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
Jaco Pastorius Style Groove Breakdown Lesson with Scott Devine
Hey, how are you doingé Scott here from Scottsbasslessons .Hope you're well. If you haven't been to the website yet,make sure you do so straight after this lesson, because there are literallyhours and hours of tutorial lessons completely for free for you to checkout. If you subscribe to the news letter, you also get sent special contentthat is kept for my subscribers and isn't on YouTube. In today's lesson, I'm going to be talkingabout and deconstructing a 16th note groove that's similar to what you'llhear Jaco Pastorius used to play.
When I was a kid, or around 18 or 19 and firststarted playing bass, I remember the first time I heard Jaco Pastorius,and it literally blew me away. It was the 16th note groove that I hadnever heard before. Up until that point, I'd heard people play bass likethis kind of thing. Then, I heard him and it was that kind of thing. There's a trick to it,and I'm going to talk about that today. But, first of all, let's deconstruct thisriff that I'm working on, and I'll take you through it bit by bit so youcan play it and get it into your
own playing. So, it's over an Fdominant chord.The notes of the Fdominant chord are F, A, C, E flat, and F. But, rememberthese notes are all over the fret board. That's what we're going touse to build this what I've used to build this groove from. The groovein its full speed is. Once more. It's mainly constructed from the notesof the Fdominant seven chord, which are F, A, C, E flat, and F. Now, let me take you through it really slowly.It starts on an F. That's like the first phrase. When you're learningthings like this riff, it's
really important to break the phrases intosmall, bitesize sections. Then, you have a chance to learn it and get yourfingers around what you're trying to play. Then, you just add it bitby bit. The picture gets bigger and bigger as you go. So, the first bit again.That's F. This is interesting. Sliding into the major third,then fifth. This note here is the thirteenth. This D here, of the F Mixolydianscale. That F Mixolydian scale is just basically the scale that fitsover any dominant chord. So, here we go. Now, when it hits this F,here, it starts again. Then I go
up here. So, the first section. Second section.So, that's F, sliding into the major third from the minor, A flat toA, C, D, C, then right up there to the F. Now, when you hit this F, that'sthe start of the next phrase. And, this is a little bit tricky this phrase,so keep an eye out. Here we go. Now, remember, here's the Fdominant 7,here. So, we're going root, root, flat 7, thirteenth, then I'm stretchingwith my little finger down to the sharp 5, and sliding to the fifth. Then,I'm hitting the fourth or the eleventh, which is the B flat. B flat, G,then I'm stretching over here to
the A flat, then sliding into the major thirdof the F. So, in its entirety, this is what it soundslike. Slower. Just loop it around like that. Once more. So, right upuntil that point, we've got. Then, I kind of go. down from the F, tothe E, to the E flat, which is the flat 7 of the Fdominant 7 chord. And again. Actually, that bit there, I'm nothitting the E. I'm just going from the F straight to the E flat. I'm nothitting that E. So once more. I did kind of pull off there but it's just apassive note, that E flat.
Donna Lee Bass Lesson with Scott Devine L75
Hey guys, how's it goingé Scott Devine herefrom scottsbasslessons . If you haven't checked out scottsbasslessons yet, there's a link below this tutorial that you can go to, and there youwill find nearly 100, if not over 100 now, I'm not sure, HD tutorial lessonsranging from beginner to intermediate, right through to advanced 'turnyour brain into pumpkin juice,' because it was Halloween a few daysago. Today I'm going to be talking about how to use study pieces withinyour practice time to really get your technique together, and get yourtiming together as well. We're
going to talk about that at the end of thislesson. But first of all, what is a study pieceé Well,a study piece is something that's used in classical music. It's whatmusicians use within the classical, what would you call it, the classicalarena, we'll call it. They use it for building their technique. It'ssomething that they'll study over an extended period of time, and a lot of thetime these pieces have been written for a particular technique. For instance,something like a tremolo, or string skipping thing. Whatever it maybe. A lot of the time, the actual
piece is written for a particular technicalexercise. What's unfortunate for us is in the world of bassdom, that doesn'treally exist. There's no study pieces. And that's probably becausethe world of bassdom really has only been around 5060 years, or somethinglike that. So, we haven't caught up yet. I'm sure in another 50 years, we'llhave lots of study pieces. Hopefully we will. Maybe I should write some. Anyway, what I like to get my students touse as study pieces are jazz standard heads, or bop heads. Bebop heads,or bebop tunes. If you hear
the word 'head' sometimes, if somebody says,'Oh, let's play the head', it just means, 'Let's play the tune.' So I reallylike to use bebop tunes for my students to study. And it's good becauseyou kind of have to get over the entire fingerboard to play these things.And normally they're quite fast, and it's hard playing something thatwasn't originally written for bass or guitar on a bass and guitar. Normallybebop heads are written for trumpet, or saxophone, or whatever, somethinglike that. The head, or the tune that we will be workingon today is a tune called
Donna Lee. Now, this is written by CharlieParker, the famous alto saxophone player, but it was made famous forbass players because the bass player Jaco Pastorius, who if you haven'theard of, after this tutorial, after you've checked out my website, Scott's BassLessons, go check out Jaco Pastorius. Because on his first solo album,he played Donna Lee, and it was frightening. Everybody was blown away, andit has gone down in history as sort of like a seminal piece that he played.So, check that out after this tutorial.
So, when you're looking for a study piece,and hopefully you'll use this one, because it's a great one, Donna Lee.First of all I should mention that the notation and the tablature are availableon my website, and that means all the specific fingering I use, allthat kind of thing, the tab and the notation are available on the website.So, Donna Lee. What does it sound likeé Well, this is what it sounds like.I'll play it to speed, and then I'm going to break it down, and thenI'm going to tell you why I'm breaking it down. Okay, so this is it up tospeed. One, two, one two three