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Thirteen Methods of Vocalization


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Xingsi yin and gui yin of words are mutually restrictive. When singing the prolonged sound of words, xingsi yin should be used. It can ensure the free and smooth transition of gui yin from strength to weakness so that actors can make the best presentation of their artistic competence. Xingsi yin is also a Chinese character. If there is such a word in the song, then its xingsi yin is gui yin of the word. It is called close word because it functions as a chain tying up with open word. Xingsi yin is open word, whereas gui yin is close word. When voicing open word, the throat is open and loose, so the sound of the word is liable to slip. But in voicing gui yin, the throat is closed, so in singing they are mutually restrictive and dependent.

 

 

 

Neither Chinese operas and songs nor foreign songs are independent of kaoyin zi and xingsi yin. Even though you do not know foreign language, once you have truly understood xingsi yin, you can clearly determine whether the voice of a foreign singer is through or not. All operas and songs are based on sound. The sound any singer voiced can be precisely classified according to the Thirteen Rhymes and thus the quality of his voice is evident (this applies to xingsi yin only). Kaoyin zi and xingsi yin have no territorial bound. Although language varies from country to country, the phonology is the same. Any good singer must grasp kaoyin zi and xingsi yin. But an ingenious use of kaoyin zi and xingsi yin does not necessarily mean the users have a rational knowledge about them. Xingsi yin is more difficult to discover than kaoyin zi. Some kaoyin zi can be clearly voiced, some vaguely voiced, but they can be easily detected by ear. Xingsi yin is different. It cannot be strongly sung, so it is not easy to be detected by the singers. This is the very reason why some singers suddenly decline in the prime of their career

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