How To Learn Choir Singing

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 Sing in a Choir Like a Pro

Sing Out Proud How to Sing in a Choir Sing Out Proud Intro Coming up on this episode, why singing ina group is harder than singing solo, 5 keys to singing like a pro in choir, what yourdirector really means, and, in the quick start tip, blending exercises to try at your nextrehearsal. I'm Kim Snyder, this is Sing Out Proud. If you hear my mother tell the story, I wasborn to be the third part in a family trio. So when I was four, I started singing in agroup. It wasn't until I was 16 that I actually

got to sing a solo, which was a really coolthing and I didn't want to go back to group singing, but I did because there is just somethingreally cool about it. I have sung in choirs and I have sung in ensembles, have been asolo Indie artist, a church choir director, a vocal teams instructor, and I still getthe same questions from singers now as I've heard from all of those experience's. Peopleseem to think that singing in a group is easy, singing a solo is harder, and somehow you'rea better singer if you get to sing a solo. Well do better singers get solosé Yeah. Sodoes that automatically mean that you don't have to be a very good singer to sing in achoiré NO!

Would you believe that it actually takes awhole different set of skills to understand how to sing well in a group setting. Thoseare skills that you don't ever need as a soloist. In that way, it is harder to singin a group than it is to sing solo. Don't believe meé Well think about it thisway. Singing a solo you don't have to pay attention to how your voice fits in with othervoices, or if it plays well with others, you don't have to compete to be heard over otherparts, you don't have to battle different personalities (unless you have several allon your own and that's just a different episode). You don't have the distractionof other singers weakness's. Like people

next to you who have pitch problems, or rhythmproblems, or are missing the words, or they are way too quiet, or way too loud, and youdon't have to navigate through your music with a large band or orchestra which is completelydifferent than a couple guitars, a keyboard player, and a drum. I want to make this super super clear. Singingin a choir is NOT for lesser singers. People have the impression that because a lot ofgroups are open to anyone, that means it doesn't really take any talent to do it. Couldn'tbe any farther from the truth. Even a really great singer will be challenged by the totallydifferent dynamic of being in a group setting.

So if you haven't done it, for what everreason, find yourself a choir and bring it! You'll learn so much. Because choirs and ensembles have a numberof people, your going to have singers at different levels of ability, but regardless of whereyour at, and where the other singers around you are at with their voice, you can singlike a pro in a choir by following these 5 steps. 1. KNOW YOUR MUSIC.I know, you think, “My life is busy, I'll get there and I'll look it up, its not verycomplicated, I can figure it out.� But the

truth is, if you don't know your music byheart, when you get there your brain has to focus on figuring it out and that means yourbrain has no time, no effort, and no room for number 2,3,4, and 5. 2. KNOW YOUR PART.You need to memorize where your part is going from unison to harmony's and where yourpart is going if your singing a harmony. If you don't its going to be really easy foryou to be drug off to somebody else's part. Even if you consider yourself to be a goodsinger, you might have somebody next to you who is going in a totally different direction,either because they're supposed to, or they

Sight Singing Techniques How to Sight Sing Using Solfege

Hi, my name is Ashley on behalf of ExpertVillage and I'm going to talk to you today about sight singing. Using solfege when singingvarious intervals this is when it is a good idea to use solfege. Also when singing solfegeyou are actually replacing a letter name with the solfege. C with Do, D with Re, E Mi, FFa, G Sol, A La and B Ti, the first note of a major scale in this case the C scale isthe tonic. You will sing Do instead of C of the purpose of using solfege as a sight singingtechnique. Then instead of singing the next note D we will replace it with Re, up thescale now singing the solfege to syllables instead of the actual note names. C D E GH A B C, now I'm going to replace the actual

note names with the solfege syllables, DoRe Fa Sol La Ti Do. The reason to sing with syllables instead of the notes is to singcorrect intervals while reading in any key and not just in the key of C.

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