Fans asked: Why is Fanxia's "The Devil from Heaven" sung so silky? Isn't it difficult to bite words in Chinese?
Answer: The difficulty of vocal music in Chinese biting lies in the de-pinyinization of Chinese, and the Chinese logic of Fanxia is the homonym of English vowels
The teleprompter of Vanhia
The essence of this question is still about: the difference in the understanding of Chinese biting characters. The reason why the Chinese biting of Fanxia's "Devil from Heaven" is extremely smooth, and even far exceeds the quality of the biting words of normal Chinese native singers, is because: Fanxia's biting thinking is not Chinese biting, but to imitate Deng Ziqi's biting sense of listening to words, and using English homophony as a means to complete the melodic Chinese listening sense. This has the following detailed differences between the finished form of vocal music and the Chinese bite:
1: English homophony to imitate Chinese, the underlying word logic: English system;
2: Chinese bite to sing Chinese, the underlying bite logic: Chinese system;
The core difference here is that in the eyes of native Chinese singers, the lyrics of the innocent apple will produce the following technical interference when singing vocal music because of being too familiar with the Chinese language environment, the relationship between the two tones, the established educational impression of the four tones of Hanyu Pinyin and countless daily empiricism: in the eyes of the native Chinese singer, each word will have its own pitch relationship of Hanyu Pinyin and the corresponding larynx position and articulation cavity. This causes direct musical interference to the vocal concert.
The specific details of the interference are:
- If (the fourth flat sound, the rebeat of the biting rhythm, the treble, the laryngeal traction),
- None (third tone, biting rhythm tap, laryngeal traction),
- its (third crutch sound, fluctuation of articulation position, laryngeal traction),
- things (fourth accent, treble, laryngeal traction),
- (onomatopoeia leakage opening sound, need to rhyme, laryngeal decline),
- apples (third consecutive crutches, laryngeal traction, articulation point fluctuations);
1: Hanyu Pinyin comes with a set of Pingqian - rhythm strength and weakness relationship. The first and second tones of Hanyu Pinyin are the flat tones of Ping, that is, the weak sounds; The third and fourth tones of Hanyu Pinyin are the 仄 of Ping, that is, the accent. The relationship between the Chinese language and the Chinese language is a kind of artistic aesthetic of contrasting high and low with spoken language as music—classical poetry is used to be recited, and it is read directly. And not singing.
When this kind of relationship is placed in the music, there will be a great problem of the strength of the words. The strength of the music and the strength of the lyrics is determined by the composer, not by the lyricist's design. The relationship between Chinese and the composer is completely independent, and the relationship between strength and weakness is wrongly given to the lyricist. It is often given on some downbeats with a strong articulation, or on some downbeats with posterior nasal sounds, opening sounds, air leaks, and so on.
2: The four-tone tone of Hanyu Pinyin, with a set of pitch system. 1st tone - bass, 2nd tone - midrange, 3rd tone - mid-treble upward crutch, 4th tone - treble down; The four pitches of Hanyu Pinyin are a very big disturbance to the established pitch melody required by the score of the repertoire. In particular, the inflection of the third tone will lead to a large number of tail tones rising, and even a large number of pentatonic incompleteness, all because the four tones of Hanyu Pinyin cause the pitch of a single tone to be fixed, resulting in a dull pitch.
3: There are a lot of post-nasal and compound rhymes in the finals of Hanyu Pinyin, which are very different from the single rhyme required by vocal music. There are three main types of finals in Hanyu Pinyin: monophonic finals, compound finals, and nasal finals. Among them, vocal music only needs one rhyme: monophonic vowels. All the articulations must eventually fall on the single rhyme in order to complete the vocal cord closure better. However, a large number of commonly used words in Hanyu Pinyin are compound rhymes and nasal vowels. This creates a terrifying bite pressure.
In particular, in the vocal cord closure of vocal music, the use of the nasal cavity should present a working situation in which the two do not interfere with each other in the closure of the vocal cords. Vocal cord closure is functional, while nasal voice is cavity use. If the nasal rhyme is to be produced according to the requirements of Hanyu Pinyin, the cavity will be blocked, and better abdominal support and head voice development will not be completed, and the shaping of bass, treble and so on will be greatly limited. Therefore, the articulation of Chinese singers must rhyme in large quantities, which increases the cost.
To sum up: Chinese singers who are native Chinese speakers, when singing Chinese biting words, will be affected by the flat relationship of Chinese pinyin, four-tone tone, and too many nasal vowels must be rhymed, resulting in an increase in learning costs such as rhythmic rhythm, pitch and quasi-vocal range, and silkiness of bite. This is why it is hellish to say that the Chinese bite of Chinese singers is difficult.
Fanxia's Chinese biting does not have all the above troubles, because the essence is the homophonic biting of English monophony
So what will the Chinese lyrics of Deng Ziqi's "The Devil from Heaven" present in the eyes of Fanxia? The answer is: no impact. "Nothing to do with the apple" is translated into the pinyin alphabet from Fanxia's point of view, similar to the English look: Raw(若)-oo (none), tchi (its), shec (thing), de (of), pingguo (apple);
Except for Apple, which is a Chinese pinyin, the other five characters are all monophonic rhymes of phonetic letters, and there is no flat relationship, no pitch system interference, and no rhyme problem. These letters have been made with natural rhyme, and the words are no different from normal English. Let's take the word De as an example, i.e., to know the difference:
1: In the eyes of Chinese singers, the word "的" is a very difficult word to articulate, because in Hanyu Pinyin and daily use, "的" is an open sound more similar to a modal word, or even a multi-tone word with four pronunciations. Then when singing, the practice of bel canto and folk singing is not to sing all the words "of" and rhyme with the "earth" sound. Make sure that the single tone of the vocal cord closure is stable.
2: In the eyes of Fan Xiya, the word "of" is a "E" vowel prefix of the D sound, and the final bite must fall on the "E" sound, and the "E" sound is a very good articulation unit.
So we see that when the sound of "of" is sung in Fanxia, the perfect sense of power and tension and the high-pitched rhythm are a shock that transcends our language habits. No one has ever sung this tune like this. Even Deng Ziqi's original singing of her "of" has a certain ambiguity in rhyme, and the core is not clear and bright. But Van Chia's performance was nothing short of impressive.
Here is the difference, the difficulty of Chinese biting is caused by the general environment of language habits, and the complexity and advanced level of Chinese cause a certain high cost of learning. So in terms of language habits, why is Chinese pop music more suitable for lyrical style? Because the lyrical speed is slower, the space is larger, the reverie is wider, and the power can be subtle. It is more in line with our language habits.
A large part of the power of European and American music is born from the extremely simple colloquial monosyllabics. In terms of biting words, there are very obvious cultural choices: the more difficult the biting words, the more languages that rhyme, the more suitable for lyricism, such as French, Chinese, Spanish; Languages with simpler articulation and fewer rhymes are more suitable for rock, bands, and electronic styles, such as Japanese, English, and Korean.
To sum up, Fanxia's silky Chinese is because of the English translation homophonic biting words and the reason for the high musical talent.