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
Sight Singing Techniques How to Sight Sing Using Solfege
Hi, my name is Ashley on behalf of ExpertVillage and I'm going to talk to you today about sight singing. Using solfege when singingvarious intervals this is when it is a good idea to use solfege. Also when singing solfegeyou are actually replacing a letter name with the solfege. C with Do, D with Re, E Mi, FFa, G Sol, A La and B Ti, the first note of a major scale in this case the C scale isthe tonic. You will sing Do instead of C of the purpose of using solfege as a sight singingtechnique. Then instead of singing the next note D we will replace it with Re, up thescale now singing the solfege to syllables instead of the actual note names. C D E GH A B C, now I'm going to replace the actual
note names with the solfege syllables, DoRe Fa Sol La Ti Do. The reason to sing with syllables instead of the notes is to singcorrect intervals while reading in any key and not just in the key of C.
Ham with Jam ABCmouse Beginning Reader Series
quot;Ham with Jaméquot; from the ABCmouse Beginning Readers Series Pam is a girl. Pam likes jam. Sam is a boy. Sam likes ham. One day Pam said to Sam, quot;Will you eat some of my jaméquot; Sam said he would not eat jam!
Pam said she would not eat ham! quot;I have a plan,quot; Pam said to Sam. quot;Maybe jam tastes good on ham!quot; Pam took out her jar of jam. She put some on a piece of ham. quot;This is good,quot; Pam said to Sam. quot;Try a piece of ham with jam.quot;
Sam put jam on top of ham. Then he ate his piece of ham. Sam told Pam, quot;Now I like jam!quot; And Pam told Sam, quot;Now I like ham!quot; The End.