1 A Question About “Existence” At the end of the previous article on Buddhism (see article: Systematic Overview of Buddhist Theory (Part 2): The Tree of Awakening—The Developmental Trajectory of Buddhist Theory: Dependent Origination, The Five Aggregates, and Karma), following the context of Buddhism's “Tree of Cognition,” we arrived at a deeper question: Observing…

1 Starting from the Black and White Keys: The Smallest Structural Unit of the Music System In the previous article (see: Awakening of Voice · Foundation (I): Pitch Structure and Auditory Stability), I mentioned an important fact: the fifth relationship describes the auditory closeness between pitches. For example, C and ...

1 Before Talking About Bass, Mid, and High I believe many music lovers have seriously thought about such a question: does their voice count as bass, mid, or high. This question does not seem complicated, and it even seems that an answer can be obtained through a simple vocal range test: how high can you sing...

1 From Pitch Names to Syllable Names: Why Singing Needs Another Perspective In the previous article (see: Awakening of Voice · Foundation (I): Pitch Structure and Auditory Stability), I have already introduced a basic fact of the modern vocal system: sound does not exist randomly. Starting from the overtone structure, a certain...

1 Why did I write this article? The purpose of writing this article is not to create a vocal tutorial, nor is it a complete overview of music theory. It is more like a record of my own reflections—attempting to answer a simple yet complex question: What on earth am I listening to? And why do these voices affect me in this way...

1 Why do we think a song sounds good? Sometimes I repeatedly think about a very simple question: Why does a song make people feel it “sounds good”? This “sounding good” is very mysterious—it is not as clear as music theory, nor does it have standards like techniques; you cannot measure a melody like you measure CPU performance...

1 When we get used to “the original singer is the standard” but forget whose voice ours is: When most people start singing, there is actually an “invisible standard” by default in their minds—whatever key the original singer sings in, we should also sing in that key. It seems that only by completely following the original singer can we be recognized...

1 Preface: With my recent initial achievement of the goal of “larynx position freedom,” I have been reflecting on the detours I took over the past two years of studying “singing”—it is no exaggeration to say it was a winding mountain road. The fundamental reason for taking so many detours was that right from the start, I was misled by various online “vocal teachers”" teaching...

1 Entering ‘high placement’: A deified concept of high notes. Speaking of “high placement,” I believe many friends who learn singing and have watched countless instructional videos must be familiar with it. Searching on Bilibili, the three words “high placement” bring up a screen full of tutorials, with titles like “Unlock the secret of high notes,” “Sing high notes easily"...

1 Preface: In the process of seriously studying singing over the past two years, I encountered a very thorny problem: my ears' ability to distinguish could not keep up with my body's vocal ability. When professional vocalists listen to an original recording, they can often immediately judge how high that high note actually is, or whether that low note really sinks that low; but for someone like me...