Vocal Singing Projection

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

Classical Vocal Training for Singers Exhaling Voice Projection for Classical Voice Training

This is Nina Mikhailova with Expert Village.And I am talking about breathing technique. This next exercise will help you feel yourdiaphragm and help you to control your breath. You can do it as long as possible. When you singthat is how you will project your long notes. And you pronounce letter s with an inhale.You can feel all the muscles in your body working with this breathing. Now the sameexercise which I showed you in the first tutorial on how you smell the air, remember that everytime you take a breath you not only breath but you smell the air and this is plain forthe whole vocal line.

Female Voice Training Exercises Voice Projection when Singing

Hi! I am Erica Lane and I am with Expert Villageand I am talking about how to train the female voice. I want to talk about projections specificallyand that means directing your voice outward. When I am singing I want to make sure thatI am projecting so that others can hear me clearly. If I am keeping it all inside inother words in my little space right here and then people are not going to be able tounderstand me as well what I am singing and also they are not going to be able to enjoyas it is much because they cannot get the full richness of what is going out beforeme… so I am going to sing Amazing Grace in more of a soprano voice and I am goingto keep it in my little area here and I am

not going to project. I want to demonstratewhat that sounds like… alright so I sang with a pretty good phrasing. I sang with fairlygood diction and I also controlled my pitch, but I really was not projecting outward andI was not really feeling it either. That's part of projection. So, I am going to singit again. I am going to really try to project this time and really not down the wall here…so that was more powerful projecting. I pushed it out in front of me. I tried to get outthere as far as I could. So that anybody could hear that was near by and I really feel thatwhen you are singing with more projection that you are showing that you are a more powerfulmusician and you have more confidence about

yourself when you are projecting. When youare keeping it inside it seems that you are shy and not sure about what you are doingand people do not really enjoy listening to someone who is not really sure if they wantto sing or not. So, remember projection is a part of being a confident singer.

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