In the past, although the famous Xusheng artists had worked all kinds of Peking Opera, they were limited by their own conditions, and many people had their own different shortcomings, even the founders of the four major Xusheng were no exception.

For example, Mr. Ma Lianliang, the founder of Ma Pai, is good at flowing water and slippery on loose boards, Mr. Tan Xinpei is good at Allegro and is afraid of anti-Erhuang, Mr. Yang Baosen of Yang Pai is good at Xipi Erhuang Jujia but stays in anti-Xipi, and Mr. Xi Xiaobo is slow and supreme and tired of Allegro.

The Four Great Susheng refer to four famous Peking Opera veteran performance artists. In the history of Peking Opera, there is a saying that the first four major susheng and the last four susheng are said.

In the twenties and thirties of the 20th century, Peking Opera veteran actors Yu Shuyan, Yan Jupeng, Gao Qingkui, and Ma Lianliang each founded a unique style of art, known as the "Four Great Susheng".

In the late 30s of the 20th century, Mr. Gao Qingkui gradually withdrew from the stage due to a voice disease, and Mr. Tan Fuying rose to replace Mr. Gao. Mr. Yu Shuyan and Mr. Yan Jupeng both died in the 40s of the 20th century, Mr. Yang Baosen and Mr. Xi Xiaobo were more and more famous at that time, and had a great influence among professionals and ticket holders, so they gradually replaced Mr. Yu and Mr. Yan, and the reference to the "Four Great Beards" changed immediately, and the titles of "Ma, Tan, Yang, and Xi" became widely popular among the people.

The next four major students are Ma Lianliang, Tan Fuying, Yang Baosen, and Xi Xiaobo, in order to distinguish them from the four major students of Yu, Yan, Gao, and Ma, and are known as the "last four students".

Among the top four students and the last four students, Ma Lianliang is on the list, so there are actually only seven famous Peking Opera masters who are listed among the four major students.

Cheng Xiaolou has been talented since he was a child, and his grandfather rewarded him with a golden job.

There are no obstacles for him in the various tones of Peking Opera veterans, whether it is Xipi Erhuang or anti-Xipi Erhuang, there is no weakness, the original board, adagio, three-eyed, loose board, rocking board, allegro, etc. can be sung with full energy, clean and refreshing.

The so-called cavity technique refers to the processing method of the singing cavity and the grasp of the momentum, size and rhythm of singing, and the full use of these skills to wrap the whole sentence of the singing cavity when the cavity is spoken, so as to ensure the integrity and unity of the whole singing cavity, and achieve the effect of full bow of the round cavity.

Cheng Xiaolou originally learned from the Yu faction how to use the strength to move the tone, coupled with his long breath and extraordinary resonance, forming a similar but different technique from him and the Yu faction.

Mr. Yu Shuyan's first initiative is different from the straight strength of the Tan School, which is a kind of elastic lifting strength, although it is not as strong and straightforward as the old Tan, but it is more flexible, and the cavity is connected everywhere and interlocking, like flowing water.

Even today, Cheng Xiaolou is very fond of Yu Pai's cavity technique, and he always likes to use this technique when singing old dramas.

Mr. Yu Shuyan has a relatively short breath, so he often uses his strength when singing, stacking inch by inch, lifting his cavity just like the waves in the water, and the sense of hearing is just vigorous, elastic and tense, and it looks full of momentum.

Cheng Xiaolou is different, because his breath is long, and his strength is smoother than that of Mr. Yu Shuyan, the founder of the Yu School, so when he uses this cavity technique, the cavity seems to be smoother and more relaxed.

Although the breath is long enough, his handling method is exactly the same as that of Yu Pai, using layers of wavy cavities, and the sound processing of the tail cavity is completely in accordance with Yu Pai's method, clean and neat, without dragging, all the implicit strength is used, and the radio is peaceful, neither jumping nor pulling.

It's just that compared with Mr. Yu Shuyan, the founder of the skill of lifting the spirit, Cheng Xiaolou's strength is much weaker, and the kind of strength and tension are not a little bit worse.

However, in the later period, Cheng Xiaolou slowly figured out the skills that were very suitable for him and had very distinctive characteristics on the basis of the Yu School's skill of lifting and sliding, which he developed on the accumulation of the Yu School and his own creation.

Cheng Xiaolou's own pondering of this unique cavity technique, the strength is different from the lifting of the slip is that it has the strength of Qu Xuan, the strength of the rotation is greater, the endurance is stronger, and the breath can be used repeatedly without a sense of exhaustion, similar to the spiral winding strength of Taijiquan, of course, although the plane elasticity of this spinning strength is much greater than that of lifting, but the flexibility up and down is not as good as the lifting strength of the Yu faction.

The flexibility of the upper and lower levels was insufficient, and Cheng Xiaolou worked hard to study the skills of each faction, and finally came up with a way to lift the cavity.

Of course, his method still borrowed from Yu Pai's strength.

The method that Cheng Xiaolou came up with is to use the spiral winding strength similar to Taijiquan to move the cavity, and then use the Yu Pai to lift the strength to close the cavity, and the two energies are mixed, which can make the whole singing cavity not only have no edges and corners, but also look more elegant and timeless, which is both comfortable and enjoyable to listen to, and has a sense of lingering sound.

Especially when used in tragic hero dramas, it is particularly shocking.

For example, the original plate of "Lost Street Pavilion" is so difficult to say "Don't want to be free", but Cheng Xiaolou is still free without the slightest hindrance.

The two yellows and three eyes in "The Law Field Changer" "hate Xue Gang's little minion", Cheng Xiaolou's use of tone can be called exquisite, and the strength and rhythm are so skillful and exquisite that others can't learn it at all.

In the play "Sitting in the Palace", when the word "no" is "not miserable", singing the water bubble sound and even the small sound is simply wonderful, and when singing the sentence "lost and scattered" in Xipi Three Eyes, Cheng Xiaolou even gave full play to his self-created cavity skills, during which the small cavity skills of the sudden sound were simply amazing.

Cheng Xiaolou pays great attention to the rational use of small cavity skills such as slushing, portamento, and legato when playing the tone, whether it is a long sound, a small sound, a hard sound or a combination of portamento and legato are extremely exquisite, in the play "Drumming and Scolding Cao", when he sang the word "put" in the sentence "I have the heart to sweep the thief for the master", the long tone does not need to play the chin at all, and he sings very clearly and naturally just with a lifting energy.

How.

Cheng Xiaolou's ingenious and different cavity skills from various factions took seven or eight years to polish and take shape.

However.

This kind of creation is enough to shake the entire pear orchard world, but it can only be performed in some remote areas of the grass stage team, and it has not even been displayed on the stage once.

With the development of the times, Peking Opera declined, and he fell into a dead end in frustration.

Maybe until he dies, no one knows that there is such a master in the world as Cheng Xiaolou, who has already achieved great success!