Voice Lessons And Tips

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

Voice Lessons Tips on Singing How to Sing with Your Diaphragm

Hi, this is Larissa Lam, on behalf of expertvillage we're going to continue exploring singing and breathing techniques. And fornow we are going to explore the difference between the throat, singing with the throat,and singing properly with the diaphragm. Now, if you saw my previous tutorial you'll have learnedproper breathing with the diaphragm. We're going to continue down that road by explainingthe difference between the throat and the diaphragm. You may have been tired singingif you've been screaming on a roller coaster you'll also find your vocal cords might actuallyhurt in the morning. And that's because you're using your throat, up here. Now, when you'resinging properly, you should be taking pressure

off the throat and instead, the breath supportshould be in your diaphragm. So, I'm going to sing a simple song, like, quot;Twinkle TwinkleLittle Starquot; to illustrate it. Now, if you're singing with your throat, quot;Twinkle TwinkleLittle Starquot; is going to sound like this, quot;Twinkle, twinkle little star, star, how Iwonder what you are.quot; You see you push with your throat, it's kind of a closed, kind ofa nasty sound isn't ité So if you sing with your diaphragm where you're taking pressureaway from the throat, it would sound a little bit more like quot;Twinkle, twinkle, little star,how I wonder what you are, up above the world so high, like a diamond in the sky.quot; So ifyou notice, I'm expanding my diaphragm, as

I'm taking breaths before I sing, quot;Twinkletwinkle little star how I wonder what you are.quot; And there's not a whole lot of actionin the chest area, and not a whole lot of tension in my throat. Hopefully, you'll haveseen that illustration, and the easiest way to detect that is to just put your hand acrossyour throat. If you feel a lot of throat action and you feel huge vibration, then you're probablyusing your vocal cords a little too much in the throat. Place your hands on the diaphragmand sense that you're expanding and contracting, and then you'll know you're also using yourdiaphragm a lot more than your throat. Hopefully this will help you on your way to not tiringyour vocal cords.

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