Classical Singing Lessons Southampton

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 Learn Precision Guitar Techniques How to Play Blues Guitar 16 Strokes Down

RICK TOBEY: Hello. I'm Rick Tobey and on behalfof Expert Village, I'm going to teach some blues guitar techniques. Now, we're goingto pick up where we left off with the tremolo exercise. We're going to go down the guitar,all the way back to the 1st fret of the 1st string. I'm only going to go halfway on thisone, and I'll let you practice this on your own. I just want to emphasize the importanceof the positions of your fingers. You'll notice that they're kind of arched a little bit soeven with your little finger close to the fret, we're getting a very clean, clear note,a clean, clear sound. And your thumb is kind of straight in the back. It's not like this.It's kind of straight. So, now we'll do 16

strokes down. We'll just go down maybe tothe 3rd string. Here we go. You'll notice my right hand. I'm using mywhole arm. I am moving my wrist a little bit but I'm also pivoting at the elbow. Now, youcan continue on down the rest of the strings on your own. I do want to point out if you'llnotice that I was not resting my hand on the guitar and you can do it that way; however,I suggest when you're practicing these exercises that you try to keep your hand floating freely.You'll learn how to play much better that way.

Piano chords basics make your progressions flow

Today I want to think a little bit about how we make chord progressions flow on the piano keyboard. You'll find this useful if you're just beginning to learn about chords on the piano, maybe you're moving over from the guitar or you're just beginning to understand chord notation and you've found chords online and you want to play them and work out accompaniments and sing over the top. Or maybe even you want to write your own songs. When you are just beginning to learn about piano chords, one of the easiest traps to fall in to is to play every chord in root position. Root position is where we play a chord like this very simply,

with the lowest note in the chord being the note that the chord is named after. So that is a chord of C major in root position because C is at the bottom. We can play it in other positions as well, which we call inversions, but it's very tempting and very easy to stick to root position. Not least because if you go online and look at a guide to piano chords usually they'll teach you the root position of each chord. So what that results in is, say you have a simple chord progression, you know, just four bars that goes C, G, F and back to C.

People find progressions like that, and they work out a basic comping pattern like this: Plays basic comp and they do this. F. and play every single chord in root position. Now sometimes that can work, but often it can sound stilted and jumpy. When you're accompanying especially, the last thing you want to do is do anything that makes your listener think quot;Ooh, ah what's going on in the accompaniment thereéquot; It's just got to flow as neatly as possible.

One good way of doing that is to think about the way you can play chords in their inversions. So our four chords there, only 3 chords, but in a sequence of four, were C, G, F and back to C. By playing around with inversions you can make those flow much more easily and stay much closer together. Ultimately it will be easier to play because you've got less hand movement going on. So for example, using a very similar comping pattern, you could play that chord sequence like this: Demonstrates chord sequence with inversions of C, G, F, C So we're going from that position, to that position, G,

to that position and to that position. Notice the way I'm choosing the chord inversions (the particular positions I'm playing them in) so that they're as close as possible to the chord before, often sharing notes with it. Okayé So from C, I go to G. That note stays the same because C major and G major chord share a G at the top. Then I go to F. Now there are no notes in common between F and G, but I can just shift down very quickly and simply, without going far, without making a big leap, and then I go to C again and again there's a note in common.

Plays inversions That sounds much neater and tidier and more musical than going: Plays chords in root position Same chords, but just played in inversions that make them smoother and which give them a better flow. Now sometimes and in some styles of music, you'll find that jumping is what you need, so in 12 bar blues Plays 12 bar blues you can jump around much more, it's much more of a tradition

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