Classical Singing Classes London

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

LSO Master Class Cello

Gilliver:Hello, and welcome to the YouTubeSymphony Orchestra masterclass for the cello. My name's Rebecca Gilliver,and I play principal cello in the London SymphonyOrchestra. We're going to startwith quot;William Tell,quot; appropriately enough, because it does usuallystart a concert,

which is certainlya rather scary moment for any principal cello. You start completely alone, and the first two bars,it's just you, but relax,'cause on the third bar, there's a lovely choirof your colleagues as all the other celloscome in and playa beautiful harmony with you.

So althoughin an audition situation, you feel incredibly lonelyon those top Bs, you just need to thinkof the harmony that's gonna becoming in behind you when you're actuallyplaying it in concert, and that'll inspire youand give you courage. So I'll just playthe beginning all by myself. Rossini'squot;William Tell Overturequot;

Now, because we haven'tgot much time, I'm not gonna playall through those Bs, but in an audition situation,you must, and you must make sure they'reexactly the right length and a beautiful soundall the way through. So, skippingto the third entry of the first cello, there'sa lovely moment here,

because the third celloplays this line. playing music and then you get tocome in. playing music and that's whereeverybody else comes in. Now, these three GSharpskeep coming back. They come back four times. playing music

Now, those Gsharpscome back four times, and each time,there's a different harmony in the other cellos,so you must choose a color that fits the harmonythey're doing. The first time,it's just a beautiful. playing music E major. The second one,and it's a bit different.

Singing Lessons Online Singing Lessons And Tips To Improve Today

Hi. Aaron Anastasi here from Superior SingingMethod and I want to talk about singing lessons. First of all, I want to just give you a littleoutline of what I'm going to give you in this tutorial and you can decide if you want to watchit or not. I'm going to talk a little bit about singing lessons. You need singing lessons and all that stuff.I'm actually going to give you a little singing lesson, a little mini singing lesson but it'sgoing to be a good contentpacked singing lesson. Talk a little bit about warmups andthe benefit of that and give you a really good warmup. Then I'm going to talk aboutthe pharyngeal resonator and the pharyngeal

resonator, the good thing about this, it soundsweird and whatever, but it could really help you with your mixed voice. Your mixed voiceis a blend of your head and chest and really helps you with your high notes and we willtalk more about that. So that's and then I'm going to give you areally good exercise on the pharyngeal resonator and the high notes and that's going to really,really help you out a lot. Then I'm going to tell you a little bit about how you canget more good content, even more free content from me. That's it. So I will spend this timejust telling you what I'm about to tell you. Singing lessons, singing lessons, singinglessons.

First of all, what are singing lessonsé Youknow what singing lessons are. Are they beneficialé Well of course. I wouldn't be here. You wouldn'tbe here. Singing lessons I think are really beneficial to help you continue to get betteras a singer and learn things you don't know and learn new exercises to get your voicewhere it really needs to be. Let's talk about warmups. Warmups are somethingthat I think you need to do. You just need to do warmup exercises. Now there's a differencebetween warmup exercises and strengthening exercises. If you just stick with warmupexercises all the time, like the real simple warmup exercises, you will never be ableto get your voice where you want to be with

the high notes and all the stuff that youwanted, the expanded range and all that stuff. I mean to break out and do more strengtheningexercises, which I'm going to give you this that's part of what I'm going to give youtoday. I'm going to give you a great warmup exercise. I'm going to give you a great theother exercise will be more of a strengthening type exercise that will get you to the highnotes. It will help you with your mixed voice. It will help blend your registers togetherso you don't have the cracks and the breaks in your voice. So a really good vocal warmup exercise isjust simply hums. The best like starting out

in the morning kind of vocal exercise besidesjust like vocalizes, just the straight up like the vocal fry. The vocal fry is reallygood right in the morning. My vocal fry is like really big in the morning and reallyloud in the morning but even the next step from that would be hum. So closed mouth always for the first exercise.I recommend doing a closed mouth exercise. So this one is like hums. You're going tojust go hums. You can like keep raising the note and go a little higher, a littlehigher. This is just kind of vocal warmups just to kind of get your voice ready. It'sjust like warming up a car on a cold day.

It's just like just to get it ready for morekind of strenuous activity. What elseé So that's vocal warmups. Whatare we doingé Singing lessons. What do you want to hearé Singing lessons againé The next thing is the pharyngeal resonator.If you're familiar with the pharyngeal resonator, it's pharyngeal because it comes from thepharynx. Your pharynx is actually it's a whole resonator in the back of your throat. Yeah.Like straight back in your mouth, it's your oral pharynx and then up a little higher isour nasal pharynx but that whole area there vocalizes, that's kind of how the soundof the sound kind of resonating in that area

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