How To Learn To Not Sing Through Your Nose

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 Not to Sing Through your Nose

Hi! I am going to help you know how not tosing through your nose. I know you've heard things like: “You're singing through yournoseâ€� or “You sound nasal.â€� and you're like: “What the heck do i doé And how doI fix thatéâ€� Righté Because the person who told you that, probably didn't say it ina really friendly way. So, I'm gonna help you with this. Now who am Ié I'm Naomi T Kaye. I am a voiceand performing coach. I help people to sing and perform and talk better. And I've been doingthis now for over 29 years. And I have helped more then 60,000 people. I've delivered personally25,000 voice lessons.

Alright so, here are the tips you're lookingfor: 1st of all, this might shock you, but thereis no way you can actually sing through your nose. It's a funny term. People use it allthe time. But the thing is you can't do it. Just try…. (example) You can't do it.So, in actual fact, when someone is saying you're singing through your nose, what theyreally mean is that the sound you're making with your voice is nasal. Nasal! And whatthat means See nasal has to do with your nose righté But it actually has to do withthe space between your nostrils, up inside. Inside your nose, in the back of your throat you have your tongue and this

muscle called the soft palate. And that spacebetween your soft palate and the back of your tongue, are supposed to have lot's of spacebetween them. Okayé That area back there that is the amplifierthat makes your voice louder. And it molds the tone of your voice. And the way it'sshaped has everything to do with the way you sound. You can control that, by what happenswith your tongue and the soft palate muscle in the back of your mouth. When your tongue not the front part, notthis part up here, but the part in the back. The part that you don't really know or areaware of that you can control so easily when

that part of your tongue, the back part istoo close to the topé You end up getting a nasal sound. Like I'll show you. Like this: (Does anexample of singing nasal) You see as apposed to: (Does example of singingwith a full tone) Now, I'm gonna show you how. From going froma nasal sound to a nice full sound. Here we go: “Mary had a little lambâ€�. (In Nasal Tone)Now I'm gonna correct it. “Mary had a little lambâ€� You see, if you open up that spacein the back, the nasalness goes away. Caused it's because your tongue is too close to the upper back of your mouth.

That's all it is. So you're NOT really singing through yournose. When they say that you sound nasal, what they really mean is that your tongueis too close up there. And so the sound, the air that's your voice is vibrating alongthe back part in that little pocket back there and it makes you have that sound. Alrighté So all you have to really do is:Relax your tongue in the back and open up your mouth more and you will get rid of anasal sound. Some people have more of a tendency to talkmore nasally than others, because even though

most of us are born with the same equipment inside your mouth, and your throat and all these other muscles that you sing with ofwhich there's 8 singing muscles. The thing is, is some people are born with their tonguebigger in the back or the space between the upper part of the soft palate and your back part of your tongue are closer together. Just, naturally they are more like that. Tongues are different shapes. The inside of your mouths are different shapes. So people have different sounds that they make, naturally. Also, if you have a sinus problem of some sort it tends to make you have more of a nasal sound, when you sing.

Free Singing Tips Stop Singing Nasally AMAZING Ken Tamplin Vocal Academy

Hey guys, welcome back again to Ken TamplinVocal Academy, where the proof is in the singing. We're going to be discussing nasality today,or how not to sing nasally, but before we do that, I think it's really important toask ourselves a couple of real big questions. There's a lot of information floating aroundon the Internet on a lot of different subjects from a lot of different vocal coaches. Sohow can you tell what information is actually legitimate, and what really works, and whatdoesn'té The only real way to tell is to ask yourselfa couple of big questions, and that is this: does the vocal coach themselves sing, andsing well, so that they can prove and demonstrate

what they're teaching is true, and do theyhave a lot of students that also sing and sing well that prove out their methodéAt Ken Tamplin Vocal Academy we have over 300 tutorials of several dozen students thatactually prove out what we teach, because we believe that the proof is in the singing.With that said, let's get started with nasality. What is nasalityé Well nasality is using toomuch air throughout the velonasal port, or through the sinus cavities and down in throughthe nose. So how can we avoid thaté Well, there's several things we can do that arereally easy, simple tips and tricks, and one is this. It's going to sound silly, but we're goingto simply plug our nose. Now, we're going

to do a simple triad scale, I'll do it firstfor the guys in the guys' register, and then I'll do it for the ladies… But we'regoing to start with a real nasally sound to determine what that sounds like. So I'mgoing to start with and ah vowel on a simple triad.(nasally) Lah, ah, ah, ah, ah, ah, ahhh… Righté Or for ladies it's: (higher and nasally)Lah, ah, ah, ah, ah, ah, ahhh… Righté It's going to have that real, real brassy, nasallysound. Well, what we're going to do is we're going to simply plug our nose… Lah, ah,ah, ah, ah, ah, ah… Ladies, let's try it with you: Lah, ah,ah, ah, ah, ah, ah…

Now what we've done is we are determininghow we can allow the least amount, or no air out of the Velo nasal port, out of the sinuscavity. Now something that's a real cool trick is to get in front of the mirror andlook at the back of the throat, and you'll see the soft palate should start to rise aswe ascend a scale. In fact your uvula, it's the little dangly thing in the back of yourthroat, and the soft palate will start to rise, and you can actually control and mitigatethe amount of air that goes in and out of the Velo nasal port.Now, we don't want to always not have any air to come out of the Velo nasal port, butlet me give you an example of, let's say,

take a simple song, to give you two choicesof how to mitigate, or give a percentage of air to come out of that, to determine a style,or something that you may want to use when singing.I'm going to pick an old Styx song, I love Dennis DeYoung, he's an awesome singer.To this day, the guy can rock. It's awesome, his voice is fantastic, where many others havelost their voice. But I'm going to sing an old Styx song called “Come Sail Away�.I'll sing it like Dennis, because he uses a lot of mask in his sound, so “I'm sailingaway…� Okay now there's a lot of mask, and quite a bit of nasality in that sound.Now, if you want to avoid, or cut back the

amount of air to that sound, it would soundsomething like this: “I'm sailing a way…� Now, notice at the end, on the EEE, I didadd a little bit of Velo nasal port sound to it, because I wanted to have it resonatein the front of the face….

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