Lin Wanyi has just come of age now, so she has to work harder than the older generation of singers. This is both reasonable and imperative.
The song she sang with Taylor is called "Flowers Along the Road". This song expresses the inspirational song of young people not being afraid of wind and waves in order to realize their dreams.
The song hopes that all the wishes people make will bloom into beautiful flowers, which will not only help them resist the wind and sand, but also help people in the rain avoid the rain.
The feeling of youth and motivation in the song can move many people. It sings about the passion and dreams of young people.
They are brave, passionate, courageous, work hard for their dreams and help others.
The singer's gentle voice also makes this inspirational song warmer and makes people feel the atmosphere of youth.
The original version is very popular on various later websites, not only because of its nice melody, but also because of the optimism conveyed in its lyrics that many young people today lack.
The chorus version of the two people is an upgrade based on the original singing. It not only adds the chemical reaction effect of two different timbres that complement each other, giving it an unparalleled sense of layering, but also specially adds a high-octave harmony. Effect.
It can be said that the layering of this song is the result of the arrangement and harmony. Lin Wanyi's role in this song is the main harmony. This version of the harmony can produce an effect that people will never tire of listening to.
Because the main interval of the entire song, especially the main interval of the chorus, is supported by Taylor, her voice is characterized by high pitch.
In today's world-wide pop music scene, not many singers can match her in terms of the penetrating power of pop singing timbres.
There is no doubt about this.
Therefore, with such a powerful and penetrating singing style, Lin Wanyi's timbre changes are destined to never compete head-on with Taylor.
Otherwise, if both of them have high-pitched and shrill voices, it would be easy to fall into the devilish hell of female choruses - homogeneity.
When two chorus members of a song fall into the trap of homogeneity, the entire song will be in a mess, and no matter how strong the arrangement is, it cannot save it.
This design consciously avoids the homogeneous characteristics of the two voices, and instead uses harmony to intersperse and stack layers.
And this use of different vocalization methods and harmonious arrangements to avoid the homogeneous characteristics of the two people is an extremely advanced method, and it is also a rare style design in modern music.
For example, in the first section, there is no drum beat, which is almost a way for the singer to sing a cappella. There is only a keyboard and guitar in the main interval.
Then when it comes to the chorus, another piano and an electric drum with a strong sense of space are added to make the entire first section appear more spacious and light.
Then adding the entire orchestra in the interlude creates a strong contrast with the first section of the song, creating a layered structure through the addition and subtraction of instruments.
Throughout the second section, the orchestra was never absent until the end of Lin Wanyi and Taylor's singing section, when all the instruments were cut off, leaving only the sound of the ocarina.
After the ocarina section, go directly to the orchestra arrangement, so that the "weak-strong-weak-strong-weak" layering of the whole song comes out.
Moreover, the use of different instrument timbres in the three-section arrangement makes the layering of the three sections even more intense.
Two people
The sound matching effect is very similar to the water waves rippling around the center. It is a composite and three-dimensional sound, with the wave shape of water and the free breathing of wind, without losing the wonderful existence of a tough metal core.
Lin Wanyi's harmonies also show this effect with the goal of serving the entire song.
When harmonizing around Taylor's lead voice, she lightly twirled and plucked the complex notes, using her voice to render the atmosphere densely, and as a medium to tug at the air and emotional undercurrents on the calm lake.
Within the limited performance space, the listening and emotion of the entire song is brought into play, creating a high and low level difference and a natural "breathing and fluidity", thus giving the song a wave that seems simple but is actually deeply rooted.
Although this pulling force is gentle and even invisible, it is overwhelming.
No matter how plain the tune is, it becomes interesting in the small rhythm created intentionally or unintentionally by Liu Qingshan. As long as the collaborators and the audience "surf" along with this rhythm, they will be very comfortable.
In addition, Taylor's bug-level timbre, Jiangguan Yingyu's flowery bottom is smooth, and the sound is as beautiful as big beads and small beads falling on a jade plate, which is very valuable in itself.
Therefore, harmonious arrangements of this level are unfavorable. When you encounter sounds that are equally good at coordinating or being coordinating, it is easy to produce high-quality, god-level stage effects.
Therefore, in the version recorded over a long period of time, Lin Wanyi's soulful singing injects emotion and meaning into the song.
Taylor's tone is bright and powerful, a bit like electronic music, but without losing changes, his powerful breathy singing style creates a majestic feeling of spreading sound.
The combination of the two sounds expands the volume and layering of the sound.
If you use perfume than
Yu, Lin Wanyi's voice constitutes the fresh top note and gentle base tone, and Taylor's voice constitutes the pleasant, bright middle tone.
Their angelic voices and "smiling" singing style gave the recording scene a sense of immersion, ceremony and happiness like a wedding.
Coupled with the very graphic lyrics, the sunset is like iridescence, with colorful gradients, and is as soft and light as catkins.
It is full of young people's longing, half expectation and half confusion; young people yearning, overwhelming momentum and uncompromising; young people have dreams, freedom and passion are always stirring.
I hope the wishes I made will come true all the way
Hide the person in the rain under the eaves
The years are washing away the noise of vicissitudes against the current
Who are you thinking about on a quiet night?
I hope the wishes I made will come true all the way
Escorting the dream at that time to withstand the wind and sand
The cherry blossoms at the fingertips are like poems about whose youth
Crazy love mixed with elegance
Especially the melody in the chorus part is really nice, and in the harmony section, the pitch resonance is deliberately staggered by adjusting the length of the lyrics and the changes in tone. It’s not perfect, but it’s definitely very comfortable to listen to. I admire your professional abilities!
Even Sun Nan, who has seen countless classics, praised their singing and sang praises for Liu Qingshan's "creative" ability.
His attitude is actually quite real, because he is holding another song of mine, this one called "The Wind Rises."
This song also has a new and trendy concept that transcends the sense of the times. It breaks away from some of the inherent creative routines of traditional pop music and creates a musical style unique to Liu Qingshan, which is the novelty of the orchestration and the resonance of the genre. quality.
What makes him happier
Yes, although this song is pretended to be a duet between him and Liu Qingshan, it is actually a solo performance with him as the main vocal.
Liu Qingshanshan added some harmonies to some passages. Obviously, he intended to make this song another masterpiece of Sun Nan.
Over the years, Sun Nan's voice has remained unchanged, still the same tenor with a distinctive timbre.
This is what Liu Qingshan feels most ashamed of. This kind of timbre is very special, based on the throat singing method and his resonance.
Of course, his voice style is not unique. Many Tibetan folk singers, especially the older generation of Tibetan folk singers, have a large proportion of pharyngeal sounds in their singing.
For a long time in history, this high and hard sound was simply the epitome of Tibetan folk songs.
But in the modern music world, Sun-style singing was born because of Sun Nan. Its sound production principle is to rely on the breath to drive the upper part of the nasal cavity rather than the sound produced by the rapid vibration of the nasal cavity.
The two terms of pharyngeal singing and closed singing actually come from the Italian bel canto singing method.
However, these two methods themselves are not original to Bel Canto. In fact, from ancient times to the present, those powerful singers who are good at high notes often learned these singing methods innately or through acquired practice.
The secret of these two singing methods to achieve high pitches has one thing in common in principle, which is to reduce the vibration area of the vocal cords.
Friends who can play the guitar know that if you want to produce a higher note on a string, there are two ways. One is to pull the string tighter, and the other is to shorten the length of the vibrating part of the string, that is, press the string on the fret. Live the strings.
The same goes for vocal cords.
Ordinary people sing high notes by tightening their vocal cords. The higher the pitch, the more difficult it becomes, and it is easy to reach the limit, making the face red and thick, and uncomfortable to listen to, just like when we try to tighten the strings on a guitar.
But singing masters will reduce the vibration area. The higher the sound, the smaller the vibration area.
Just like when we play the guitar, we press up one frame after another, and the sound gets higher and higher, but the tension does not change much.
Sun Nan is one of the most typical representatives. His pharyngeal singing method is to control the changes in the pharyngeal cavity and adjust the thickness of the air flow. The thinner air flow hitting the vocal cords will cause a smaller vibration area and the higher the sound.
The most ingenious thing about this method is that it uses a physical principle called Benolli's principle. There is a large pharyngeal component in Sun Nan's voice.
The impact of this airflow on the vocal cords does not blow the vocal cords apart, but instead brings our two vocal cords closer to each other.
Therefore, Sun Nan's singing skills are something that even Liu Qingshan has not mastered.
Because the characteristic of pharyngeal sound is that it saves effort to sing high notes, it is not tiring to sing for a long time, and it becomes brighter and louder as it is sung, so it is less difficult to master than the closed singing method.
But the shortcomings are also obvious. The voice is not friendly and natural enough, lacks variety, is too hard, and the expression of the voice is not rich enough. .
So for this song, he will help Sun Nan harmonize with a melody change to add more emotional ups and downs to the slightly straightforward extreme high-pitched part. Only in this way can the song created have the possibility of becoming a timeless famous song.
This is due to Sun Nan's vocal skills. Although his voice is high and bright, it is harder, more straightforward, and lacks
Lack of variety and variety of colors.
This means that what he is suitable for interpreting are passionate songs and heart-wrenching shouts, preferably high C or above.
