Voice Lessons Glendale Ca

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

FROZEN ELSA PRINCESS CAKE How To Cook That Elsa Doll Cake Ann Reardon

Welcome to How To Cook ThatI am Ann Reardon Today I can't hold it back anymore you'vebeen asking for an Disney Frozen Elsa cake so here it is.Firstly to make this cake you are going to need one and a half of the rich chocolatecake, the recipe tutorial for that is on the website howtocooktht and I'll link tothe recipe in the description below. Bake it into two 20cm round tins and one 1Lheat proof bowl. That you've greased before you pour the mixture in. And bake for around45 minutes or until cooked all the way through. Then let those cool and level off the topof the round cakes using a knife or a cake

leveler.Then take the bowl shaped one and cut it into two layers. Cover the hair of your Elsa doll in plasticwrap to stop it from getting cake in the hair and also cover the waist and legs to protectthe joints from getting frosting stuck in them.Then take a cake board and put a smear of icing on it to stop the cake from slippingoff. And then add your first layer of cake right over close to one edge leaving abouta 1 cm or 12 inch gap between the edge of the cake board.Cover that in a layer of frosting and then

add the other round cake on top. And I amusing my chocolate buttercream recipe for this one and that recipe is on the blog postas well for you. Then add the base of the bowl part and thencover that with more frosting and again putting it over to one side of the rounded cake.Then put the rounded bowl part on top of that. Now we want our doll to sit towards the frontof the bowl shape so take your knife and cut down to the base so that you cut out a rectangleshape. Then take a fork and scoop all of that excesscake out of the middle. Now push your doll down into the cake so thatyou can still see the hip joints.

We want to carve the cakes so that it is smoothat the front and the sides. And then we want to carve the back to makeit less bowl shaped. So just cut it down there and more like a flowing fabric dress.Use more frosting and some of your offcuts to build up the gap that's just between theround cakes and the bowl shape there. And then continue to shave off little slicesat a time until you've got a nice smooth rounded dress shape.Then cover the whole cake in frosting. Bringing it up to a point around that superskinnywaist. Once it is completely covered take a strip of bendy plastic and use it to smoothout the frosting. You can get this plastic

from craft stores or office supply storesas projector sheets or document covers. Now that you have your doll with a flat dressat the front and a big billowing skirt out the back. Place it in the fridge for abouthalf an hour. Roll out some blue fondant in a big circleand place it over the top of the doll with her hands up. Arrange the creases of fondantevenly around the dress so that we've got the nice folds going all the way around itand squeeze it in at the waist. Continue to arrange it until you are happywith it trim off the excess going out and around each of those folds so that the edgeof the dress is not straight but more just

like flowing fabric flowing down there. Make sure it is pinched in at the waist thereand then cut off the excess. Then use your fingers to smooth the fondant in to the dollshape so you don't have like a bump at the waist. So it is smooth going into the doll.Roll out some white fondant really thinly and cut into a ribbon shape like this. Place the arms in the right position and thenplace this over the front arm so that the join is going to be underneath so that itis not so visible. Then trim it at the wrist to make it intoa point at the back of her hand. And then

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