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Ep 33 How to Sing Mix Part 1

How to sing mix, or how to sing with a mixis a very common question. Inside this tutorial, I'll define and demonstrate mix. Warning:normally I try to avoid this, but in this tutorial I get a little 'geeky' about singing.(Vocal geek) Hi, I'm Chuck Gilmore with Power To Sing. How to sing in a mix. Well, whatis a mixé A mix is a mixture or blend of at least two things. When singing, you're ina mix if you have a mixture of chest voice and head voice. Ahahah. If you sing onlywith chest voice, you have no mix. Ahhhh. If you start in chest and sing higher andbreak or flip into falsetto, you have no mix. Ahahah.because you've lost the connectionto your chest voice. If, when singing, you

bring falsetto down into the area of the chestvoice that is supposed to be chest, there is no mix. It's only falsetto. Ahahah. Amix can only exist if the vocal cords remain connected. If your vocal cords break intofalsetto and you do not reconnect, you have no mix. It's only falsetto. Ahahah. Mixis made with connected vocal cords and a blend of chest resonance and head resonance. Now,where is mix in the voiceé There are several schools of thought about when and where you'rein mix. Some define mix as only occurring in the vocal bridges, passaggi. When singingin chest voice, as you sing higher, and while keeping the vocal cords together, the resonancebegins to move higher from your chest into

your head cavities. The resonance splits sothere's a mixture, or a mix of both chest and head resonance. This split occurs in thebridge or passaggi. After getting through the first bridge the singer encounters a secondbridge and then a third bridge. For women, there are even more bridges. With each bridge,there is a blend of overtones from the register below and the register above. Lower overtonesdamping, or dropping out and higher overtones coming in. As a result of this process, manybelieve that mix is only occurring in the actual bridges. Some believe if the vocalcords remain connected while the resonance has split into both chest and head cavitiesthat mix is always present, both in and in

between the bridges. In other words, everythingis mix. At this point in my singing and teaching, I think it's a combination of these two. Pavarottiis reported to have said that singing was like a repeating figure 8. Seth Riggs concluded,and I believe like Seth, that Pavarotti was describing the repeated narrowing into thebridge and the opening into the new register and so on upward. In my opinion, if the vocalcords remain connected, there's always some chest residue, even if it's very slight. Soeven in the highest head voice, if the cords have remained connected, that seems like mixto me, even if it's 100 to 1, it's still a mix. At a certain point, if the cords remainconnected, does it really matter if we say

it's mix or connected super head voiceé Theproblem is, what happens to mix when you sing down below the first bridge into chesté Well,you could definitely bring mix down into the chest register. So, I understand how thatcan be mix, but in most voices, you can only do that so long before the chest voice takesover. How, then, can that be a mixé A third concept that has helpful for me, is 'maintainingthe verticalquot;.(Vocal Geek) This is mentioned in the book, quot;The Voice of the Mind', by E.HerbertCaesari. Imagine a vertical sound beam started by the vocal cords and shootingupward into the mouth. In head voice, this resonating sound beam, if it maintains thevertical direction, will angle slightly backward

and penetrate into the head cavities abovethe mouth. Ahhh. Ahahah. In chest, there is still a vertical sound beam, but it beginsto angle slightly forward and engage the hard palette. In my opinion, to lose the verticalwhile in chest voice, is to grab the vocal cord, squeeze and close the throat and jamthe sound beam down into the throat. Ahahah.Ahhh. The tone can barely escape and has no roundness,no fullness and no appeal. To me, this is not mix. Maintaining the vertical, even ifcompletely in the lower chest voice, creates an upward lift in the tone. The sound beamresonates on the hard palette appropriately. This seems to recruit more than just chestvoice by adding a rounder, fuller tone, as

How to Sing Vowels Medial Ah

Remember that knowledge of vowels is essentialto good overall singing because, when we sing we are in fact, singing vowels. We are not actually singing words per se because, it is impossible to sing whole words at the same time.

Rather, we break the words up intosmaller pieces call phonies, which were either vowels or consonants, and because consonants cannot actuallybe sung but rather are articulated, we are then left with vowel sounds and if we are not aware of what to sing when we are singing it, the act of singingbecomes a guessing game. What comes of out of our mouths is bychance right or wrong,

and all too often cannot be easily repeated when it isright, also style itself within the act of singingis also very dependent on vowel sound production. The contras act of shaping vowelsdifferently than what they were originally intendedmakes what we are singing unique, especially when it is repeatable. But again,

all of these things require aknowledge of what we are singing when we are singing it so let's begin to look at our next setof vowels. Within our system of english vowels, two out ofthe fourteen vowels are known as medial vowels. In other words, they are caught in between a pair ofclosely related vowels. Medial quot;Ahquot; is one of these two mid vowels,

and is the reason behind many regionalaccents within the United States, as well as accents heard in nonamericanborn Englishspeaking people. This vowel is found in words such asquot;Can'tquot; quot;Faster,quot; quot;Dancing,quot; quot;Hammer,quot; and quot;Band.quot; Within American regionalisms,

we hear the sound distorted so much andso often that it has become the driving force behind certainaccents. In the south, we may hear people say quot;I can't stand it.quot; which is part of the whole southern drawl. In areas in the mid eastern sectionsof the United States such as New Jersey,

Acting Tips How to Move to New York City to Become an Actor

Hello, my name is Athena Reich and I'm anactress and acting coach here in New York City. In this clip I'm going to talk abouthow to move to New York City and become an actor. Well first of all I suggest you stayin your hometown long enough to save up a few thousand dollars because to rent an apartmentyou have to usually do first month's rent, last month's rent and then a broker's feewhich could be more than a month's worth of rent. So you got to save up some money I wouldreally suggest. Come to New York and find a day job. Find something to support yourself.So what are your skillsé Do you babysité Are you, do you have office skillsé Are you ateacheré I would suggest you think ahead of

time on how you're going to support yourselfbecause the chances of you coming to New York and in a week finding a Broadway job are extremely,extremely slim no matter how talented you are, its just that competitive. So I wouldsay make sure that you're finances are in order and then once you come here, start auditioningthrough backstage and get your support job and you are ready to make it to the bigtime. This has been Athena Reich in New York City.

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