演奏乐器是把已唱会的“内心音乐”提取出来，变成特定的乐器声音，再通过耳朵的辨别、纠正，形成好听的音乐。 因此，唱谱好比安装软件，在演奏时打开软件。如果不唱谱，直接从乐谱到演奏乐器的过程，其实心里是没有音乐的，或者音乐是没有真正深入内心的。 成熟的音乐家之所以不唱谱只是因为音乐早已植根内心，已经形成了乐谱到内心再到乐器的快速反应，但其实内心还是唱谱的。所以，唱谱是学习音乐不可或缺的环节，无论是歌唱、演奏乐器或者舞蹈。 为什么很多孩子不唱谱？ 原因还是在于启蒙老师没有一以贯之地要求唱谱，觉得这是多余的、浪费时间的，或者怕耽误时间。还有就是我们的学校音乐教育，往往只注重听觉，忽视动觉，也没有形成完整地唱谱体系，以致无论五线谱、简谱都看不懂。这是音乐教育之殇。 所以说，正确规范的唱谱不仅能让音乐真正走进内心，掌握音乐基本技能，同时也能更好地理解音乐作品，从而更好的表现作品。 以往缺乏规范，很多学生只唱音不唱节奏、节拍，更不用说其他音乐记号，这样的唱谱是把音符与其他符号割裂开来，把旋律与其他要素割裂开来。 正确的唱谱有以下几点： （1）唱谱同时打节拍 很多学生只唱谱不打拍，造成节拍、节奏混乱，唱谱应跟打拍子同步，一般可用脚或手打拍子。动作应是上下动，即打下去是正拍，弹上来是反拍。每个拍子打成下、上，即分拍。这样有利于学习半拍的概念，使附点、切分、弱起等节奏变得容易。 很多学生之所以总是搞不清楚附点节奏和切分节奏就是因为只打拍点不打反拍。另外，反对一开始就把分拍唱成拍数的做法，这样虽容易搞清分拍数，但容易跟乐曲真正的拍数混淆，同时也不适用于时值较长的音符。所以眼看谱、嘴唱谱、脚打拍、手演奏、耳听奏，这才是真正的开发智力、协调发展。 （2）唱谱要唱节拍数 很多学生唱谱只唱音，不唱拍数，那就很难搞清这个音到底多长。好的做法是超过一拍的音必须唱拍数，如2拍的Do就唱Do 2，三拍就唱Do 2 3，有几拍唱几拍，这样无论时值多长都容易区分，尤其碰到延音线节奏容易搞清拍数。这对附点节奏也适用。例如：前附点节奏1. 1 就可以唱成Do 2Do，加入之前拍子的下上打法，很容易搞清附点节奏。 （3）唱谱要加入乐谱中的各种记号 只是唱音符、唱节奏还不够，音乐中有各型槽模具 一次性止血带 保定水处理设备 一次性止血带 保定空压机 北京真空泵种演奏记号、表情记号、力度记号等，唱谱应尽可能把各种记号唱进去，而不是等会唱音了甚至会演奏了再考虑这些记号。比如跳音就应唱得短些，重音
Playing an instrument is the process of extracting the "inner music" that has already been sung, transforming it into specific instrument sounds, and then identifying and correcting them through the ears to form pleasant music. Therefore, singing music is like installing software and opening it while playing. If you don't sing the score and go directly from the score to playing the instrument, there is actually no music in your heart, or music does not truly penetrate into your heart. The reason why mature musicians do not sing music is only because the music has already been rooted in their hearts and has formed a rapid response from the music score to the instrument, but in fact, the heart still sings music. So, singing scores is an indispensable part of learning music, whether it's singing, playing instruments, or dancing. Why do many children not sing music? The reason is still that the enlightenment teacher did not consistently request singing scores, feeling that it was unnecessary, a waste of time, or afraid of wasting time. Another issue is that our school music education often only focuses on hearing, neglects kinesthetics, and does not form a complete singing system, resulting in difficulty in understanding both the staff and notation. This is the tragedy of music education. So, a correct and standardized singing score not only allows music to truly enter the heart and master basic music skills, but also enables a better understanding of music works, thereby better expressing the works. In the past, there was a lack of standardization, and many students only sang notes without rhythm or beat, let alone other musical symbols. This singing style separated notes from other symbols and melody from other elements. The correct singing score has the following points: (1) Many students only sing without beat, resulting in chaotic beat and rhythm. The singing score should be synchronized with the beat and can generally be beat with their feet or hands. The action should be up and down, that is, hitting down is a forward beat, and bouncing up is a reverse beat. Each beat is played in a down and up pattern, which is called a split beat. This is beneficial for learning the concept of half beat, making it easier to add dots, syncopate, and weak rising rhythms. The reason why many students are always confused about the punctuation rhythm and the syncopation rhythm is because they only hit the beat points and not the reverse beat. In addition, it is opposed to the practice of singing split beats into beats at the beginning. Although this can easily clarify the split beats, it is easy to confuse with the true beat count of the music and is not suitable for notes with longer duration. So seeing music scores, singing music scores with your mouth, tapping with your feet, playing with your hands, and listening to your ears are the true ways to develop intelligence and coordinate development. (2) Singing a score requires a number of beats. Many students only sing the note without the number of beats, which makes it difficult to figure out how long the note is. A good practice is to sing more than one beat, such as Do 2 for 2 beats and Do 2 3 for 3 beats. It is easy to distinguish between several beats no matter how long the duration is, especially when encountering a continuous line rhythm, which makes it easy to understand the beat count. This also applies to punctuation rhythm. For example, if the front dot rhythm is 1. 1, it can be sung as Do 2Do. By adding the down and up play of the previous beat, it is easy to understand the dot rhythm. (3) Singing notes and rhythms are not enough to include various marks in the music score. There are various performance marks, emoticons, and intensity marks in the music. Singing scores should try to incorporate various marks as much as possible, rather than considering these marks after being able to sing or even play. For example, the jump note should be sung shorter and emphasized