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
Ep 49 Singing Lessons When to QUIT your teacher
Ep.49 Singing Lessonsé When to QUIT your teacher! Why doesn't every voice teacher teach theirstudents how to sing successfully in and through the First Bridgeé I'm about to make a few singing teachersvery mad at me. Hi! I'm Chuck Gilmore with Power To Sing. Virtually every tutorial I've recorded hashad some connection to the First Bridge in the voice. This area of the voice is alsoknown as the â€œpassaggioâ€� or â€œmiddleâ€� or â€œmy break areaâ€�.
I've talking about this before. I startedtaking voice lessons when I was 16 years old. My first teacher had her masters degree invocal performance. My second teacher was a Master's candidatein vocal performance at my university and the star tenor in the department. He thoughtI could sing higher, but he didn't know how to get me there. Later one of the professors told me he wishedhe knew how to get me to â€œopen up my voiceâ€�. I actually thought I was born with a bassvoice that was only designed to sing to the E above Middle C.
20 years later I met Seth Riggs and beganstudying with one of his teachers at that time. Her name is Debra Bonner. Within 6 weeksI was singing past the E above middle C and well into my head voice. My whole life, I never knew it was even possible.I wasn't a gifted singer who could easily sing though the first bridge. Since 1996 I've studied with over a dozenteachers all who've UNDERSTOOD THE FIRST BRIDGE and knew how to TEACH ME TO SING FROMCHEST VOICE THROUGH THE FIRST BRIDGE AND INTO MY HEAD VOICE AND BACK DOWN AGAIN.
Until you learn to do this without strain,cracking, breaking, or breathiness, you'll always be limited. You'll always have thisobstacle in your voice. It'll always be at the top of your chest voice. To many students give up because they don'trealize there is a way to sing in and through the passaggio. It becomes a true passagewayinto your head voice and back down into chest voice. It becomes fun to sing in the bridge and higherinto head voice. You look forward to the songs and the notes that you've feared all yourlife.
Why doesn't every voice teacher teach theirstudents how to do ité How to bridgeé All teachers have had students who don'tpractice, or ignore their teachers, or give up before being successful. I'm talking about teachers who don't teachtheir students how to bridge. Here are some possible reasons: They don't know that it's possible toeliminate the break in the voice. They think everyone has a break and you justwork around it. They don't know about the First Bridge orthe passaggio.
They know about it but they don't know howto teach their students how to â€œbridgeâ€�. They're a gifted singer themselves who neverhad to learn to bridge.it always came naturally to them.They don't think it's necessary. They teach their students to push harder or louder,or use falsetto. There may be other reasons. Personally I'dlike to believe that every voice teacher is well meaning, and trying their best. But, students, if your teacher isn't helpingyou learn to bridge with specific exercises to master the first bridge then you will alwayshave that limitation in your voice.
How to Strengthen Your Singing Voice 2
In Episode 87 I talked about the importanceof the vocal cords coming together firmly (adduction) in order to stop the air fromleaking and getting a light, airy sound when you sing. This is not an easy habit to change. Today,I'll give you a few more tips to strengthen your vocal cords' ability to hold back theair to get more vocal power! Hi, I'm Chuck Gilmore with Power To Sing. There isn't anything magical about this.But when you get the vocal cords to come together wonderful things begin happening.
When my 3 oldest daughters (I have 5 daughtersâ€¦.and3 sonsâ€¦) were in junior high and high school, they had light and breathy singing voices.We began studying this technique together. One of first things our teacher did was tohelp the girls get their vocal cords together. This had an immediate impact on their singing. My daughter, Sara, auditioned for her schoolmadrigals. As soon as she finished the audition, her teacher who knew she had a breathy, airyvoice, was shocked by how much stronger her voice was now. The simple answer was she was now singingwith her vocal cords coming together more
firmly. She made madrigals and we were soexcited for her success. These exercises may seem strange and maybetoo aggressive, but singing is aggressive! We must get our vocal cords together. Theymust adduct! Examples Here is another great exercise to continueto develop your ability to adduct the vocal cords. It's the word â€œGoâ€�. Simple rightéOnly if you do it right. Use it on the 5 Tone scale as before. Pitches for men begin on the D below middleC. Women's begin on the G below middle C. Both voices go up 6 half tones and back down.
Here's how you do it. Demo Be firm whenyou pronounce the G. Make sure it's a hard G. Men begin. Now the ladies. Once you are able to do this firmly withoutbreaking or cracking, add this second exercise. On the same pitches use the word, â€œGuhâ€�as in â€œmudâ€�. These two exercises will help bring the vocalcords together firmly and increase the ability of the cords to resist the air from the lungs.
This helps the vocal cords create a strongersound without having to push the voice harder. Be firm when saying â€œgoâ€�. Think of beingbossy and issuing orders to get up and â€œGoâ€�!!! Or â€œGuhâ€�!!! Demo Use medium to medium loud volume in orderto get the vocal cords together. There's little to no progress with a soft or lightâ€œgoâ€�. If you have a song you want to practice, substitutethe strong, firm â€œGoâ€� and â€œGuhâ€� in place of the words and sing the song on theword â€œgoâ€�. Then sing the words of the song with the samestrength you felt with the â€œGoâ€� or â€œGuhâ€�
Demo These exercises will strengthen your voiceby helping your vocal cords balance with the air from your lungs. The results is a strongersinging voice that projects when you sing and speak. This is another exercise that will greatlybenefit the singer with the vocal type Light Chest No Chest.It will also help singers who have a high larynx to better stabilize the larynx by gettingthe vocal cords appropriately adducted. Do you know your vocal typeé I'm not referringto whether you are soprano, alto, tenor or