Singing Lessons London Camden

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

Learn the Cockney accent with Jason Statham

You're asking me about Cockney accenté Did you know a quot;Cockneyquot; used to be apejorative term for the working class Yeah. Nonsense! It is the accent of the true Londoner Who's a true Londoneré If you're thinking of that guy in Mary Poppins Nonsense, that is an American impostor, He is not British. He is not a real Londoner! Now, if you're thinking of Michael Caine.

He is a true Londoner! He's a Cockney, and he's a legend But how do you speak like a Cockney you aské Well my son there are a few rules you have to follow if you want to sound like a true Londoner. First one is that quot;Schwaquot; sound my good friend Aly taught ya! that's the quot;UHquot; sound. With a Cockney accent, it is more pronounced.

Regular person might say quot;quot; But a Cockney says it quot;DoctAAAHHquot; Same as in Strongerquot; quot;Fasterquot; quot;Harderquot; quot;StrongAAHH!quot; quot;FastAAHH!quot; quot;HARDAHH!quot; That brings us to our next point, Hsé Don't need em! Get rid of em!

Any word that begins with an H sound, Get rid of that H! Don't need you, H! Never have! You're useless! Words like: quot;Whoquot; quot;Havequot; quot;Housequot; we don't use the Hs! Get rid of them! OOH! AV! OUSE! For example: Remember my good friend Aly's lessonsé

You learned that quot;Lquot;sounds can sometimes sound like a quot;Wquot; For example in these words: quot;Hellquot; should be pronounced Cockney accent like quot;Hewquot; should become Another thing. My good friend Aly made you a tutorial about the quot;Glottal Tquot; This is the T sound which is replaced by the sound in the middle of 'UhOh'

The quot;Uhquot; sound Words like: should sound like: The T stops in the throat So none of this: Nah! Should be: Remember to use the Glottal T

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