Free Singing Lessons Newark Nj

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 3 How To Riff The Pentatonic Scale Voice Lessons To The World

Hi everybody! My name is Justin Stoney and I'm thefounder of New York Vocal Coaching here in New York City. Welcome to Episode Three of Voice Lessons to the World The show where we want to answer yourquestions and give you the best information on vocal technique. So today's question comes from Alexa J. in Newark, New Jersey and Alexaasks,

quot;Dear Justin, can you teach me how to rifféquot; Well Alexa thank you for that greatquestion, and the answer is yes! However if you mean riff like this, *sings* Well that might take a little while, butthe key is I don't want you guys to be intimidatedby riffs. So, for those of you that don't know what ariff is, a riff is essentially a fast set of moving notes, it's also calledthe melisma,

or a melismatic phrase. It's used a lot in RnB, it's used a lot in pop, sometimes rock andmusical theatre as well. So its fastmoving notes and why I say not to be intimidated by thisis, if you can break it down you can find out how riffing isactually quite simple and it's just something simple that is made into something advanced. So, I'm gonna be doing a lot of differenttutorials on this Alexa because it's not something I cananswer for you just in one day

but this is our first step in you guyslearning how to make riffing a less intimidating thingand a simpler thing. So the very first thing that you need toknow about riffs is they're based on the pentatonic scale.95% of all riffs that you ever find are based onthe pentatonic scale. So the pentatonic scale, Penta, that means five. tonic, tones, so it's a five tone scale. and like I say, ninetyfive percent of riffs are just this scale

manipulated and moved around quickly so if you know this scale and you know how to use it, you're already going to be so much further along in your ability to riff. So come on round and let me show you what this scale looks like. So the pentatonic, or five tone scale goes like this: 1 2 3 4 5 4 3 2 1 Now if I start to move this a little faster, you can hear how it really applies to riffs So that's just five tones, broken up very fast. So like I said a lot of pop songs use

the pentatonic scale or are based in thepentatonic scale and they use them for the song itself aswell as for the riffs. A good example of this is the popular song Rolling in the Deep byAdele. You're going to see how this song is based on the pentatonic scale. And there's a cool little riff right at thebeginning, which is kind of an easy one and a simple one for us to see how riffs apply with thepentatonic scale.

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