Vocal Training Lessons Singapore

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 Vibrato Tips To Learn How To Sing With Vibrato

Hi. Aaron here from HowtoSing and I wantto talk to you about how to sing vibrato. What is it first of allé Vibrato is basicallyan oscillation between two pitches. So it oscillates and just basically going back andforth between two pitches at a pretty high rate. In fact the six oscillations per secondis actually right around where you want it because otherwise, you have what's calleda wobble when you go too slow. It's like demonstrates the wobble and then if you go too fast, it'smore like a machine gun. It's like demonstrates fast oscillation. You don't want that either. So it's somewhere kind of right in betweenthere. How do you do ité I think the best

way to do it is actually through mimickingother things but let me just say first of all that less is more with vibrato once youdo get it. I think that less is certainly more depending on what style of music youdo obviously. With opera and classical music, there's alot more. It's a lot more pronounced and it's like on every syllable practically and that'sfine but with my more like pop and top 40 and even RB and a lot of the styles thatI'm guessing you would be more interested in singing, less is more. It's more of anaccent. It's more of a coloring than anything else that I think what sounds good.

So it happens when you have relaxed chordsfirst of all. So a big part of it is just relaxing your voice. It is part of a naturaloverflow of a healthy voice but it doesn't mean it necessarily just comes naturally.It is something that you can control but when you try to control it too much, when you tryto force it, that's when you get kind of the wobble or the 0:01:36 Indiscernible. Itis not a bouncing in the stomach that breathes rapidly something like that although thatcan be a way to begin to transition into an actual vibrato which is what I mean when Isay kind of the mimicking. If you've mimicked say like a car starting,like mimics car engine, a car that won't

start very well mimics car engine, you cankind of actually when you mimic that, you get your voice in a way that it begins toget the feeling of the oscillation. Even though that's not necessarily vibrato, it kind ofstarts creating some muscle memory of how to actually do vibrato. Another one from a car starting is also likemimicking when kids like mimic a ghost, they're like, Whooo, kind of that sound. It's actuallya good beginning to start to learn vibrato too, so through mimicking these things; evenmimicking opera. I remember when I was a kid, I didn't understand opera so I would mimicand go like, Ooohhh! whatever and after all

that mimicry, you could actually begin todevelop an authentic vibrato. So hopefully that helps, some tips to kindof get you around in that direction. I think even like a real kind of subtle vibrato Ithink is kind of best anyway. It's not just like big and pronounced but just like, Aaahhh,something like kind of just slipping within there. I think it's really good. Anyway, I'm at HowtoSing . As I said, thelink is actually right below and there's a lot of other tips and tricks in there anda lot of free articles and just good information that could help you out. If you want to come,click over there and check me out. I also

put up a tutorial about how to sing high notes.It's about a 10minute tutorial, kind of packed with information on how to sing high notesbut how to specifically sing high notes without strain which is really the problem with highnotes. So go ahead and click on the link below orcheck me out at HowtoSing and I will see you there.

Ep 62 How to Sing Mix Where do I Place the Tone

Ep.62:How to Sing Mix Where do I place thetoneé In the past several months, I've workedwith students over SKYPE from the Philippines, Germany, Singapore, Israel, Vietnam, Portugal,London, and Sweden. Everyone does so well with English and I speak no other languages.Thank you everyone! You are an inspiration to me. This week I received this question in responseto my last tutorial about singing in a mixed voice. Writing in English, which is not hisnative tongue, he asks: “Can you help me to feel where the soundhit, throat, soft palate, front of my teeths,

or my forehead, or some where. (i don'tknow how to describe this in english, hope you understand what i'm trying to say.)â€� Basically he's asking: “Where do I “placeâ€�the toneéquot; Watch this tutorial and find out! Hi! I'm Chuck Gilmore with Power To Sing. One of my favorite stories told by Seth Riggsgoes something like this. He's taking lessons from singing teacher who tells him to putthe tone forward. But Seth explains he doesn't know how to “putâ€� the tone. Finally aftertelling Seth again where to put the tone he

says: “If you tell me one more time whereto put the tone, I'm going to tell you where to put it!â€� This story illustrates the difficulty of placingtone for a singer. “Put it in the maskâ€�, “Bring it forwardâ€�, “Put it betweenyour eyesâ€�, are a few of the instructions you may have heard in voice lessons. The answer is: You don't place the tone. How to Sing Mix: You Don't Place the Tone Whyé Success in singing and particularly singingwith a mix of head and chest voice, requires

that we allow the free vibration of the vocalcords. As soon as we try to manipulate or place the sound or tone, we introduce unwantedtension from the external neck muscles surrounding the larynx. The result is we grab, pinch and squeeze totry and raise this or put something forward, or open or lower that body part. This causesthe opposite to happen. The vocal cords stop vibrating freely and they lose balanced withthe air flow. Here's an example of trying to place it forward or place it back. Demo We grab tighter to make it better, addingmore tension and more squeeze. The voice becomes

labored and unbalanced. Our tone suffers andultimately so does our vocal power. The exercises when done correctly in PoweToSing and throughout the tutorials on the PowerToSing YouTube channel, are designed to cause youto eliminate unwanted tension. The exercises also cause the vocal cords tobalance with the air flow from your lungs. This causes the tone to resonate where itshould naturally. You don't have to “put itâ€� anywhere.The effect is a connected tone, easily produced, with all the harmonic qualities that producea wonderful voice. How to Sing Mix Where do I Feel the ResonanceCaused by the Exercisesé

When doing the exercises correctly I feelthe resonance “balloon� so to speak just above the soft palate. In other words, I feelan expansion of sound vibration above the soft palate. Demo On a certain vowel I sometimes feel it towardsmy inner ears. But I don't feel an increase in tension. It's because I've allowedthe resonance to shift without adding any tension. Warning: What I feel, isn't necessarilywhat you will feel. How I describe it may not be the way you describe it. You'll becomeacquainted with the feeling. It's also important,

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