Singing Classes West Midlands

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

Saoirse Ronan Tries To Teach Stephen An Irish Accent

AMERICANS LOVE IRISH PEOPLE. gt;gt; EVEN THE WAY YOU SAID THAT ITSOUNDED VERY IRISH. gt;gt; Stephen: DID IT NOWé gt;gt; NOT BAD WITH THE OLD IRISHBROGUE THERE. gt;gt; Stephen: CAN YOU TEACH METO DO A REAL IRISH ACCENTé gt;gt; I COULD TRY. I COULD CERTAINLY TRY. gt;gt; Stephen: I COULD TRY.

gt;gt; IT COULD BE A CHALLENGE. gt;gt; Stephen: IT COULD BE ACHALLENGE. gt;gt; WE'LL GIVE IT A GP G. BUT IT'S YOUR SHOW. YOU CAN DO WHATEVER YOU WANT. gt;gt; Stephen: GIVE ME A WORD. gt;gt; DON'T TRY STOP. gt;gt; Stephen: WHATEVER YOU'REDOING NOW, STEPHEN.

gt;gt; WHATEVER THAT IS, IT'S WRONG. SO WE'RE GOING TO DO THE RIGHTTHING. THE FIRST THING YOU NEED TOREMEMBER, WHEN A LOT OF PEOPLE TRY TO DO AN IRISH ACCENT THEYALWAYS SORT OF GO UP HERE LIKE THAT THEY KIND OF YES THEYDON'T USE WORDS. gt;gt; Stephen: NO, THEY DON'T. gt;gt; THERE'S NO WORDS, NO COHERENTWORDS. gt;gt; Stephen: OR THEY GO REALLYDEEP.

gt;gt; THAT'S THE IRISH. gt;gt; OKAY. gt;gt; THAT'S THE, LIKE, ANGRY IRISHCATHOLIC. gt;gt; Stephen: THERE'S I'M IRISHAND I'M IRISH. NOTHING IN BETWEEN. gt;gt; IT DEPENDS WHAT YOU WANT TOBE. gt;gt; Stephen: GIVE ME A HOOK. WHAT SHOULD I SAYé

gt;gt; I THINK YOU SHOULD BE BUBBLY. YOU'VE GOT A SHOW. YOU'VE GOT AN AUDIENCE. THEY'VE ALL COME TO SEE YOU. THEY'VE PAID GOOD MONEY. gt;gt; Stephen: THE SHOW IS FREE. THE SHOW IS FREE. gt;gt; THERE'S A TELESCOPE UP THERE.

THERE'S A LOT GOING ON. SO I FEEL LIKE YOU SHOULD BESORT OF YOU SHOULD BE BUBBLY. WHAT YOU NEED TO DO IS KEEP YOURVOICE WHERE IT IS RIGHT NOW. gt;gt; Stephen: RIGHT HERE WHEREIT IS RIGHT NOW I THOUGHT WE WERE STARTING. I APOLOGIZE. YOU'RE TOUGHER THAN DE NIRO. gt;gt; YOU'RE GOING TO LISTEN TOTHIS FOR A SECOND.

Connecting West Midlands communities with linguistic heritage

When that child was forth brought Little theyhad or right nought To lay him in, that bairn But a little hay or fern. They swaddled himwith what they could get And lay him where the farm beasts ate. They lay him in the beasts'stalls Enclosed between two old walls. Then was fulfilled the prophecy old That Isaiahhad foretold The ox and the ass had knowledge Of their lord in their stable. When that child was forth brought Little theyhad or right nought To lay him in, that bairn But a little hay or fern. They swaddled himwith what they could get And lay him where the farm beasts ate. They lay him in the beasts'stalls Enclosed between two old walls. Then

was fulfilled the prophecy old That Isaiahhad foretold The ox and the ass had knowledge Of their lord in their stable. And Habakkukhas also said Between two beasts he should be laid. So it befell that likewise tidingsWere taken to the countryside To shepherds, awake in a field, Their beasts and their sheepto feed. I sauh a Tour on a Toft wonderliche I maket.With deop dich and derk (2) And dredful of siht. A Feir feld ful of folk fond I therbi twene. Of alle maner of men the mene and the riche. Of alle maner of men the mene and the riche.Worchinge and wondringe as the world asketh

Summe putten hem to the plough. and pleidenhem ful seldene. In Eringe And in Sowynge swonken ful harde.that monie of theos wasturs . In Glotonye distruen. To preyere And to penaunce puttenheom money. A somer sesun whon softe was the sonne. Ischop me in to a schroud . A scheep as I were. In habite of an hermite un holy of werkes.Wende I wydene in this world wondres to here. A somer sesun whon softe was the sonne. Ischop me in to a schroud . A scheep as I were. In habite of an hermite un holy of werkes.Wende I wydene in this world wondres to here. Bote in a Mayes Morwnynge on Maluerne hulles.Me bi fel a ferly. A Feyrie me thouhte. I

was weori of wandringe And wente me to reste.Undur a brod banke bi A Bourne syde And as I lay and leonede And lokede on thewatres. I slumberde in A slepyng hit sownede so murie. What it's telling you about is sleeping abouta canal as it we call it today a brook. Thinking about what he's going to be doing.Some of the people have been put to work and earning themselves a few bob and he's oneof the folks who's sitting wondering why they're putting themselves to working so hard. And some of them 'scattering and sowing theystrived hard and worked for what wasters with

gluttony destroy'. So he's trying to say there that he's workinghard to earn a few bob and you've got the other people who are just getting a few boband wasting it! Doing nothing with it, probably spending it on the beer. Well, he's just an ordinary chappy. It lookslike he's a shepherd or something, decides to go and have a day on his own, wanderingabout to have a think. He wandered up the Malverns and thought he'd have a rest by astream. Fell asleep and had a dream. And his dream seemed to summarise what he thoughthis place was in the world and what the world

was. The difference between the rich and thepoor. He did nothing, him and his like, did nothing but work, handed over the money andthe rich just wasted it, drunk it and ate it. But that was his role in life and he didit because he thought it was right. It's really strange. The more you're goingthrough it, the more you can hear in yourself the Black Country accent coming through. Idon't think I've got a particularly strong, the odd twang, but when you read it you canhear that same lilt, that same tone and the more you read the worse it gets! It's reallyquite disturbing, thinking 'I don't think I sound like that!', but you can really hearit coming through, which I find really strange.

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