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
EndOfYear Leavers Musicals for Primary Schools Key Stage 2 KS2
My husband used to be a year sixteacher and he would write the musicals for his class to perform as leavers' shows. They were always really reallysuccessful the teachers and you know his colleagues and the parents as well would say you should try and sell them they're so good so rather than send something to anotherpublisher we set up Edgy Productions in two thousand and one and he wrote and we published the firstone he had written, called School Daze
we had a few orders which was very exciting andit allowed him to take a year off to write a few more and well he never went back *music* what we've not found or I certainly found as a teacher myself trying to put on a musical is there wasn't the subject matter there that was aboutkids being in school and about teachers being in school
and about these characters and events thatshapes the experience of being at primary school and celebrating it and enjoying itand laughing at it it's something that is tongueincheek but stillhad an emotional feeling for school and was positive and was energetic. Obviously having taught in school many years he knows about all of the very funny things that happen in every day school life and i think we were talking about it I don't think there's very much he hasn't covered.
.from nits school dinners, chaotic sports days being sick on the bus on a school trip you name it, he's probably covered it! It really resonates with the children and it's very hard for children to deliver lines if they don'tactually understand the context in which
those lines have been written or they don't have any experience of what's being talked about but you put it in school and they know exactly how to deliverthem because they're delivering them every day and you know, maybe not always quite as funny but you know there are always those kind of situations coming up
So it's every aspect of school that we didn't shy away from that we wanted to celebrate and and i think that's what gave us an 'edge'.Yeah the over riding factor is that you know that he gets it he gets the humour, he gets the parent perception it's just comedy through and through but it'scomedy that children relate to, staff have a giggle at
Brain Breaks Action Songs for Children Move and Freeze Kids Songs by The Learning Station
Healthy Music for a Child's Heart, Body and Mind. Move and Freeze from the award winning CD, Brain Boogie Boosters by The Learning Station C'mon, move and freeze. C'mon, move and freeze. C'mon, move and freeze. C'mon, move and freeze. Put your right hand on your left knee,
your left hand on your right. Your knees move in and out. Your hands stay tight. Now keep on with your moving but switch hands on your knees. Keep on moving in and out till we say freeze. C'mon, move and freeze.
C'mon, move and freeze. C'mon, move and freeze. C'mon, move and freeze. Put one hand across your shoulder, one hand across your back. Now jump in place. Do you like it like thaté Yea!
Now switch hands across your shoulder and switch hands across your back. Now just be nimble, just be quick, just like Jack. C'mon, jump and freeze. C'mon, jump and freeze. C'mon, jump and freeze. C'mon, jump and freeze.
Everybody shake your body from your head down to your feet. And don't stop shaking until we stop the beat. Shake it to the east and shake it to the west. Shake it, shake it, shake it with my friends who are the best.
C'mon, shake and freeze. C'mon, shake and freeze. C'mon, shake and freeze. C'mon, shake and freeze. Put your right hand on your head, your left on someone's knee. Now turn once in a circle and buzz like a bee.