncontrolled constriction around the vocal cords. This uncontrolled constriction might lead to straining or incorrect use of the vocal modes which eventually causes hoarseness and an inability to reach a desired pitch.
保持稳定的支撑技巧至关重要，否则声带膜会因持续的呼出气压而变得疲惫。这可能会导致声带疲劳、肿胀，振动不规律。声带肌肉在持续呼出气压下保持闭合是非常费力的。这可能导致声带周围的无控制收缩。这种无控制的收缩可能会导致声带的过度紧张或不正确使用，最终导致声音嘶哑和无法达到期望的音高。

Cross section of the larynx
喉部横截面

front direction back
前方向后方向

Stretched vocal cord high pitch
声带拉伸高音

Regulation of the pitch
球场的规定

When we produce high and low notes the vocal cords are tightened and relaxed by the thyroid and the cricoid approaching each other, and the movements of the arytenoid cartilages and a number of muscles. When the vocal cords are stretched they vibrate more rapidly and produce a higher note. On low notes the vocal cords are relaxed, become short, and vibrate more slowly. This is how pitch is regulated.
当我们发出高音和低音时，甲状腺和环状软骨彼此靠近，以及杓状软骨和许多肌肉的运动，声带会收紧和放松。当声带被拉伸时，它们振动得更快并发出更高的音调。在低音时，声带放松、变短并且振动更慢。这就是音调的调节方式。

Movements of the larynx
喉部的运动

The position of the larynx varies depending on whether you are producing high or low notes. If you want free and unhindered notes you MUST allow the larynx to rise on the high notes and to lower on the low notes.
喉部的位置取决于您发出高音还是低音。如果你想要自由且不受阻碍的音符，你必须让喉部在高音时上升，在低音时下降。

THE LARYNX SHOULD ALWAYS BE RAISED ON HIGH NOTES AND LOWERED ON LOW NOTES.
喉部应始终在高音时升高，在低音时降低。

If a singer maintains the larynx in a much too low position, high notes become unreachable. In order to reach the notes
如果歌手将喉部保持在太低的位置，则无法达到高音。为了达到注释

you want, it is essential NOT to fix the position of the larynx but to let it reach the right position for the pitch (see The Larynx' on page 162). Then later you can raise or lower the larynx a little within the right position for the pitch, in order to colour the sound lighter or darker (see 'Sound Colour' on page 158).
如果您想要，重要的是不要固定喉部的位置，而是让它到达音高的正确位置（请参阅第 162 页上的“喉部”）。然后，您可以在音高的正确位置内稍微升高或降低喉部，以使声音变亮或变暗（请参阅第 158 页上的“声音颜色”）。

Summary
概括

• The vocal cords are positioned inside the larynx above the windpipe.
•声带位于喉内气管上方。

• When we inhale the cords separate, but when we sing or speak they are pulled together.
•当我们吸气时，这些声带是分开的，但当我们唱歌或说话时，它们会被拉在一起。

• Sound is vibration of the air. It is the vocal cords and their mucous membranes which make these vibrations; the faster the vibrations, the higher the note. For example at the note A4 our vocal cords and their mucous membranes are vibrating 440 times every second!
•声音是空气的振动。声带及其粘膜产生这些振动；振动越快，音调越高。例如，在 A4 音符时，我们的声带及其粘膜每秒振动 440 次！

• The vocal cords stretch on high notes and relax on low notes.
•声带在高音时伸展，在低音时放松。

• The larynx rises on high notes and lowers on low notes.
• 喉部在高音时上升，在低音时下降。

OVERALL PRINCIPLES
总体原则

The Throat
喉咙

The area between the soft palate and the nasal cavity (nasal fossae) is called the 'nasopharynx'. The area between the soft palate and the hyoid bone is called the 'oropharynx'. The area between the hyoid bone and the vocal cords is called the 'lar- yngopharynx'. Subsequent references to the throat include in particular the laryngopharynx.
软腭和鼻腔（鼻窝）之间的区域称为“鼻咽”。软腭和舌骨之间的区域称为“口咽”。舌骨和声带之间的区域称为“喉咽”。随后提到的喉咙特别包括喉咽。

Constriction
收缩

It is not difficult for the vocal cords to stretch or slacken, but it becomes difficult if the movement is obstructed. An obstruction is any uncontrolled constriction that prevents the vocal cords from stretching, thereby making it difficult to reach higher notes. A singer will try even harder to reach the note, often worsening the uncontrolled constriction. Eventually the vocal cords will not stretch at all. The singer may conclude, 'I have a low voice, I am unable to reach the high notes' but this is not the case! The reason why the high notes fail is not a lack of vocal ability to reach high notes but uncontrolled constriction around the vocal cords, robbing them of the space required for them to work, which is to stretch in order to reach the high notes. The constrictor muscles of the throat contribute to this uncontrolled constriction.
声带的伸展或松弛并不困难，但如果运动受阻，就会变得困难。阻塞是指任何不受控制的收缩，阻止声带伸展，从而使其难以达到更高的音符。歌手会更加努力地达到音符，这往往会加剧不受控制的收缩。最终声带将不再伸展。歌手可能会得出这样的结论：“我的声音很低，我无法达到高音”，但事实并非如此！高音失败的原因并不是缺乏达到高音的声音能力，而是声带周围不受控制的收缩，剥夺了声带工作所需的空间，即为了达到高音而伸展。喉咙的收缩肌导致了这种不受控制的收缩。

The vocal cords stretch on high notes and relax on low notes
声带在高音时伸展，在低音时放松

Swallowing
吞咽

The task of the constrictor muscles is to constrict the vocal cords and windpipe (trachea) during swallowing which stops food from entering the windpipe or 'going down the wrong way'. As we swallow, the upper constrictor muscle creates a ledge at the back of the throat to stop the food going up the nose. As the food slides down the back of the mouth the larynx and the attached epiglottis rises a little under the back of the tongue. The epiglottis acts as a lid over the vocal cords preventing food going into the windpipe and helping direct it into the gullet (oesophagus).
收缩肌的任务是在吞咽过程中收缩声带和气管，从而阻止食物进入气管或“以错误的方式进入”。当我们吞咽时，上缩肌在喉咙后部形成一个凸缘，以阻止食物进入鼻子。当食物从口腔后部滑落时，喉部和附着的会厌在舌后部下方稍微上升。会厌充当声带上的盖子，防止食物进入气管并帮助将其引导到食道（食道）。

Once the food has been swallowed the lower constrictor muscle closes off the top of the gullet so that food cannot be regurgitated back into the mouth.
一旦食物被吞咽，下缩窄肌就会关闭食道顶部，这样食物就不能回流到嘴里。

If you speak and eat at the same time food can easily go down the wrong way. When you speak the epiglottis stands up and the windpipe is open so it does not take much for food to enter the windpipe.
如果你一边说话一边吃东西，食物很容易走错方向。当您说话时，会厌会竖起，气管打开，因此食物不需要太多时间就能进入气管。

Strain or emotion
压力或情绪

The constrictor muscles are very useful. We use them to form the vocal tract so we can obtain all the various modes and sound colours. The constrictor muscles also protect the vocal cords if a singer is exposed to great strain. The throat constricts if, for example, we lift something heavy or become emotional or frightened. Constriction of the throat is quite practical when we lift something heavy, because it prevents a strain on the vocal cords, but it is very impractical to constrict uncontrolled around the voice when we sing as the vocal cords must have room to stretch. Thus, we talk about uncontrolled constriction of the throat being the singer's main enemy, not constriction or the constrictor muscles themselves.
收缩肌非常有用。我们用它们来形成声道，这样我们就可以获得所有不同的模式和音色。如果歌手承受很大的压力，收缩肌还能保护声带。例如，如果我们举起重物或变得情绪化或害怕，喉咙就会收缩。当我们举起重物时，收缩喉咙非常实用，因为它可以防止声带拉伤，但当我们唱歌时，不受控制地收缩声音周围是非常不切实际的，因为声带必须有伸展的空间。因此，我们谈论的是歌手的主要敌人是不受控制的喉咙收缩，而不是收缩或收缩肌本身。

Avoiding uncontrolled constriction
避免不受控制的收缩

Singing requires physical strength but this can also cause uncontrolled constriction of the throat. We must therefore, by correct technique, trick the constrictor muscles in the throat into not constricting uncontrolledly even when we sing technically difficult and physically demanding material. This
唱歌需要体力，但这也会导致喉咙不受控制的收缩。因此，我们必须通过正确的技巧，欺骗喉咙中的收缩肌，使其不会不受控制地收缩，即使我们在唱技术上困难且对身体要求很高的歌曲时也是如此。这

is often called keeping an 'open throat'. To be precise, it is not possible to 'open' the throat, it is only possible to avoid constricting it. When the uncontrolled constriction is gone the stretching of the vocal cords is unhindered, the pitch is secure, and wear or fatigue of the vocal cords is avoided. Basically, singing techniques are about avoiding uncontrolled constriction, and this is obtained by using support, amongst other things. With efficient, solid support we can use lots of physical strength without uncontrolled constriction in the throat. A skilled singer knows the feeling of uncontrolled constriction and is able to avoid it in all situations.
通常被称为保持“开放的喉咙”。准确地说，喉咙是不可能‘打开’的，只能避免被压迫。当不受控制的收缩消失时，声带的伸展不受阻碍，音调是安全的，并且可以避免声带的磨损或疲劳。基本上，歌唱技巧是为了避免不受控制的收缩，这是通过使用支持等来实现的。有了有效、坚实的支持，我们就可以使用大量的体力，而喉咙不会不受控制地收缩。熟练的歌手知道不受控制的收缩的感觉，并且能够在所有情况下避免它。

Some singers like the image of 'an open throat'. To use this image it might be helpful to feel that the uvula moves upwards (like when you gurgle) and the very back of the tongue lowers itself a little. This might produce a yawn. Try to locate this feeling and practise holding onto it while you sing. This is done by using support correctly, using necessary twang and by singing in the centre of the mode (see page 83). The feeling of a yawn is only meant as a guide to finding the image of 'the open throat' (which often is in reality necessary twang). The feeling of a yawn is NOT the same as singing without uncontrolled constriction however. The open throat is an image only and therefore does feel differently for different singers.
一些歌手喜欢“张开喉咙”的形象。要使用此图像，感觉悬雍垂向上移动（就像您发出咯咯声时一样）并且舌头的后部稍微降低一点可能会有所帮助。这可能会导致打哈欠。试着找到这种感觉，并练习在唱歌时抓住它。这是通过正确使用支撑、使用必要的鼻音以及在调式的中心唱歌来完成的（参见第 83 页）。打哈欠的感觉只是作为寻找“张开喉咙”形象的指导（实际上这通常是必要的鼻音）。然而，打哈欠的感觉与没有不受控制的收缩的唱歌感觉不同。张开喉咙只是一个形象，因此不同歌手的感觉确实不同。

The open throat is an image or sensation
张开的喉咙是一种图像或感觉

Remember that images and sensations are only meant as a guide. If you do not respond to them immediately, forget them. Again, do not confuse these images and sensations with what is really happening!
请记住，图像和感觉仅供参考。如果您没有立即回复它们，请忘记它们。再次强调，不要将这些图像和感觉与真实发生的事情混淆！

You can work in sensations of the image 'an open throat' when you:
当你： * 感受到图像“一个开放的喉咙”的感觉时 * 体验到图像“一个开放的喉咙”的感觉时 * 沉浸在图像“一个开放的喉咙”的感觉中时 * 与图像“一个开放的喉咙”的感觉共鸣时

• inhale for a yawn or a sneeze
吸气打呵欠或打喷嚏

• sob
• 啜泣

• laugh silently
•默默地笑

• are surprised
感到惊讶

• get a good idea but cannot make yourself heard
• 产生一个好主意却无法表达自己

• imagine that you swallow something big
想象一下你吞下了什么东西

• leave the palate in the same position on all vowels
•在所有元音上保持相同的舌位

• feel how the uvula moves up and forward, almost touching itself to make more room. Then 'stretch out'the palate
• 感觉你的小舌是如何向上和向前移动的，几乎碰到它自己以腾出更大的空间。然后“伸展”你的上颚

towards the ears as if sobbing. Press downwards on the uvula from the back above
模拟哭泣，将上颚软腭从背后向前下方按压

• imagine a small, low-ceilinged room, as wide as possible, above the uvula. The room stretches from ear to ear, and if you press down on the uvula you may provoke a yawn
想象一个天花板较低的小房间，尽可能宽，位于悬雍垂上方。房间从耳朵一直延伸到耳朵，如果你按压悬雍垂，你可能会引起打哈欠

• feel where you contract near the ears when you imagine biting into a lemon
•想象一下你咬一口柠檬，柠檬汁在你耳边的位置能尝到

• feel the position of the uvula as if gurgling. The backofthe tongue is lowered and this may provoke a yawn
• 感觉悬雍垂的位置就像在咯咯作响。舌根部降低，这可能会引起打哈欠

• imagine a throat having a square gap
- 想象一个方形间隙的喉咙

Imagine a square throat
تصور کنید یک حلق مربع

lift the corners of the mouth slightly, as if you were making
微微抬起嘴角，就像你做作的时候
a small, 'secret' smile. Tighten the area around the molars in
一个轻微的，'神秘'的微笑。收紧臼齿周围的区域
the upper part of the mouth and raise the palate
上颚和上腭提升
imagine there is air above the back molars in the upper
想象上颌后磨牙上方有空气
part of the mouth.
唇的一部分。

Watch out for 'triggers' of uncontrolled constriction
注意无控制收缩的“触发因素”

Even if you support and use necessary twang there are still a few things to be careful of. If you tighten the lips or protrude the jaw this will often trigger uncontrolled constriction which hinders the voice.
即使你使用了必要的颤音，仍有一些需要小心的地方。如果你抿紧嘴唇或突出下巴，这通常会导致不受控制的收缩，从而阻碍发声。

You must be careful not to tighten the jaw whilst singing, especially when you sing high notes. This may produce uncontrolled constriction that will prevent the vocal cords from stretching. If you are not sure if you are opening your mouth enough when you sing high notes, try placing one or two fingers between the upper and the lower teeth while you sing. Biting on these fingers on vowels is a sign of musculartension.
高音歌唱时，务必注意不要紧闭下巴，尤其是高音时。这可能会导致不可控的收缩，从而阻止声带伸展。如果不确定自己在高音歌唱时是否张开嘴巴足够大，可以在唱歌时将一或两个手指放在上下牙齿之间。咬住这些手指的元音是肌肉紧张的迹象。

Biting your fingers on high notes may indicate muscular tension
咬手指可能表示肌肉紧张

OVERALL PRINCIPLES
总体原则

Practise singing without biting your fingers (see 'Opening the Mouth' on page 58).
练习唱歌时不要咬手指（参见第 58 页的“张嘴”）。

The position of the lower jaw
下颌的位置

When you sing you must also
唱歌的时候也要
be careful about the posi-
注意积极性
tion of the lower jaw. If it is
下颌骨的移动。如果是
protruded it might produce
可能产生突起
uncontrolled constriction
不受控制的收缩
around the vocal cords. The
围绕声带。
natural opening of the jaw is
下颌自然张开是
in a BACKWARD and down-
向后向下-
ward, not a forward, motion.
向前，而不是向前的运动。
The lower jaw is attached to
下颌骨与
the upper jaw by a joint that
上颌通过一个关节与
naturally turns the lower jaw
下颚自然转动
downwards and backwards
向下和向后
in relation to the upper jaw
与上颚有关
when the mouth is opened.
当嘴巴张开时。
You must always make sure
你必须始终确保
that the lower jaw never pro-
下颌骨从未突-
trudes when you sing.
高音時你的聲音會顫抖。

When the mouth opens the lower jaw
当嘴巴张开的时候，下颚会张开
moves downwards and inwards
向下并向内移动

Finding the correct position of the jaw
寻找正确的下巴位置

You can locate the correct position of the jaw by pretending
你可以通过假装来找到下巴的正确位置
to fall asleep on a bus with your head tilted backwards. No-
頭向後傾斜，在公共汽車上睡著。不-
tice how the lower jaw is pulled backwards compared to the
注意下颌与
upper jaw, leaving room for a finger to fit between the back
上颌，留出足够手指伸进的空间
of the upper teeth and the front of the lower teeth. Keep the
上牙和下牙的正面。保持
finger between your teeth, raise your head, and familiarise
用牙齿咬住手指，抬头，熟悉
yourself with this position of the jaw. Feel how the lower jaw
用这个下颌位置来感受一下。感受一下下颌
gradually moves away from the finger as the mouth opens
逐渐远离手指，当嘴巴张开时

more widely.
更广泛地

Sing with the finger between
与手指之间一起歌唱
your jaws. If the lower teeth
你的下巴。如果下排牙齿
press against the finger there is
按住手指
a risk of creating uncontrolled
存在失控的风险

Find the correct position of the lower
找到下方的正确位置
jaw
下颚

constriction. Notice at which points in a song you protrude
注意在歌曲中的哪些地方你会突出
the lower jaw and for what reasons. Practise removing this
下颌骨，以及移除它的原因。练习移除它。
uncontrolled constriction. You may also feel the position of
不受控制的收缩。你也可以感觉到
the lower jaw by placing your hands on your cheeks. Lean the
用双手放在脸颊上来降低下颌。倾斜的
head backwards and feel the position of the jaw. Raise your
向后仰头，感受下巴的位置。举起
head, and make sure your jaw is kept in this position whilst
让头部保持在这个位置，并确保你的下颚保持在这个位置

singing.
唱歌

The lower jaw should be pulled
下颌骨应牵拉
inwards compared to the upper jaw
向内，与上颌相比

Avoid tightening the lips
避免嘴唇紧闭

Tightening the lips may also produce uncontrolled constriction around the vocal cords. It is acceptable for the lips to tighten on consonants as they only last a very short time. However, when a note is sustained, it almost always happens on a vowel, thus it is important to keep the lips relaxed. Maybe practise in front of a mirror and notice at which point the lips tighten. It is all right for the lips to tighten in the lower part of your voice, but avoid this in the higher part. You should practise making distinct vowels without tightening your lips (see 'Pronunciation' on page 53 and 'Opening the Mouth' on page 58).
双唇紧闭还会造成声带周围不受控制的收缩。双唇在发辅音时紧闭是可以接受的，因为辅音持续时间很短。然而，当一个音符持续时，它几乎总是发生在一个元音上，所以保持双唇放松是很重要的。也许可以在镜子前练习，注意嘴唇什么时候收紧。嘴唇在你的声音的下半部分收紧是可以的，但在上半部分要避免这样做。你应该练习在不紧闭双唇的情况下发出清晰的元音（参见第 53 页的“发音”和第 58 页的“张嘴”）。

Summary
摘要

• It is not difficult for the vocal cords to stretch or slacken to reach high or low notes, unless they are hindered by uncontrolled constriction.
• 声带伸展或松弛以达到高音或低音并不困难，除非它们受到不受控制的收缩的阻碍。

■ The task of the constrictor muscles is to constrict the vocal cords and windpipe (trachea) during swallowing which stops food from entering the windpipe.
■ 括约肌的任务是在吞咽过程中收缩声带和气管（气管），以防止食物进入气管。

• The constrictors become active when we lift something heavy or become frightened.
•当我们举起重物或感到害怕时，这些收缩器会变得活跃起来。

• you avoid uncontrolled constriction by using proper support, using necessary twang and by singing in the centre of the mode.
•您通过使用适当的支撑、使用必要的颤音和在模式中心歌唱来避免不受控制的收缩。

• Avoid protruding the jaw and tightening the lips as this might trigger uncontrolled constriction.
•避免伸出下巴和紧闭嘴唇，因为这可能会引发不受控制的收缩。

• The lower jaw must be opened inwards and downwards during singing.
•下颚在歌唱时必须向内向下打开。