Thirteen Methods of Vocalization

[ELE]

Thirteen Methods of Vocalization

Momentous Findings in the Field of Vocal Music

 

 

Preface

 

 

The thirteen methods of vocalization will cause unprecedented changes in the international forum of vocal music. They are new milestones in the vocal music forum, which will soon bring people engaged in vocal music out of plight.

 

 

 

Among so many vocal music experts, including so many famous ones, who has developed a theory as clear and precise as the thirteen methods of vocalization? Isn’t that enough to prove their value? If the thirteen methods of vocalization didn’t make their appearance, you wouldn’t be able to buy it at any cost. Only those who are extremely honest and respectful to art are likely to get what they earnestly look for. Otherwise, you may let it slip even if wind brings it to your door.

 

 

 

 

 

Brief Introduction of Thirteen Methods of Vocalization:

 

 

 

The wordings are very simple, so simple that most people who feel so fail to understand. Only those who have engaged in the research of vocal music for many years and grasped its essence can see the significance of these methods. But such people are too few (I mean internationally, not nationally). The introduction is clear for sure, only that you cannot understand it. This is a matter of distance, great distance. It is just like people on the earth looking at UFO: they cannot make anything out of it.

 

 

 

The thirteen methods of vocalization is a thing you can get with diligence, patience, infatuation, brainwave, simplicity, frustration and chance. Even a slight fickleness will drive it away (because you may discontinue your research). You do not know when you will feel it. One year, two years, eight years, ten years, twenty years or more? It seems so far away from you. Just like a person contracts a strange disease. He does not know what can cure it, and it may remain a myth till his death. I do not believe that before there have been no vocal music researchers infatuated with his field, but there have been no success. I’m not a smart person; actually even money I can’t count correctly. I haven’t done any great thing, but I love art for all my life. I have spent all my physical and mental energy in developing these thirteen methods of vocalization. That I have obtained it is the greatest favor God has delivered to me. I’m quite satisfied with it. Hereby I solemnly declare that I’m willing to transfer the copyright of “thirteen methods of vocalization” at a price no less than 10 million euros. Only a person with peculiarly intelligent eyes can buy an internationally peculiar artistic theory.

 

 

 

 

 

The price of this rule passes to increase 1,000,000 euros year by year from 2,005.

 

 

 

 

Thirteen Methods of Vocalization

 

 

The art of vocal music is a science. Anything belongs to science has its laws:

 

 

 

Xingsi Yin (sound similar in form)

 

 

 

Xingsi Yin derives from Thirteen Rhymes (an ancient Chinese folk art form). It comes from the end sound of the words, as each word belongs to the Thirteen Rhymes. For instance, the end sound of “Yang” in “Jiangyang Rhyme” is “Ang,” but there is another sound in “Ang.” This sound is Xingsi Yin. When singing “Ang,” the two sounds will be sung out simultaneously. More emphasis should be laid on Xingsi Yin, so that the voice can move back and forth smoothly and freely. If “Ang” is sung without Xingsi Yin, the voice won’t be strong and will die out once pushed. Strength is of no avail now, as the vocal cords are “closed.” Therefore, the voice will not be open and through. Some actors are quite worried when their voice cannot get through, but they do not know the reason is that there are two sounds. Other actors sing xingsi yin and it turns out well, but their knowledge about xingsi yin is perceptional rather than rational. Although their voice is silvery, they do not know how comes. More often than not an actor may find it easy and comfortable in voicing a sound one day, then another day things are totally different. Time after time such thing happens in actors’ life, so they become extremely alert to their voice lest anything happens. In serious case, such concern has turned a constant anxiety.

 

 

 

By Now Xingsi Yin Has Not Yet Been Discovered by Vocal Music Researchers

 

 

 

Among the vocal musical experts, there are various opinions concerning vocalization, but none has hit the point. While listening to such kind of abstract and vague theories, students are slow to understand. Even though some have found the way, they are not taught by their teachers. But xingsi yin is different because it can be easily accepted by the singers. Instead of being abstract, it concretely points out why the actors fail to make appropriate sound, which sound is open through and which is not, why it is so and how it should be sung. What’s more, it carefully and clearly marks the sound by word or sound, so that actors are quite clear what they are aiming at, how they should sing, which sound will be focused and which not. As long as their train of thoughts is clear, their progress is obvious. However, the exact date of birth of xingsi yin will remain unknown forever. I have discovered it just till now. But it is a great achievement anyhow, because by now no other man has discovered its existence. It is still a myth why there is no record of xingsi yin in the history of art. Xingsi yin is mostly analyzed in terms of Beijing opera. In fact, such kind of analysis is so numerous that you cannot do without it.

 

 

 

Despite its ubiquity, xingsi yin is difficult to find. You may not see it even though it is right before your eyes. But in old Beijing opera, the existence of xingsi yin is quite obvious already. That some actors have used it quite skillfully has well demonstrated its existence prior to Beijing opera. Since there is no record in history concerning xingsi yin, it becomes a myth to people, teasing them now and then. Most actors, including some very successful artists, are at a loss towards it. Eventually they come to this absurd conclusion: “Today my voice is not in place; God is not in my favor.”

 

 

 

How to Sing Well Xingsi Yin?

 

 

 

Xingsi Yin permeates throughout the whole aria and changes with rhymes. In other words, each word has its own rhyme. Different rhymes make different Xingsi Yin. Even in the same rhyme, there may be different Gui Yin (Converging Sound) because of different words. So there may be several Gui yin in the same rhyme, i.e., several Xingsi Yin should be used in singing. When xingsi yin is prolonged, its role is more important, as it keeps your voice moist, saves your energy and thus makes your voice relaxed and tone sweet.

 

 

 

How to Determine Whether the Voice Gets Through ?

 

 

The key point is to hear whether xingsi yin is sung. If it is, the voice will naturally be through. While practicing, do not sing out gui yin if your voice is not through. Sing xingsi yin first, then add gui yin without any changes in the volume of the former. When gui yin is added, the voice should be more resonant than xingsi yin, otherwise you have made a mistake in singing xingsi yin. Some singers feel that the sound of the word becomes vague when gui yin is added. The feeling is right, because words sung on the stage are different than words spoken in daily life. These are “artistic words. ”

 

 

 

How to Use Xingsi Yin in Aria?

 

 

 

While using xingsi yin as a transitional sound between sounds, you cannot apply it mechanically disregarding specific situations. You should adjust it according to the volume of the beginning word. Sometimes it may be higher, sometimes it may be lower, and sometimes it may be even lower. If necessary, you may sing it so lightly as if you were not singing at all. In short, you should use it flexibly according to the changes in the mood of the aria. You cannot regard it as dead and unchanging law. There are some Chinese artists who had misused xingsi yin and thus voiced some strange sounds. It is ridiculous that some people classify these artists as one school. It’s all right if you like their voice and want to learn it, but you must note that what you are learning is wrong and cannot be classified into any school. There is no school that is established on the ground of its strange sounds and tones.

 

 

 

Despite their special features, all schools have one thing in common: pleasing to the ear. Who will refute that the tones of several current rock music singers is an exact reproduction of Zhou Xinfang, the great master of art whose reputation has extended throughout the whole Shanghai in his time? Zhou Xinfang is different from all Laosheng (an elderly character in Chinese opera), but his voice is pleasing indeed. So tone cannot be monotonous. It is just like birds in the woods. They cannot be the same, and it is impossible that they are the same. This is what nature is. Although Zhou Xinfang differs from other people, his use of xingsi yin and kaoyin zi (words whose pronunciations are close to each other) is the same as that of those famous Laosheng. He has made the best use of xingsi yin and kaoyin zi, except that his tone is different, thus he has formed the school of Lin.

 

 

 

 

 

 

 

 

 

 

 

 

 

.........................

[gtrbass]

WOW...

 

SPAM CHOW MEIN

 

or

 

SPAM FOO YONG

 

or

 

SPAM IN BLACK BEAN SAUCE

 

or

 

ORANGE PEEL SPAM

 

AND THEN?????

[vanlatte]

Originally posted by gtrbass WOW... SPAM CHOW MEIN or SPAM FOO YONG or SPAM IN BLACK BEAN SAUCE or ORANGE PEEL SPAM AND THEN?????

 

 

[BlueStrat]

Man, that was a lot of big and funny sounding words and stuff.

[leopardstar]

huh????

[daddymack]

hmmmwith out all the fonix, all tha tmeans very little...nice c&p though....thank goodness he wasn't trying to sell that...13 rhymes....?

[geoffo]

What the ....

[MDLMUSIC]

"Only a person with peculiarly intelligent eyes can buy an internationally peculiar artistic theory."

 

Well, I guess that leaves most of us dumb-eyed people out in the cold.

[Kotch]

I reckon whoever wrote that must have dropped too much acid in the sixties.

[daddymack]

Originally posted by Kotch I reckon whoever wrote that must have dropped too much acid in the sixties.

what makes you think they stopped in the 60s...?

[Guvnor]

"Dude, pass the dutchie on the left hand side... "