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
Ep 15 Pop vs Classical Voice Lessons To The World
Hi everybody. My name is Justin Stoney andI'm the founder of New York Vocal Coaching here in New York City. Welcome to Episode 15 of Voice Lessonsto the World, the show where we want to answer your questions about singing fromall over the world. I'll give you a chance to ask questionslater. But our question for the week comes from Bulacan, Philippines and Coach Fatrick Sta. Ana (He's the founder of quot;Popstagequot; and heasked me to give the website, so it's
right here. Popstage it looks like these guys aredoing some great things.) But Coach Fatrick asks, quot;Dear Justin, What is the difference between popsinging and classical singingéquot; That's an awesome question Fatrick and I knowthat lots of you want to do multiple styles and i really encourage that. Ireally encourage you to not just get locked into one, but give your vocalcords variety. Do a lot of different things. So today we're going to talkabout the differences between pop and
classical. The very first one is simplyvolume. Classical singing is just louder than pop singing. And now that doesn'tmean to be loud. But when you're singing classically you don't use a microphoneand when you sing with pop you do use a microphone. And so you want to know thatas, as you're developing your voice, that when you're going to sing with theelements of classical, part of the purpose is to project the voice and beable to sing without a mic and to be able to sing over an orchestra and in alarge hall. With pop singing we purposefully do not want the voice to beso big because the mic's going to be
very close. If you sing too big, you're probably not going to have theagility and the dexterity and the lightness that we need. So classicalsingers be sure that you're singing as they say, quot;on the body,quot; with a lot ofconnection to the body, with a lot of great breath support, a lot of physicalenergy and a voice that can carry. We never want to push, we never want tobe loud, but we want to set up mechanics that will cause good healthy projection.We'll talk about one of those in a second. Pop singers purposefully do not makeyour voice so loud.
If you're singing pop loudly like I say,you're probably going to prevent the growth that we want as far as agilityand lightness and dexterity that we need for pop singing.So that's the first difference. Now one of those mechanical differences withvocal technique, is the larynx. And we've talked about this in the past. But we'lldo it again. Classical singers sing with a lowerlarynx. Pop singers sing with a higher larynx. There's gradations of laryngealcoordination that you can do. But I'd like to take a song here that could bein a pop setting or a classical setting,
America the Beautiful, and just show youwhat these larynxes sound like. So if I have. a little bit of a lower larynx, I have, quot;Ohbeautiful for spacious skies, for amber waves of grain.quot; And if I lift up mylarynx and get a little bit of a lighter place with it, quot;Oh beautiful for spacious skies, foramber waves of grain.quot; And I get a little bit more into apop sound. So part of the thing that allows for more projection is that lowerlarynx. With a lower deeper sound, I can
Classical Vocal Training for Singers Exhaling Voice Projection for Classical Voice Training
This is Nina Mikhailova with Expert Village.And I am talking about breathing technique. This next exercise will help you feel yourdiaphragm and help you to control your breath. You can do it as long as possible. When you singthat is how you will project your long notes. And you pronounce letter s with an inhale.You can feel all the muscles in your body working with this breathing. Now the sameexercise which I showed you in the first tutorial on how you smell the air, remember that everytime you take a breath you not only breath but you smell the air and this is plain forthe whole vocal line.