Allans Music Guitar Lessons

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

Secret techniques to play like Allan Holdsworth

What's up é Back again with anothertutorial here. Uhm, today I'm gonna be talking about one of my favorite players, Allan Holdsworthand what goes through my head when I try to emulate his style. So, let's get to it realquick. Uhm, I decided to divide the lesson into three parts within the same tutorial. So,I'm gonna be talking about scales and the different scales I like to use when I tryto emulate his stuff. Uhm, the uh second part is basically tension building concepts. Soit's not really scales but I like to use it for like tension building.building up toa resolve. And, then, the last aspect of the tutorial I wanna talk about is the actual phrasing.Uhm, so yeah, let's get to it real quick.

Alright, let's get started with the firstsection of the tutorial. And these are the scales. These are the ones I like to use. Uhm, gotthe major scale with all the different modes. You got the melodic minor scale with all it'sdifferent modes. You got the diminished scale with the uhm, different variants of it. Basicallythe whole half and the half whole diminished. And lastly the three note per string pentatonics.If you check out Allan's instructional tutorial you'll see that he talks about other scaleslike the uhm, harmonic major, there's also the augmented scale. There's a couple morepretty cool scales that'll help you out with his work but uh these are the ones I liketo work with. Alright, now to the second part

of the tutorial. I'm gonna be talking about howto actually use these scales. So, when I play the actual major scale and it's modes or themelodic minor scale and it's modes I do not go up and down the scale. Let's take C melodicminor, for example I dont go. I tend to use different permutations when I go up anddown. So, it would be more of a. All I'm doing is just mixing and matching the differentpossibilities within those three notes. So, here you have. and you could also get. or.

or. or. or. So, I've been practicing those different permutations for a while nowand they tend to come up naturally so I don't have to force em' that much. But it helpsa lot with the actual phrasing of what Allan likes to do. Next thing I wanna talk aboutis the actual three note per string pentatonics. So, instead of just playing the normal.

pattern. Uhm, I might go. And sometimes I even avoid the middle note. So it is three note per string pentatonicbut I just play two of the notes so might go. And that kind of thing. Ok, so the nextsection of the tutorial is the tension building concepts. So, first of all I've got chromaticinterval lines. Or what I like to call chromatic interval lines. Uhm, I'll give you a littlepreview in a second but it's just playing different intervals and going up and downthem chromatically. And then this second one is just inserting chromatic passing tonesbetween the actual scales like I do in my

spicing up the pentatonics tutorials. Ok, soas far as the actual tension building concepts go. Uhm, let me show you what I mean by takingdifferent intervals and going up and down them chromatically. Which I'm pretty sureI did at least once in the improv section so you can check it out. Uhm, this is justfourths, so. And then, another fourth in the next string. And what I do is I go upor down whichever way, chromatically. So it would be. But making sure to resolve onan actual note that works within the progression.

Right and Left Hand Positioning for Bass Guitar Lesson with Scott Devine L59

Right Left Hand Position on Bass by ScottsBassLessons .

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