Songs To Learn How To Sing And Play Guitar

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

Play TEN guitar songs with two EASY chords Beginners first guitar lesson

Hi there, my name's Andy and I'm gonnashow you the easiest two chords to play on guitar and then show you how to play them in achord sequence so that you know how to play along to any of the songs that are on my web site already, and thisis an example of an absolute first lesson with me you can use this tutorial so that you knowwhat guitar lessons are going to be like or to get a head start before your firstlesson with me

so let's look at our first chord which isan 'E major' and lets get you in for a closeup So here we are. I've moved the camera so that not only can you see my cool Union Jack rug (which looks amazing)you can also see the guitar of from your point of view this should be theangle that you're looking at your guitar from. Here's a little bit on the anatomy; I'm gonnanumber the strings 1 through to 6; so that's from thethinnest 1 through to 6; so that's from thethinnest, to the thickest

I'm gonna number your frets 1, 2 and 3. Open strings are considered to be 0 zero fret I am I'm gonna get you to put your firstfinger on the thirdstring inside that first fret So thats string 1,2.3. String 3 and position wise you want to stay onthe tips of your fingers and you wanna be

at your side above the fret so the fret(even though the fret is technically the metal strip that goesdown) Fret 1 is this an area here the wooden part, of your fret board, and you want to put you first finger at this side of this area, the side closest toyou. kinda next to, or against the metal fret So that's where your first finger goes. Middle finger. 2nd fret on the 5th string. And 3rd finger.

directly underneath that middlefinger so that will be on the 4th string alsosecond fret. So, if we do those three again we have;one two. and three And, if you push those down with the tipsof the fingers kinda make a nice arch shape withyour hand kinda like a claw I guess (for want of a better term) Now press those down, and strum

every string with your right hand and that's what your first chord shouldsound like. Both these want to be at your side of the fret here, if it's over this side it might still ring out just about but you'll have to press downsignificantly harder to get this note to ring out if you pressover here you most likely be very surprised by howmuch you don't have to press down

How To Sing And Play Bass Tutorial

Hi I'm Curtis Freeman for Metalworks InstituteBass Tips. This is an exercise on singing and playing. Bass has a bad reputation ofbeing the hardest instrument to sing along with and I'll give you a couple reasons why.You're never singing the same rhythm that you're playing, and you're never singing thesame notes that you're playing, so that makes it harder. And when you're playing a pianofor instance or a guitar and you're singing, I compare it to bumper bowling. You have thebumpers in the gutters, and you can't really hit a bad note almost. When you play a chord,the note you have to sing is encompassed in that chord. But with bass, it's more likea 2dimensional drawing as opposed to a 3dimensional

drawing where you have this going on and you'renot ever playing or singing at the same time. So here's a couple ways to knock that down.When you're playing a bass line and let's pick some really popular bass lines, so theseare songs that you've heard before, so you know that we're not just making up exercisesto try that aren't practical in the real world. And put up with my singing voice for a second.I sing in bands all the time and I just started as the bass player singing a couple tuneshere and there. So if I can do it, you guys can do it. Let's do Billie Jean. That's acomplex bass line, and sometimes you get scared away from a complex bass line, but if youthink about it, this bass line We have these

eighth notes going on, so basically it's liketapping your foot. So you don't have to worry about the rhythmic aspects of that. That'snot going to trip you up. So what you want to do is play that bass line over and overand over again and have that part of your conscious, and that's like tapping your footbecause the rhythm never changes. Very steady. And then it gets to the course, that's justplaying big whole notes, so that's good too. Another song, popular tune to do, The Beatles,quot;Saw Her Standing Therequot;. quot;She was just seventeen, you knowquot; You've got to shake your head too,like Paul McCartney. Something like that is all sixteenth notes. The same. So it's fillingin all the spaces, and it's actually giving

you a good groove to sing over. So what youwant to do is get the bass line down and feel the rhythm of that, and that should be reallysteady and really solid, and your vocals need to the have the chance to have the expressionin that, and so the vocals will play different rhythms while the bass line's staying verysteady. You want to be able to be expressive. Now there's some bass lines, let's do anotherBeatles one. Here's a famous bass line for quot;Come Togetherquot;. quot;Here come old flat top hecomes grooving up slowly, he's got quot; and on and on. So something like that, there'smore rhythm to that, so it's not really just constant There's rhythms to it. You wantto think of these kinds of lines more, and

they'll take more time to practice and getdown. Think of a piano player who has to play a bass line in his left hand and a melodyin his right hand. They're going to be happening at different times, so you might think ofwhich notes hit at the same time, and which notes hit in the spaces. You want to do thesame with your singing, so if there's a bass part that hits first, then sing in the space.I'm Curtis Freeman. This is Bass Tips for Metalworks Institute.

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