Drum Teacher Singapore

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

Darbuka Lesson 1 position strokes B

Hi, welcome to my darbuka tutorial and. .here is a picture of a blackboard we found on the net. So, first the playing position. The darbuka is a goblet drum. If you are righthanded, place it on your left lap. As close to your hip as possible. Search for balance, and finally tilt it inwards, so that it falls. .but, prevent it from falling with your right lap. In this position, the darbuka should be secure.

Check it, and if it is, place your left hand on top of it. .with the tips of your fingers touching the membrane, and the wrist on the shell here, and the elbow on the back of the shell. And avoid chairs that are too high. If they are the darbuka may roll down from your legs. And now for basic sounds, of which there are three: the base Dum, the right hand Tak, and the left hand Ka. The first sound is the Dum. It's a bass sound. You hit it with your fingertips: four or three of them, in the middle of the membrane. .and you release the membrane immediately to let it vibrate. Like this. The only problem is that your fingers need support.

So what you actually do is you make an arch with your hand. And you hit simultaneously with your fingertips in the center, and with your wrist on the rim. Like this. Find the right angle, because if you hit too strongly with your fingers or too strongly with your wrist, the sound won't come. Find the angle. and play. Back to blackboard. The next two sounds are the right hand Tak and the left hand Ka. Now, they are pretty much identical, but remember the darbuka is not a symetrical instrument like the African djembe, and it has separate strokes for both hands. So, what you do, you use your ring or your ring and middlefinger and you try to hit with your last joint exactly the edge of the membrane. Like this. And try to use your wrist. Not your arm, but your wrist.

The Ka is pretty much the same. You also hit it with this one or these two fingers: last joint right here. So. Wow ! did you see that !é That's amazing ! Of course, I can't really see it. I have a piece of paper right here. That's it ! Thanks for watching !.

Hand Drum Tutorial Finger Roll Lesson

(Drumming) Hi, this is a remake of a tutorial I made about 5 years ago. It's a djembe lesson And we're just going to explore a technique that I like to use. So the technique revolves around quick rolls using the fingers. So I like to think of it as something like the doublestroke rudiment Playing *right, right, left, left, right, right, left, left* continuously

So to do this. It requires an alternation betweenfingers which goes a little bit like this (Drumming) So when we speed it up, we get this type of effect. so takes a long time to develop And you need to start out quite slowly. But once you speed it up it becomes quite aneffective tool

for playing the djembe or any other handpercussion for thatmatter Here's a little demonstration of what i liketo do with the technique (Drumming).

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