Singing Coach Tunbridge Wells

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

Smarter Schools case studies Two Wells Primary School

♪ Introductory Music ♪ So. our main challenge was how do we improve our students' numeracy resultsé How do we improve it for every child in the schoolé but also, what's a really good process for whole school change so that every staff member, every class is working on the same program to change. And we wanted better achievement, but we also wanted our kids to enjoy maths, and be

interested in it. When the Smarter Schools National Partnership came in, we were very pleased to be given the opportunity to be involved, because that meant we would have a full time coach, funded from the funding, for the program, and that full time coach would then help us facilitate the introduction of the Big Ideas in Number across the school. Teachers have had access

to lots of training, and they feel much more confident about teaching maths. So I know staff have gelled together as a team. They have a common understanding and knowledge and language. Leadership have really been involved in all the training. There's been a shared understanding between the SSOs and with all staff on site.

Working with teachers, gathering our data through the diagnostic assessment. We then took everything else that they had about their students, which was some NAPLAN whatever data they had and we met in small groups. We really looked and analysed that data so that they knew, not only where their students were in numeracy, but their cohorts of students, their Aboriginal students. Well then we

actually worked I worked oneonone with the teachers to plan a learning program to address and differentiate that learning in the classroom. Then we actually taught it together . modellings, and my work was around modelling. This term, I've actually been doing the numeracy coaching role, taking over from Jackie Attio. She was in the role for 18 months before me. I've

actually been working we set up an ATSE numeracy learning community session, and we do that weekly. We've got all our Aboriginal students working together, and they've all been tested according to the Big Ideas in Number, and then that they get grouped according to their ability. I've also been working closely with teachers, oneonone. We've been doing work in the classroom. I plan with the

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