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
How to Sing Musical Intervals Ear Training
Can you look at this interval and know whatit is and what it sounds likeé If you can learn how to sing 13 musical intervals, you'llgreatly improve your ability to sing and read music. You'll also understand and appreciatemusic while you're developing and training your ear. This will help you learn how tosing songs faster and make you a better singer and performer. Inside this tutorial, I'll showyou an easy way to learn these intervals by matching them with wellknown tunes, so youcan recognize and remember what each one sounds like. Hi, I'm Chuck Gilmore with Power ToSing. When we sing the songs we love, every two notes create a musical interval. Fromthe first note to the second note is an interval
from one pitch to the other. And so it goesfrom one note to the next. Today, I'll help you learn how to sing 13 basic intervals tohelp train your musical ear and improve your singing and your ability to read music. Here'show you can tell what interval you're looking at. Count the distance in the interval betweenthe two notes. Start with the bottom note, that's 1, and count up to the top note. Inthis example, the top note is 5. One is the bottom note. The space above it is 2. Theline above that is 3. The space above that is 4 and the top note is 5. This is how todetermine the interval between notes. In our examples today, the flat symbol in the secondinterval shown means that the top note is
a half step lower, which makes this a minor2nd. If there was no flat symbol, this would be a major 2nd. If there is a sharp symbol,it means the note is raised half a step. In the example below, this 4th interval, halfstep higher, is called an augmented 4th. Sometimes it's called the tritone. Soon you'll heara perfect 5th and recognize it's unique sound and you'll know what it's written form lookslike. This will happen with all the intervals. One last thought. An interval does not haveto be stacked on top of each other. In a melody they are written one after the other, butyou count them the same way. Have fun with this.(Perfect unison) Hava Nagila, Hava Nagila,Hava Nagila. (minor 2nd) (major 2nd )Happy
Birthday to You, happy birthday to you, happybirthday happy birthday happy birthday to you (minor 3rd) (major 3rd) Kum ba yah mylord, hum ba yah. KUm ba yah my lord kum. (Perfect 4th) (Augmented 4th)Maria, i justmet a girl named Maria. Maria . (Perfect 5th) (minor 6th) Where do I beginé To tellthe story of how great love can be (major 6th) My Bonnie lies over the ocean. My bonnielies over the sea. (minor 7th) There's a place for us somewhere a place for us (major7th) Bali Ha'i they call you any night any day (Perfect octave) Some where over the rainbowway up high. Do you know your vocal typeé I don't mean whether you're soprano, alto,tenor or bass. Your vocal type is what you
tend to do when you sing. Visit PowerToSing and take the Power Test the vocal test, and learn immediately what your vocal typeis. Then go to the Knowledge Center and watch the tutorials for your vocal type. There areexercises there you can download for your vocal type which will help you begin to improveimmediately. I'm Chuck Gilmore with Power To Sing. You can sing higher with beauty,confidence and power. I'll see you inside the next tutorial.
Beginning Vocal Exercise Ear Training Sight Reading Preparation Major Scale
Hi! Once again I'm Molly from ThePreparedPerformer and you can also find this lessons at FreeOnlineVoiceLessons Ok. Here we go. Not to fast. Readyé Guy's here. Girls ready. 1. 121. 12321. 1234321. 123454321 12345654321 Big breath. 1234567654321 123456787654321
8878876788765678 876545678 87654345678 8765432345678 87654321 2345678 I hope that makes sense. Good job.