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
Learn How To Sing BELT Sing Loud Without Straining LESSON 9 Craig Shimizu Voice
I'd been getting comments on my channel about howâ€¦ about what.what's the best technique to use.what's the besttechnique to use when you want to sing high without straining.and the technique is called.thecry in the voice. (sniff) Hi, this is Craig from Shimizu Voice and today'slesson is about how to belt high without straining. On my channel, someone asked whatis the most effective technique to use to belt high. Now, there's all kinds of ways to developbelting and it really depends (upon) where you're starting from. Some people, they'vebeen screaming loud so that means they're
strong, although not strong, not in a goodway. But they have welldeveloped vocal folds. Other people are still too breathy. And soif you're still too breathy when you're singing, you're going to have to learn someother things to develop a more powerful voice. So, it all depends on where you're at tolearn how to belt correctly. So, this technique for learning how to singhigh is the one I like to use. When I don't have a lot of time to practice but I havea song that has a couple high parts that I have to belt.of course, without screaming,then this is the technique I use. It's called the cry in the voice. And it's what it soundslike. Like that little introduction there,
it's a crying sound that you use. And I'm kind of surprised that some peoplecan't make that sound. So, if you can't make this crying sound, then, um, you probablyhave to skip this tutorial. And go to another technique to help you belt. What's the value of this sound that I'mmaking right nowé If you look at my adam's apple, my larynx, when I get sad, the adam'sapple drops. One of the important things that you should learn about singing, to controlyour adam's apple, your larynx, that you don't want it to be moving up while you'resinging. And being sad controls that.
The other great thing that the cry in thevoice does is that it puts the vocal folds into a particular position that's a littlelighter but airefficient. And that's what you want to do to be ableto belt without straining. You must reduce the airflow. Velocity is high, but the volumeof air must be reduced because that's the main thing that causes strain. So what does it sound likeé One of the requestsI had is, if I could cover the song, â€œThe Show Must Go Onâ€� by Queen. And I said okay,I'll do it, not realizing that that's a â€œBâ€�. He has to sing.he sings a â€œBâ€�up there.
â€œSHOW MUSTâ€¦â€� I'm trying to do theâ€œBâ€� with a full chest voice. Next option is a head voice. â€œShow mustgo onâ€�. That's no good. So now, if I apply the cry to that chest sound. â€œShow mustgo onâ€�. The thinning of the vocal folds allows me to get up there without killingmyself or blasting your ear drums out. â€œShow must go onâ€�. It changes the overheavy,overcompressed chest voice into a little lighter sound. â€œShow must go onâ€�. Yes,it is a mix, it is a mixed tone, but this is a little easier to generate if you canbe sad. Sob, sob. If you can be sad. â€œShow mustgo onâ€�.
The other nice thing that the cry does.whenyou're singing in your head voice or falsetto, if you apply sadness to it, the vocal foldswill close. a little more. Thereby transforming the sound closer to a more resonant, clear,meaty sound that has less air coming out. â€œShow must go onâ€�. I'm going to applya little bit of sadness to that. â€œShow must go onâ€�. And the head voice, falsetto is transformedto a little more meaty sound. Let me apply a little more. â€œShow must go onâ€�. Sort of like a wail.â€œShow must go onâ€�. That's applying the cry to change the head voice or falsetto sound into more of a beltsound.
Learn to Sing Better Free Voice Lessons How to Sing Loud
Hey! I am Mark Black and welcome to expertvillage .We are going to be talking about the vocal performance. But the basic idea is that singinghigh is singing loud at the beginning. Now my fellow voice teachers do not get mad atme because I am saying this because we are not saying that all of singing high is singingloud. But a good way to prime the pump and get you going you know, I can't sing thesenotesâ€¦ is for you to sing loud and I just want to say if I goâ€¦ now I am intentionallyâ€¦the only thing I am doing is not supporting the diaphragm and to change those notes allI have to do, support itâ€¦ the only difference between the first set of notes and the secondset of notes is air. I am supporting, I am
supporting from the diaphragm, and so manyof students the only thing they are doing is that they are not giving enough air itis not that they have a bad voice it is not that they have a bad ear. It may be becausethey are afraid somebody will hear them, lot of times people have trouble singing becausethey are just afraid somebody is going to actually hear them, but you are into performingart that is what music is and performing art yet to be comfortable or at least willingto be out there and be heard.