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
Little Big Shots Amazing Kids Singing Duo Episode Highlight
LAUGHTER,CHEERS AND APPLAUSE WHO'S YOURFAVORITE SINGERé Both: CéLINE DION. CHEERS AND APPLAUSE BOTH GIGGLING WHAT, SHE TOLD YOUTO SAY THATé NO.NO! YOU ACTUALLY SAID THISON YOUR OWNéYEAH.
YOU KNOW WHAT I THINK,JEFFREYé I THINK SHE TELLS YOUWHAT TO DO. LAUGHTER NO! I DIDN'T! NO, MY WIFE SAYSTHE SAME THING, CELINE,SO YOU CAN STOP THERE. SO, ARE YOU GONNABE SINGERSé ARE YOU GONNA BEA SINGER, CELINEé
YEAH, I WANT TO. YOU WANT TO BE A SINGERéWHAT ABOUT YOU, JEFFREY. Highpitched ME, TOO! LAUGHTER YEAH. HEY, JEFFREY,NOW YOU CATCHING ON. HEY, YOU KNOWWHAT I THINKé I THINK IT'S TIME. FOR WHATéIT'S TIME FOR WHATé
OH, FOR SINGING!YEAH.YEAH, FOR SINGING. CHEERS AND APPLAUSE YOU WANT TO HEAR SOME SINGING,EVERYBODYé ALL RIGHT, LET'S GO! FOLKS, THEIR FIRST SHOTTO STARDOM IN CHINA! THEY LIVETHOUSANDS OF MILES APART, BUT WE BROUGHT THEM TOGETHERTO PERFORM ON quot;LITTLE BIG SHOTS'quot;STAGE RIGHT HERE.
WITH quot;YOU RAISE ME UP,quot; GIVE ITUP FOR JEFFREY AND CELINE! CHEERS AND APPLAUSE â™ªâ™ª â™ª WHEN I AM DOWN â™ª AND, OH,MY SOUL, SO WEARY â™ª â™ª WHEN TROUBLES COME â™ª AND MY HEART,BURDENED BE â™ª CHEERS AND APPLAUSE
â™ª WHEN I AM STILL â™ª AND WAIT HEREIN THE SILENCE â™ª â™ª UNTIL YOU COME â™ª AND SIT AWHILE WITH ME CHEERS AND APPLAUSE â™ª YOU RAISE ME UPSO I CAN STAND ON MOUNTAINS â™ª â™ª YOU RAISE ME UP â™ª YOU RAISE ME UP â™ª TO WALKON STORMY SEAS â™ª
How To Sing Like Steven Tyler Cryin Xiomara Crystal Ken Tamplin Vocal Academy
Hey guys, Welcome back again to Ken TamplinVocal Academy, where the proof is in the singing. I'm here with my student, Xiomara Crystal.By the way, we spell that â€œX, I, Oâ€� Crystal. Anyway, she's actually from London, originallyfrom Portugal, and we've decided to take on an Aerosmith piece. The song is calledâ€œCryingâ€�. We're going to do it first, and talk about it after, like we always do,but we're going to get it to sound really close to Steven Tyler's voice and tambor.So, a little tough piece to do. We'll do it first. We'll talk about it after, likewe always do. Let's do it! Whoo! Killer! Good Job! Nice Job! Alright,so, what we've done, is we've taken Steven,
who has a lot of distortion in his voice,so â€œCryin'â€� he's got like a lot of nasty distortion. So we're using some ofour false vocal folds and some other things. We're bringing in some of that kind of sound.But we also have to get through the passaggio and through the lift, and which is reallyhard to do, because you have to connect your chest with your head voice. I cover all ofthis in my singing course. You can click here if you want. â€œHow To Sing Better Than AnyoneElseâ€�from Ken Tamplin Vocal Academy, and Xio's actually been doing the Master'sClass course, so she's flown to California, she's flown to Hawaii here in my studiohere to complete her course, and what we've
doneâ€¦ by the way, you can click on my singer'sforums, too, if you're interested . We have over six thousand members, so we have a lotof good information in there. And we're also are on Twitter, on Facebook, now we'reon Periscope. Whoooâ€¦ Actually, we've done some cool stuff on Periscope which has beenreally funâ€¦ Shhhhh! Secret, still! But, anyway, no, seriously though, I havea course that helps identify how to get in and out of all these different kind of vocaltambors and phrases. So, if you're interested, awesome. I have a bunch of tutorials of Xiomara, inthere, in fact, several hours now, of that, of how we got to where we got in this songto help you find YOUR unique voice for yourself.
So, anyway, until next time, Ken Tamplin VocalAcademy.