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 Have A Scottish Accent
Hello, I'm Gareth Jameson. I'm an actor anda voice coach from londonvoicelessons. com. here are some tips for working on yourvoice. Now the key to any accent is to isolate the sounds that are specific to that accent. So, when I'm talking about a Scottish accent,I'm going to talk about a very generalized Scottish version of the English language,sometimes called Scottish English. There are of course many different accents dependingon whether you're in Glasgow, Edinborough, or Aberdeen. This one is probably what wecall a general Scottish accent. Now, the first thing you need to work on isyour quot;Rquot; sound. So, for most Scots speakers,
they don't actually use quot;rrrrquot; that we associate.It'd be very rare to hear quot;murderquot; with big long R's. It's much more common to roll the R just oneroll, called a tapped R. Bright red, so I say bright red like that. Or saying wordslike butter or bird. Notice that it's tapped, so it's not quot;birrrdquot;or not bird, bird. Also, if you get an L after the letter R, sometimes you'll have an extrasyllable on the word so that girl becomes quot;girl, girlquot; and world becomes quot;worldquot;. Theloveliest quot;girlquot; in the quot;worldquot;. Our next feature is the vowels in bath andlaugh are the same as in the vowels in trap
and man. So, quite often they are differentfor other accents, but in this accent they are the same. Bath, laugh, trap, and man. There are little difference: Bath, laugh,trap, and man. Also, the quot;ooquot; and quot;uquot; vowels are the same. In the UK at the moment, thereis a T. V. commercial with the tag line: quot;Good withfoodquot;. The narrator on the commercial is Scottish, so we hear quot;Good with foodquot;. They rhyme in his accent, and that's the samefor the quot;ooquot; and quot;uquot; sounds. So, that hook and pool are quot;hookquot; and quot;poolquot;. There is nodifference between the pull of a rope and
the swimming pool. Pool. pool and pull are the same. Pull. Finally, listen to this phrase which willshow you a few more features. It's not a problem if you haven't gotten any. It's not a problemif you haven't gotten any. Now, this is more to do with dialect thanaccent and in fact, while you're researching your accent, it is important to look up anydialect words, any words that are different in that accent than they are for other people.For example, rather of saying not, in Scots speak I might say quot;Notquot;. It's not a problem.
And rather than haven't, quot;have anyquot;. quot;It'snot a problem if you have any gotten any.quot;.