Singing Class Pj

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

Brooklyn and Bailey Pajama Party LIVEstream

(uplifting music) Hello and welcome to Brooklyn Bailey's pajama party live stream! (audience cheers) My name is Allie Persofsky,I will be your host tonight. And before we get to the funactivities we have planned, I have an awesome tutorialfor you guys of the girls, so let's roll the clip.

Hello guys! It's Brooklyn and Bailey. Today we're going to be doing the what's in my mouth challenge. Salté (laughs) Yeah. Oh my goodness. (fun music)

Hey, Spencer, will you sign my yearbooké Uh, do I know youé (fun music) Okay, so now let's bring out the guests you guys are all waiting for, Brooklyn and Bailey! Hey guys, how's it goingé I'll go on this side.

Okay, cool. Alright, so let's get started. We're going to start withsome Twitter questions, but before we do that, wewant to let you guys know what the hashtag is, and what is ité Ask B and B, so hashtag that on Twitter and we'll answer some of your questions. So keep looking at thatfor later in the night.

Also, we're going to be playinga game of charades later on so tweet some suggestions for that. Some ideas on what we should act out. It's gonna be reallyfun and really silly, so think of some good things. Alright, so let's get to Twitter. The first question is, quot;At Brooklyn Bailey,what is the top thing

quot;on your bucket list to doé quot;By the way I love you guysquot;. That is from Kiera Daling 11 on Twitter. Aw, love you! Okay, top thing on my bucket list. I don't know my bucket listis seriously 500 things long. She seriously has like,a notes thing on her phone Yeah and I've got emojis byall of them that like match.

Little Big Shots Country People Are Different Episode Highlight

HOW YOU DOING, MANéGOOD, NICE TO MEET YOU. GOOD,NICE TO MEET YOU. SIT DOWN, MAN.YES, SIR. YOU'RE ON NATIONAL TV.I KNOW! I'M KIND OF NERVOUS.KIND OF NERVOUSé DON'T WORRY ABOUT IT. YOU CAN DO SOMETHING MOSTOF US CAN'T. DON'T EVEN WORRY ABOUT IT.

LAUGHTER WHERE ARE YOU FROMé I'M FROM PINEY FLATS,TENNESSEE. YEAH. THEY'RE CLAPPING FOR A PLACETHEY'VE NEVER HEARD OF. LAUGHTER SO, WHAT'S THE DIFFERENCE BETWEEN THE FIDDLEAND THE VIOLINé

A VIOLINIS MORE CLASSICAL MUSIC, AND A FIDDLE IS KIND OF LIKEA HOEDOWN, HILLBILLY MUSIC. LAUGHTER HOEDOWN HILLBILLY MUSIC. THAT'S RIGHT. YES, SIR. A VIOLIN HAS STRINGS,AND A FIDDLE HAS STRANGS. LAUGHTER

BOY, YOU MY MAN! BOY, LET METELL YOU SOMETHING. I GET TALKED TO A LOTABOUT THE WAY I TALK. COUNTRY PEOPLE,WE JUST DIFFERENT. THAT'S RIGHT.YOU KNOWé LIKE, YOU LIKE A WORD LIKE quot;LIABLE.quot; SEEé SEEéHE KNOW RIGHT THERE. SEE, LIABLE.Y'ALL ARE JUST SITTING THERE.

YOU KNOW, LIKE, IF YOU KEEPMESSING WITH ME, I'M LIABLE TO BUSTYOU UPSIDE YOUR HEAD. LAUGHTER FITTIN' TO. YOU KNOW, LIKE YOU FITTIN'TO GO TO THE STORE. YEAH.YEAH. WHY DID YOU BUY SOME POKE. BUY SOME POKEéCOME ON, BOY!

TELL THEMWHAT THAT MEANS. PORK. LAUGHTER WHAT'S YOURFAVORITE FOOD, MANé EVERYTHING'S FRIEDIN TENNESSEE.EVERYTHINGé WE GOT FRIED OREOS,FRIED PICKLES, FRIED BUTTER ON A STICK. YEAH, THEY'VE NEVER HEARD THESE PEOPLE ARE FROM L.A.

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