Cheng Xiaolou had a good original sound and resonance when he was a teenager, and he laid a solid foundation under the training of his grandfather since he was a child.

He once studied the old students of the Yu School, and even almost worked on this school, but after his careful study, he found that although the voice characteristics and pronunciation skills of the old students of the Yu School have extremely obvious advantages, they also have fatal flaws.

For example, the survival period is relatively short, and the stability of the state is relatively poor.

Maybe the control of the voice at home today will be very good, if you don't play at home, the effect will not work, Mr. Yu himself, including his students, is like this, after the age of 40, the voice is gone.

Winter Emperor Meng Xiaodong is an exception, because she is Kunsheng, and she will no longer be on stage after apprenticeship, so her voice has always remained intact.

Cheng Xiaolou had just fallen from the altar of illness and suffered a huge blow in the year when he smoked and drank all day long, and gave up on himself. As a result, his voice has deteriorated, and he can no longer sing as before.

He may almost quit the pear orchard industry completely from now on, and even if he continues to engage in this industry, he will at most be a teacher.

But when he woke up from that state of self-abandonment, not only did he not flinch, but instead visited famous teachers to humbly seek advice, and re-found the vocal part, and his voice was actually found by him again.

And it goes one step further in voice control, reaching an outrageous level of refinement.

As the saying goes, if you lose your horse, you won't know if you're blessed, and that's it.

If it weren't for the self-abandonment and false throat that year, maybe Cheng Xiaolou's attainments in Peking Opera would have maintained his previous peak state for the rest of his life, and it would have been absolutely impossible to reach the realm of switching at will today.

It's just that the original resonance part is gone, and the advantage of voice control that I used to have is gone.

Cheng Xiaolou's earliest contact with the old student singing voice was the Yu faction, and he himself liked the Yu faction very much.

It can be said that in addition to his grandfather, his first real master of the old drama is one of the contemporary inheritors of the Yu School.

Therefore, Cheng Xiaolou's early old-school opera singing melody basically followed the cavity of the Yu School, only making corresponding changes in some syllables, and at the same time incorporating some of his own understanding and perception of the whole play.

It's just that in the later stage, according to the change of his voice, he will make relative adjustments to the rhythm, out of respect for the first old student drama teacher and the art of the Yu School, Cheng Xiaolou basically sings according to the melody and pattern of the Yu School when performing traditional old student plays.

Because when he was young, in Cheng Xiaolou's heart, the art of the Yu School was supreme, and many times he was willing to sacrifice some of his self in order to obey the Yu School's singing.

It is no exaggeration to say that although his current old drama has faintly become a school of its own, its muscles and bones are still dominated by the Yu faction.

Compared with the graceful and pretty singing of the Ma School, the majestic and hearty singing of the Tan School, the pathos and euphemism of the Xi School, and the Yu Yang Singing of the Yang School, Cheng Xiaolou's old singing voice is based on the Yu School, and the strength of the Bo family integrates his own understanding and perception of life and the art of Peking Opera, and gradually forms a peaceful, natural, regular and generous singing voice.

Although Cheng Xiaolou's singing melody is not as distinct and prominent as the four major mustaches, it is perfect in terms of expressiveness and hearing, and even uses the realm of "moving a note is not appropriate, and changing a beat is unstable".

Later, as Cheng Xiaolou grew older, his understanding of Peking Opera and life deepened, and after visiting many folk Peking Opera masters for advice, his singing melody was no longer just based on the Yu School.

Not only did he borrow a lot of the cavities of other genres from some of the newly written old dramas, but even when he sang many traditional old operas, he also absorbed a lot of the cavities of the Ma School and the Tan School.

For example, Cheng Xiaolou has one of the best performances of "Will Be Harmonious", and the melody characteristics of the horse school can be clearly heard in the flow of water in the middle of the customs.

Especially in the later stage, as his personal style of old dramas gradually took shape, the singing voice went closer to the direction of the Ma School and the Tan School, not only the new plays, but also the melody of the old dramas in many places.

For example, "Broken Arm Storytelling" borrows from many Ma school singing, especially in Mu Guiying's original version of Xipi and flowing water, which greatly integrates Tan and Ma schools respectively, at first glance, it seems that there is no connection with the two major schools, and under a closer look, you will find the obvious imprint of the two masters of Tan and Ma.

However, the kung fu of walking and moving is Cheng Xiaolou's own style, and there is basically no conflict between the two, which is also a manifestation of his own style after integrating many strengths.

Of course.

The fusion of singing voices requires physical and chemical reactions, and it is certainly not perfect in the beginning.

When Cheng Xiaolou was forming his own style, there were also many problems in some of the repertoire where he used Ma Pai singing, and he was even teased by some peers that he was not like the four, which made him confused and hesitant for a long time.

For example, he was singing the play "Wang Zuo's Broken Arm" during that time, and the three voiced words of "thirsty and snowy" in the second paragraph of Erhuang Yuanban's "hungry felt, thirsty for snow" should be sung, so that the melody will sound plain and natural, and it is more in line with the meaning of the plot.

At that time, Cheng Xiaolou also used a horse cavity in the drag cavity of the loose plate before the broken arm in this play, and the traces were obvious and very unsmooth, and the recovery of the loose plate after the broken arm was very harmonious.

Another example is "Borrowing the East Wind" Erhuang Dao, Touch, Yuan, this singing segment is a representative work of the Ma School, and it has been sung for a long time, although the melody is beautiful and the tone is sleek, but the unreasonable design of the inverted voice and the singing voice abounds, Cheng Xiaolou often sang this play at that time, at that time he boldly tried to modify some of the hard injuries, which also attracted the dissatisfaction and criticism of some of the inheritors of the Ma School.

Cheng Xiaolou has been able to get to this point and gradually form his own style of old-fashioned opera, which is a full 30 years of ups and downs and grinding of the pear orchard.

Success is never casual.

When he was a teenager, he was known as the double best of life, which was the ancestor to enjoy the meal, and there were more than half of the ingredients.

And now Cheng Xiaolou, who is born and depicted, is well deserved in the true sense!

That's all he sang with his voice!