Keyboard Lessons For Beginners Hindi Songs

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 play EK PYAR KA NAGMA HAI hindi song on harmonium

EK PYAR KA NAGMA HAI MOUJON KI RAWANI

HI EK PYAR KA NAGMA HAI MOUJON KI

RAWANI HAI JINDAGI AUR KUCH BHI NAHI TERI MERI

KAHANI HAI EK PYAR KA NAGAMA HAI TU

DHAR HAI NADIYA KI ME TERA K I N A R A HU

TU MERA S A H A R A HAI ME TERA SAHAARAA HUN

Piano chords for beginners learn four chords to play hundreds of songs

OK, in today's tutorial I want to look at some easy piano chords and how you can use them to play some famous songs and even learn some improvisation skills on the piano. I got the idea for this tutorial from a Buzzfeed post I saw recently it listed 73 songs you can play with just four chords. Now, that got me thinking, because most of my recent piano tutorials have been on fairly advanced concepts, so I thought it was time to get back to basics and do a tutorial that offers a way in for you guys who are kind of relative beginners on the piano and maybe new to my channel.

So what I'm going to do is take a look at those four piano chords That you can use to play, well, actually far more than 73 songs probably hundreds. OK, we're going to look at the chords in the key of C major. There's the scale of C major. It's the simplest scale, the simplest key on the piano keyboard. We'll think about other keys a bit later, but for now C major is where it's all at. The four chords that we're going to use are C, F, G and A minor Yeahé That's the chords of C major, F major, G major and A minor.

C uses the notes C, E and G F uses F, A and C G uses G, B and D and A minor uses A, C and E. You'll notice that all the notes of those chords from from that C major scale. That's because all chords are basically made of scales that's a really important idea in music theory. I'm assuming, by the way, that you don't actually have a ton of knowledge, and I'm going to talk about all the basic concepts you need right here. If you want a bit more indepth information or you want to know more about music theory,

or see other piano tutorials that I've done, do click on the link to subscribe to my channel. You might also find my book, How To Really Play The Piano, pretty useful, but I'll talk more about that a little bit later. So now we've got those four basic chords but they sound pretty dull like that. We want to turn them into something. a bit more kind of interesting, a bit more useful, a bit more musical. How do we do thaté So the first thing we need to do is put them in some sort of order what we might call a quot;chord progressionquot;. For now, the order we're going to use is C, G, A minor, F.

That's C, G, A minor, F. If you're watching this at the piano, you might just want to pause there and get your fingers round that chord progression. C, G, A minor, F. Now, a key thing to understand is that we don't have to play those chords in those shapes, because the piano offers us hundreds ways of playing any one chord. If you're coming from an instrument like the guitar, that can be pretty scary because on a guitar there are maybe, you know, there are maybe three or four ways of playing a chord like C half a dozen if you're a good player, and some are harder than others.

But on the piano, as I said, there are hundreds of ways of playing each chord. OK, so those are all different ways of playing the chord of C. We call them different quot;inversionsquot; and quot;voicingsquot; and basically what you do is just take the three notes of that chord C, E and G and play them in pretty much any combination. Different combinations will have different effects. Sometimes you can even miss one of the notes out and play, you know, just Cs and Es, but most of the time you'll need to use all three notes so the chord keeps what we call its quot;identityquot;.

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