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 1 4 Breathing Types Voice Lessons To The World
Hi everybody! My name is Justin Stoneyand I'm the founder of New York Vocal Coaching here in New York City. Welcome to the very first episode ofVoice Lessons to the World. This is a show where we want to help you as singers to answer your questions and helpyou have the most information possible about vocal technique and how you canimprove. Whether you're a beginner or professional singer, whether you'repreparing for auditions
or for a performance, We want you to have the best information. I'll give you a chance later to send ussome questions, but we want to help you to improve your vocaltechnique and accomplish your goals as singers. So our very first episode is called quot;FourBreathing Typesquot;. Today I'm going to talk to you about fourbreathing types that you see in life and you also see in singers. So thevery first one is a high breath or a clavicular breath. So go ahead and take a deep
breath for me, and exhale. Now with a high breath you're gonna seethe clavicle and the upper body lift on the inhale and then exhale it comes down, try that one more timeinhale and exhale. Now you see this breath a lot in life and sometimes in singers, butit's actually not a breath that I would recommend
because its going to really expel the air fast and hard what comes up (inhales) must comedown (exhales) and you don't have a lot of control and thenthe larynx has to deal with all that excessive airflow. So there's another breath: the abdominalor belly breath that you can use. Try this, hand on belly inhale you feel an expansion exhale it comes in. Try it again. Inhale
expand and exhale it comes in. And one more time (don't lift the chest) inhale and exhale it comes in. Now this is a breath that Irecommend because the depth of that breath is going to allow the diaphragm to contract more. And it's also going to give yougreater control over your exhale. Another breath that I recommend is therib or intercostal breath. So put your hands on your rib cage righthere and try and inhale you'll feel an expansion exhale it comesin.
Try that again inhale expand exhale itcomes in and we'll do it one more time. Try not to lift the chest. And inhale exhale it comes in. So this is another breath that gives you a lotof control from the lower body for your singing. What I actually recommend though is acombination of both your rib breath and your low breath. So go ahead, one hand on your ribs one hand on belly let's see if you canopen both of these.
Ep 10 Middle Notes or High Notes Voice Lessons To The World
Hi everybody. My name is Justin Stoney. I'm the founderof New York Vocal Coaching here in New York City. Welcome to Episode 10 of Voice Lessons to the World the show we want to help you guys as singers by answering yourquestions from all over the world. I'll give you a chance to ask questionsa little later, but the question for the week comes from Sara J. in Los Angeles, California. And Sara asks, quot;Dear Justin, Do you have any secrets for hitting the high noteséquot; And yes, Sara, I think I do. And I'mhappy to give you those secrets.
But today, I'm only gonna give you one and in future tutorials I'll give you tons more. But the first one that I wantto give it to you guys is a great secret, and a great trick that you absolutelyhave to know if you wanna be a great singer. The biggest key to hitting the highnotes, is not the high notes. It's the middle notes. I'm gonna show you what I mean by this.But if you want to hit high notes, you don't want to focus on your highnotes you want to focus on your middle notes. I'm gonna show you how to do that. So alot of people don't have high notes
because they're just trying to slam thehigh notes all the time. They say, quot;I gotta have high notes,quot; they go up there and they strain and they work on straining. They're actually just building up worse and worse habits on their high notes, when all along, if they had worked on their middle notes, the high notes just start to appear. Sothe first thing that we're gonna' talk about is, what do I mean by middle notesé This could be debatable, but I'm gonnagive you what I think of as middle notes. First for the guys, and then for theladies. So here we go with,
what are the middle notes that guys needto work oné Here they are over here. So guys, if thisis middle C right here, your middle notes are going to be this Aflat through this Bflat. These notes here. And so for the ladies, it's just right above where the guys are. Come and check this out. So ladies at middle C is right here. Your middle notes are gonna be this Eflat
through this Bflat here. So again guys you're gonna be Aflat through Eflat, and ladies, you're going to be above that, Eflat through Bflat. Those are the problematic notes for mostmales and females. They neglect that area of their voices,and then they lack the high note as a result. So part 2 is, what we have to do aboutthese middle notesé How do we make them appropriate forbridging the gap between them and the high notesé
So, part A, is that, you first don't want to get louder. As I go through my middle, here's kinda'what it sounds like if I haven't worked out my middle notes, if I'm a guy, and I am. If I have, quot;ma a a a a a a a a ma a a a a a a a a ma a a a a a a a a ma a a a a a a a a ma a a a a a a a a