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
The Roadside Ustaad
By God's grace, you have a lovely voice. Can I record what you singé Excellent! Bravo! I'd like to shake your hand. Have you eaten breakfast, siré Music is a rare education, not many receive it.
And,I'm a student of music, and thought I should come out to present my music to all of you. I came like this. You probably know me better like this. This has been one of the most enlightening and remarkable experiences of my life. The same me, with the same voice,
and the only differences are my clothes and age. My most memorable moment is of the boy, who held my hand and without anyone seeing, slipped me 12 rupees. I felt so good, as if I've made lakhs. Going to an undefined space, someone gave me a gift. I've asked my office to frame it.
I wish I can meet him again, to give him something out of love for his gesture of 12 rupees. We lose so many important things from around us by not seeing. We look ahead while walking, and don't appreciate the present. What do we want to get next,
what do we want to do next. We don't experience happiness in the moment. This is a learning for me, and for everyone watching the tutorial. Happiness is right here, you look don't have to elsewhere. If you like this tutorial and my music, and if you've enjoyed my work and courage,.
Learn How To Sing Using The Best Singing Exercise To Fix The Break Crack PT 1 LESSON 20
:07 Hi, this is Craig from Shimizu Voice.Today we're going to talk about the best way to learn to sing better. What is the bestsinging exercise that you can do to improve your voice. And of course, there's manyfine exercises out there. But this is the one that I like the most because it accomplishesso many things. To sing better, of course you have to learnto fix the break in your voice. To learn to sing better for a lot of people, they haveto improve the tone of their voice. And for others, they have to improve their note accuracy.This one exercise accomplishes all three if done correctly.
What is the best singing exercise to meé Slidesor sirens. What's a slideé Ahhâ€¦ That's why it's called a slide. You slide throughall the notes. You don't skip over notes. As what happens usually if you're usingthe piano. Especially if you're trying to fix the vocal break. Then, I've had studentswho are able to skip right over, between those two notes where the transition occurs so thattheir is no effect. It does not fix the break. That's when I really fell in love with slides.The other thing that the slide teaches you is where the chest voice is and where thehead voice is. Because for a lot of people, that's where the voice breaks, changes suddenly.Ahhhâ€¦
So, the proper way to do this exercise isto fix the break. Ahhhâ€¦ I'll tell you my secret, how I fix the break. Well, otherthan the mixed voice, which is not much of a secret because everyone actually has one.It's that the break occurs right here. Put your finger on your larynx. For men, that'syour Adam's apple that sticks out. For women, if you can put your fingers around this areasomewhere and you do your slide. Ahhhâ€¦ You will feel the larynx jerk because there'smuscles in there that are moving suddenly. When those muscles move suddenly, air popsout. That's what the head voice is. The head voice is airier than the chest voice.
So the secret to fixing that break is to notallow that muscle to move suddenly like that. Yes, much easier said than done. But what'sgood about when you're trying to fix the break, you leave your fingers there, is thatyou're telling your brain exactly where to focus. This is the physical problem ofwhat causes the break. Very, very specific. And when my students train this way, theylearn to fix it much faster than if they're concentrating on all kinds of places. There'splacement exercises that do help a lot. But if you want to know specifically where theproblem is, then go ahead and always put your hand on your larynx while you're doing exercisesto move you through the break.
So, what do you do firsté Well, just leaveyour fingers there. As your first approaching the break, be gentle. Yes, we're using themixed voice to fix the break. That's the initial way that I help people through thebreak. Ahhhâ€¦. I feel it comingggggâ€¦.so I don't change a lotâ€¦. Success. Again, what's happening is that there'sa sudden release of air. That's why the placement exercises where you focus on thebuzzing somewhere.eeeeeeee. That buzzing sensation is telling you that the vocal foldsare staying together. If you see my other tutorial on placement, ittells you what is the effect. The buzzing
sound is telling you whether your vocal foldsare closed or not closed. What I mean by that is.eeee. That's not closed. So you don'there the placement exercise, you don't hear the buzzing.wherever you choose. Whateverworks for you. Whereas.eeeâ€¦.if I focus on that buzz, it helps to keep the vocal foldsclosed. So that's your first task.is to move throughthe break without a sudden shift. Now, for some of you, it's going to be a very frustratingexperienceâ€¦ because as you're moving through it, it's going to keep breaking. But don'tgive up. Just keep focusing on it. What's happening on a tonal basis is that when there'sa big break. Ahhhhâ€¦. You skipped a bunch