#谭维维#
Fan question: How is Tan Weiwei's singing skills?
Answer: Ethnic T1, popular T2 (strong), promote the popularity of folk music, 42-year-old vocal range D3-D5-D6 three octaves, ethnic students turn pop, the style of music is hard, and the pop skills rely slightly on angry sound
Tan Weiwei, the most high-pressure competition stage in the history of airborne Chinese music, "Singer", is the champion of Chinese singing skills, and is a very typical cross-border music singer. If you stand in the perspective of national singing or popular singing that has been included in the popular market, then Tan Weiwei's singing skills can be regarded as the first echelon of popular/folk music, and it is not a big problem to say that the national team is not a big problem. However, from the aesthetic perspective of pop vocal music, Tan Weiwei's singing skills have a slight disadvantage - the weak singing ability of the "Queen of Nuyin" is weak, and the skills are too dependent on the folk music of Nuyin.
Different from the 99% of the non-vocal music students who make up the Chinese music scene, Tan Weiwei is a national vocal talent with higher music education than Sun Nan and Na Ying - graduated from Sichuan Conservatory of Music majoring in ethnic singing, graduated in 1998, under the tutelage of Associate Professor Lanka Zhuoma of Sichuan Conservatory of Music, at that time Sichuan Conservatory of Music did not have a diversion of ethnic singing and popular singing, but in 2003, Lanka Zhuoma became the director of the National Vocal Music Teaching and Research Department of the Vocal Department of Sichuan Conservatory of Music, and Tan Weiwei's singing style began to change to popular folk music as a whole.
In terms of the overall singing system, Tan Weiwei is very standard - the fusion attribute of the folk music pharyngeal sound system + mid-bass pop singing, of which angry sound is a folk music pop technique created by Tan Weiwei. As the fundamental cultural product of Chinese vocal music, folk music can allow singers to avoid inverted voices by virtue of the perfect voice protection properties of pharyngeal sounds, and it has retained a strong functional embodiment at the age of forty or fifty. So Tan Weiwei is actually a singer who sings higher in commercial value.
In terms of timbre, Tan Weiwei's vocal cord background color is actually not highly matched with pop music, or premature contact with pop singing, so that Tan Weiwei's teeth, sense of language, and timbre shaping ability have a certain deviation from the evolving personalized aesthetics of pop music.
These timbre techniques all have one characteristic: strong folk music color, the strength of the timbre almost does not exist in the personalized Huacai innovation, which belongs to the national singing method of a fresh signature type of thinking. Based on the timbre skills of various ethnic songs, Tan Weiwei created his own labeled timbre in the niche popular music market of the pop music market (the academic school has merged the popular into the pop).
Angry sound does not belong to pop vocal skills, but is more like a weakening of the heavy metal singing method in rock music, or rather: the fusion product of rock heavy metal and Chinese folk singing, the underlying aesthetic thinking here is: the noisy attribute of Chinese folk music, and the counterpart European and American music style is rock heavy metal, or hardcore rock. Therefore, Nuyin is a very excellent technical product discovered by Tan Weiwei, and Nuyin also means that Tan Weiwei's timbre and music style positioning are moving to: the popular art of rock + folk music.
In terms of vocal range, Tan Weiwei's vocal range is extremely powerful - three octaves.
Tan Weiwei has three octaves of available stage sound area as a whole, and it can be said that it has reached the ceiling level in the entire Chinese music, of course, the three octaves are because of the fusion of popular, pop, and ethnic singing styles. The details are as follows:
1: D3-A4: mid-bass area, popular thinking;
2：A4-D5； In the pop golden treble area, Tan Weiwei has two sets of logic: folk music and mountain songs, and pop strong mix. However, among the popular and strong mixes, the proportion of chest voices is larger, the bite is more rigid and frustrating, and the style of music is more restrictive.
3: Eb5, high-quality dense extreme biting of angry sounds. EB5 is a sound Tan Weiwei who can't maintain a pop strong mixed metal core, and completes it with his own angry-rock pharyngeal tearing sound, which is very impactful. But there is a hidden danger: no matter the style of music, as long as it is Eb5 biting, Tan Weiwei can only complete it with one skill of angry sound, which causes the limitation of singing skills to the music style. The more you listen, the more aesthetic fatigue is caused by this limitation problem. This problem has existed since ten years ago.
4: E5-G5, the national pharyngeal pronunciation, gradually detached from the aesthetics of pop music, and walked in the high-pitch advantage of pharyngeal sound, timbre inferior thinking. The pharyngeal sound is a homogeneous timbre that does not have the beauty of pop, and it lacks the natural low-frequency overtones of the true voice, but folk music is very suitable for the loudness and functional liberation of the pharyngeal sound. So since E5, Tan Weiwei has become a popular official female singer, a bit like Yao Beina, but more like Tan Jing, the national chest voice and pharyngeal voice have caused a popular sensational problem with a strong vocal range and a lyrical timbre that is too overflowing;
5;G5-D6, national soprano Tibetan dialect. Here, Tan Weiwei gradually broke away from the aesthetics of popular music, gradually distanced himself from pop music, and came to a soprano of mountain songs with a traditional folk singing style. Tan Weiwei's "Qinghai-Tibet Plateau" can also complete the extremely stunning Tibetan dialect of mountain songs, as well as the use of Mongolian long tunes and Huayin old dialects.
These five layers, the most critical pitch is Eb5, in Eb5 Tan Weiwei has achieved the limit of what he can do - with the fusion of rock thinking and folk music that belongs to pop music, although it is true that it will fall into the homogenization of the national trick and the homogenization of the skills that are eaten all over the world, but this kind of angry sound is already very difficult to create, and the angry sound can make Tan Weiwei complete an extremely amazing stage performance under the correct style of folk music, rock, and popular music. Making the advantages stronger is the law of production in this era.
From the perspective of vocal range skills and singing logic, Tan Weiwei embodies the educational significance of a college student: to promote Chinese music products as much as possible, since folk music is not popular, then try to make folk music popular, this kind of courage to keep pace with the mission of Chinese vocal music culture is Tan Weiwei's responsibility as a college student. Instead of going to Berkeley with all the other commercial singers, blindly going to Berkeley gilding.
The current 44-year-old Tan Weiwei's performance is not much different from ten years ago, but the dense articulation of Eb5 has declined slightly, which is also because the national singing method is mainly for the scientific and logical training of pharyngeal sounds. This is also the underlying logic that national singing can stand side by side with bel canto and pop singing.
Tan Weiwei's hidden dangers: the folk music aesthetics of pop music, resulting in rough line mistakes
If you have to find a little fault, then Tan Weiwei's only hidden danger lies in: the folk music aesthetics of pop music. Tan Weiwei overturned when he sang "Sword Like a Dream" in his career, and the underlying reason why he was considered unpleasant was that the aesthetics of folk music were forcibly placed on pop music, and folk music and pop were two conflicting genres, whether it was the sound area, timbre, vocal range, orchestration, strength and weakness, aesthetics or appreciation logic. Therefore, the choice of music and proficiency have become the most important.
To sum up, Tan Weiwei's singing skills are very good, as the second batch of vocal music education in the current Chinese music, the first batch of music university education students, Tan Weiwei's singing skills greatly promote the popularization process of Chinese folk music, with the educational mission of college students. Hopefully perform better in the future.