Xeno Music Lessons

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

Practice performance Music at Fort Lewis College

gt;gt;DR. REED: I think the most unique thingabout our department, specifically being in a small liberal arts school, is the fact thatit's very neat that we see a music student once a week the whole time they're here. Itreally creates a great bond with the faculty members and allows us to be really handson. gt;gt;KYLE: I get to see my professors every singleday. I know every single professor in the department, so whether it's vocal, brass,percussion . we really get to meet every single music professor and I get to know themvery well and they know me. Every single day they see me. I get lessons from ateprofessors. So as a percussionist, I take

lessons with the percussion professor. Wedo a bunch of different instruments, and they're oneonone lessons every single semester.So every single week, we meet for one hour and we do a lesson. And the percussion professors,a ate professor, and it's usually the same person, so no TAs or anything. It's areally cool opportunity for us and we basically are oneonone the whole time. We get to reallylearn and they get to know me and how my tendencies are and we get to fix them as we go. I getto grow, I think, grow faster than I would at some other universities. gt;gt;KIMMY: The culture here is definitely afamily, both with the faculty and the students.

We hang out together between classes and actuallyone of the biggest reasons I came to Fort Lewis was because I had a faculty call mewhen I was deciding on colleges. He asked me what I was looking for in a college andthe intentionalness of the college just really drew me into the music department here. gt;gt;DEREK: What's unique about this music programis there's a lot of teachers for specific things. There's a saxophone teacher, stringsteachers, piano teachers. It's all really easy to find someone who's really good at one thing but still isexpansive throughout the other areas. They're not just, quot;Oh, my thing is the bestquot; theywork together really well and it's nice to

see that. gt;gt;DR. REED: There are a ton of things goingon the choir is going to Italy next summer actually, this coming summer. We're tryingto get our students out as much as possible, as well as bringing fantastic global actsto Durango to have them interact with. I think it kind of speaks to our goal of makingsure that they're global thinkers when it comes to the world of music so that they'reexposed to as many things as possible. I think that people who tend to succeed in music arepeople that have a good grasp, obviously, of their chosen field of music, but that arealso, first and foremost, good people. People

that people want to be around and are strivingto constantly get better at their craft.

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