Power to Sing Live
Hi, it’s Chuck Gilmore with power to sing live number 126. Today we’re going to talk about singing with a high larynx, the pros and cons. Hi everybody. Hope you’re having a great day. I’m Chuck Gilmore and we’re going to talk about, this is rather a controversial subject. There are a lot of opinions and ideas about singing and then singing with the high larynx. Um, it’s very interesting to survey the, the landscape of singing and of singing teachers. So basically there’s going to be an opinion for every, you know, as many opinions as there are teachers today. Uh, welcome to the show today. I am hoping that in the process of what we do today, you’re going to come to some positive conclusions about what we talk about. Again, to get some clarity. So we’re going to talk about what is a high larynx, what does high larynx singing and the pros and cons of that. And then hopefully you’re going to have clarity on the issue. Okay, so what’s, here’s the question of the day.
Is there a time and place for singing with a high larynx? Let me know in the comment section below, yes or no? Absolutely not. Is there a time and place for singing with a high larynx? Let me know what you think. Yes or no. So I want to say hi to a wow. Got Lots of folks here waiting. Um, G. O. D. second account since my old one got terminated. Ah, why did yours get terminated? I’m worried about that myself. I A boy. I see this happening a lot on uh, youtube now because of the new laws and so forth in the Europe I’ve had in the last week or two weeks, probably a dozen copyright strikes against me. I Oink Oink, Nice to have you here today. Ivan, uh, uh, Eyn… Eyn Sanders. Nice to have you here. Maxo Merton. Awesome. You’re here today. Thanks for coming. And Russ Sapphire. Nice to have you here. Russ. Say you guys, let’s let me know in the comments section below. Okay. Eyn says, uh, yes or Eyn,
sorry. Eyn Says yes, there is a time. Russell says yes. OInk Oink says, not sure. Um, so let’s get down to it. Those of you who are watching this video after the fact I went to, I went to be very succinct and get right down to the matter here. So we’re going to start talking about, first of all, what is a high larynx? Well, maybe I’ll share a story with you first. I have personal experience with this. I tend to have a high larynx. As I started this technique, I had my vocal type was pull chest, high larynx. That’s what I tended to do as I sang higher. Now I don’t do that as often, but if I default into non thinking about what I’m doing, it’s easy for me to, the error that I would catch myself in would be some kind of a high larynx or pull chest kind of singing coordination. So I’m speaking from experience, the…., the experience that I had was going to share it with you as a story. Uh, some years ago.
I’m not going to tell you the date. Well, I’ll tell you that 2011 I went to see Seth Riggs and had a voice lesson with him. And the first 30 minutes, I was brilliant. I couldn’t, he couldn’t find any trouble, no problems. So the last 30 minutes, uh, decided that we would sing. So I sang a song, one song, and I could feel that I was not, it was not going well. I’m not sure we even completed the song. I think we may be completed the song. And the first thing my teacher Seth said to me was, I don’t know who’s letting you do that.
well I was pretty down about that. I was pretty crestfallen because I wanted to be impressive, right? Well what was my problem? Yes. Larynx coming up, other types of things that we’re tending to pull chest voice and um, that will become rather clear in what we discussed today. Some of the problems or some of the cons of singing with a high larynx. I tell you that story because I want you to know that I understand this issue firsthand because I’ve experienced it and I’m an intimately familiar with this issue. All right, so what is a high larynx? If you put your hand here on your Adam’s apple ladies, you might have to put your finger in and kind of pressing in, and trace it down to your, um, your Adam’s apple here. Feel that first bump now with your, with your hand there on your Adam’s apple swallow. Swallow it. And what do you feel when you swallow the larynx goes up?
Correct.? When we sing, oftentimes we tend to go into swallowing mode..
Swallowing mode. And what is swallowing mode as the larynx going up? Well hum for a minute. Hum. And then swallow.
Mm. What happens to the hum when you, when the larynx goes up, it’s, and you go into swallowing mode. Well, the epiglottis collapses over the top and you can’t vocalize any longer. So the muscles pull the larynx up. Everything kind of squeezes a little bit. It goes through this close of the epiglottitis and so forth. So all these things going on, you cannot vocalize at the top of that. So when you go into swallowing mode, when you sing similar kinds of things are activated. The extrinsic muscles surrounding the vocal cords that are housed right behind the Adam’s apple there.
These muscles starts squeezing in and it affects how we vocalize the larynx was pulled up. It affects how we … how we vocalize. And so what is the high larynx? High larynx singing is the larynx in some, in some, um, at some level is going into swallowing mode. It might just be beginning or it might be at the top of the swallowing mode. Any number of positions. I suppose it would be infinite if you wanted to get really technical about it that uh, the larynx is, is traveling up. So that’s the, the larynx is going higher and higher in your apparatus here. So that is the high larynx. And what does high larynx singing is singing with that. So we’re going to talk about what,
what now are the pros and the cons of singing with a high larynx. So I’ve made notes, in fact, copious notes because this is a rather large subject … number. Well, I’m going to talk about the cons. I should’ve probably title this cons and pros. The cons of singing with the high larynx. Now I am the first to admit that there is a high, high larynx singing that results in abuse of the voice and vocal damage and you could be vocal damage easily. Let’s talk about that one first. It’s character that high larynx and I suppose you could say maybe extreme high larynx or a damaging high larynx or abusive high larynx singing.
By the way, you can hear, I’ve probably, you can probably hear if you’ve visited often here, I’ve, I’ve got some bronchitis going on today. I apologize. I’m not going to be at ideal voice. Are we ever, I don’t know. High. larynx resulting in damage or abuse or abusive high larynx. Singing resulting in vocal damage is characterized by one. You’re going into swelling mode so the larynx is traveling up and it’s physically moving upward. Number two, there is something called, there’s pulled weight of the chest voice that sounds like this.
that’s pulled up. Chest number three there is little to no vibration from the head voice mixing in.
There is no little, there’s little or no head voice, vibration or resonance combining with that chest resonance. ah,
Number three rather. Number four, the, it’s characterized by open or wide vowels. Watch what happens to the O vowel. Oh, or even to the, ah, I’ll do it on oh first. Oh,
what happened to the vowel went from O to ah or,
spreading the vowel. So the vowel is wide or it spreads or begins to Splat.
That’s part of the characteristic of a high larynx. Abusive, high larynx, vocal damaging kind of singing. Number five, and I’ve heard it’s actually already kind of mentioned this, there’s no head overtones.
And number six, there’s no bridging, which means there’s no mixing of the voices together as we travel through the Passaggio. It’s just pulled up chest. All right. Now there is, there are all… There are, um, let’s just say now that high larynx number two is high larynx singing that is not vocally damaging. It may be slightly abusive, but maybe not even that. It’s an elevated larynx.
Why is this a con? Because it is vocally limiting and I’ll get into that. So it’s characterized by an off level, off level larynx. So that means right now I’m at level. If I start singing,
now I’m off level.
So if the larynx starts to go up, I’m off level. So this high larynx singing that is not vocally damaging.
but maybe is vocally limiting characterized by the larynx being elevated. Slightly number two, there may be bridging but if with the high larynx bridging there, uh, it’s characterized with some head voice blending in with the chest.
I did that with a high larynx. Um, it’s much less abusive than the first demonstration because I am bridging, although I have a high larynx in that bridging process and there was some head tones that came in. It is still characterized by wider vowels.
you could hear the difference in just a regular
there are other ways to do that. But that shows the, the example of bridging with a high larynx. There are in terms of cons in this category of high larynx singing, there is loss of overtones. What does that mean? That means there is some part of the tone that is missing.
And uh, it may be in the lower area of the voice. It may be in the mid range, it might be in the upper range. Why? Because with when the larynx raises, the vocal track gets smaller. And so there’s a smaller space in which to um, either initiate or create the sound or resonate the sound and, and so it affects the overtones. We lose out on some of the full component of the voice. That’s a loss.
There number five, there is a loss of dynamic control in many instances. I’ve seen this firsthand and I’ll share just the example in, um, in musical theater. Uh, I was in a show recently, I’m not going to go into too much detail because I don’t want to, um, create a bad feeling here. But I was in a show recently that was, um, the, the show initially was released in the late fifties, early sixties, I believe. And so it would be termed more of a kind of a classical kind of a Broadway musical, not, not necessarily strictly classical from in terms of classical music, but the singing in the show was more…, more of a, um,
well the word I wanna use is more legit. It was, it was, it was more towards a classical kind of singing.
And, and yet, uh, in the, in the signature solo in the show, one of the signature solo’s and sell those that everyone’s heard. The person that was cast could only do it with a high larynx technique.
And, uh, and so,
It sounded vastly different than the original and to my taste, it didn’t fit this particular show. And what I’ve noticed this show and several others that I’ve been in is there seems to be two dynamics that are used in this kind of high larynx singing. One is loud and the other is soft. I find that the dynamic range is very limited. In mid, in the middle dynamic it seems as if it’s only all .. in or barely in.
So my first hand experience with this particular tech, uh, type of singing, high larynx singing is that there’s limitations in the dynamic ranges. It can get very loud, get very soft, but there’s some mid area there that just, there’s no control. There’s a loss of dynamic control with that high larynx singing.
curious if anyone’s seen that themselves. And so number six is it doesn’t work. That particular way of singing doesn’t work in all genres of music and all genres of singing. And I think that’s a limitation. Okay. Number three. And these, these are the pros. When I get done here, you guys, I promise you I’m going to answer your questions and I’ll engage. Okay. But I want those who’ve just joined and they missed the live component of this, I want them to be able to get this information right away. Number three, high larynx using a high larynx in exercises. Okay. I think there is some benefit to this. Let me explain. Let’s first of all qualify it by saying that after the use of the high larynx in a vocal exercise, once the objective is obtained, you would discontinue it. So it’s not meant to be something that you use in your singing. It’s meant to be used in the workout, so to speak. So compare, um, let’s say you’re training for, you’re going to summit a high mountain this summer on a hike. Part of your training is you’re going to go on some smaller hikes and you’re going to put weights around your ankles. You’re going to, and maybe a overload. You’re yourself with some weight on your back and you go out for the workout. When it’s time to go do the mountain? You take the weights off of your legs, right?
And you try and pack as light as you are able to given the height of the mountain and how long you’re going to be gone. So just like this example, you can use the high larynx exercise for the workout, for the training, but you would discontinue it in the actual singing so that you’re singing the song with the larynx at speech level, at, at your, at resting level. Where are you talk, does that make sense? So I’m qualifying this. This particular example is that there is some benefit to using high larynx exercises to develop the voice. So let me describe this. This is characterized by a slightly a slightly elevated larynx, not a high, high extreme, but just slightly elevated larynx. Like let’s say for example the nae nae nae at level will be,
Nae, nae, Nae, Nae, Nae, Nae, nae, Nae, nae.
But let’s say I’m just training and I have a hard time getting through the bridge. I can sense that I’m starting to spread or my student is starting to spread the vowel and starting to pull the chest. So we add a little bit of a witchy sound an exaggerated, Elevated larynx. Sound.
Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, nae, Nae, nae.
Well that accomplished a goal that decreased the weight of the chest. It allowed me to connect the tone from the B flat to the f sharp for a guy. If I were teaching a girl, it would be something up here. Let’s just say f sharp to C sharp.
So with the ladies I would do the same thing. If they’re having a hard time getting through the first bridge of their voice, this Passaggio I might have them do a high larynx, exaggerated nae nae nae so that I could thin the chest voice out and I could connect the tone with that pharyngeal sound. So there’s a real training benefit to this and uh, it’s a significant benefit because it’s going to build confidence in the singer’s voice so that they can begin, they can get through this passaggio without pulling the chest voice up without spreading the vowel, um, without yelling at loud, without abusing the voice, with that connected tone all the way through just with a little elevated larynx, nae, Nae, nae exercise. Number three, it eliminates falsetto. So if I had a student who said, or if you were practicing on this and you said nay, nay, nay, I didn’t want her to flip into falsetto. This is where the elevated larynx with a little bit of that, which he’s Bratty …, condition.
Nae, Nae, Nae, Nae, Nae, Nae, nae, Nae, nae.
is so beneficial because it’s deeper than falsetto. It’s connected. The vocal cords are getting a coming together of deep enough, firmly enough that it connects the tone. It’s not a disconnected tone, which means that now we’ve got a, we’ve got a bridge, we’ve got this connection from a chest voice through the middle and up into head. It’s a significant benefit and so it’s extremely beneficial to …to, to reduce the weight of chest and to uh, eliminate the falsetto, I don’t have to get deeper into the vocal cord itself.
We talked about this. So number four is that it, it thins or removes the weight of the chest voice, chest tone. In a condition where you
have maybe a light or breathy sound in your voice. It’s likely that the vocal cords aren’t coming together firmly enough. Again, this is a great exercise to apply to the voice. If you’re saying nay, nay, nay, nay, nay, nay nay.
and that’s the standard approach. Like by adding this high larynx, exaggerated,
nae, nae, Nae, Nae, Nae, Nae, nae, Nae, nae.
the high larynx is not limited to nae, nae, nae, Nae, nae. Nae is a very powerful exercise to use, but you could say,
no, no, no, no, no, no, no, no, no, no, no, no.
So you could do a high larynx exercise with any, any of these. It’s easier on some different, some of the vowels and.. More difficult on the, uh, the, um, probably on the mum, mum, mum’s and so forth that tend to pull the larynx down anyway. The, the, the high larynx is more challenging, but let’s just say I did it on
na na, na.
No, no, no, no, no, no, no, no.
I could do it on mum, I suppose.
mum mum mum
But you know, once you have accomplished your objective, that is to connect to the tone from chest to head and um, maybe eliminated the falsetto. Um, got more, this is in the case of the light or the airy or breathy voice. We’re able to get more cord to, um, to, uh, adduct more deeply. So you’re getting more, you’re eliminating the air leaks by bringing the vocal cords together more firmly with that kind of coordination. The high larynx with an exaggerated tone. That exaggerated sound..
Nae, Nae, nae.
No, no, no. Mum mum mum
Once you get it though, we’d go back to normal
nae, nae, nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, nae, Nae, nae.
Of course I’ve down a chest
nae, nae, nae, nae, nae, nae, nae, nae.
No, no, no, no, no, no, no, no. mum, mum, mum, mum, mum, mum, mum, mum, mum, mum, mum, mum.
Once we establish what the goal is, then we eliminate the exaggerated high larynx sound and get back to the normal because we want to sing where we speak. If you don’t talk like that, why would you want to sing that way? Now
the other, so the pro of using this particular high larynx exercising would be to increase a contraction in the, in the cords, in the, in the muscle of the cord. So we’re getting, uh, um, imagine shaking hands with someone and it’s just fishy fish hands, right? You shaken hands with somebody that just won’t grip. That’s the too light of abduction. So you want that just the right contraction in the handshake. That’s what we want to use this exercise for. To get that in the vocal cord, coming together appropriately, firmly the cords, uh, adducting or coming together firmly and appropriately so that we get an appropriate contraction and the cord structure and it gets it more like you speak unless you talk like that, which in case and that case we wouldn’t want you to sing like you speak. Okay. Um, and number six, this is the, another pro the effect on the cords. So it increases the firmness of the adduction it decreases the air leaks, it develops a balance. It helps develop the balance between the air and the muscle and the vocal cord, the interaction, the interplay of air and muscle. The balance between those two, uh, establishes a voice that is optimal. And so this tool can be used for this. So those are some of the pros of using the high larynx in exercises.
I don’t really feel that there is a major benefit in,
um, high larynx singing with maybe one exception. And that is you haven’t yet developed the quality of your mix. And so in order to keep yourself from abusing or keep herself from pulling chest, you may use that high larynx again temporarily until you can do what you would like to do with the larynx resting in, in a, in a, in a mixed voice, which is optimal for a number of reasons. Because remember we talked about how you lose some overtones if the larynx is high. And so, uh, even though it might help you from abusing the voice, you’re still not going to have those overtones. So I suppose in conclusion now, and I wrote this down because I wanted to make sure I got it right, is a high larynx as a tool,
to discontinue once you get connection,
once you reduce the weight of chest, once you improve the quality of the abduction of the vocal cords, once you get this optimal balance of air from the lungs interacting with the contractions in the muscle, the vocal cord, once you get this optimal function going, you can use the, uh, high larynx exercises as a tool to discontinue when these are accomplished. So the ideal is to have a mix through the bridge and into head voice to be able to get every sound that you want, that you’re hoping for using the optimal condition of, of the voice itself so that you don’t compromise dynamics. So when you’re singing, no matter whether you’re singing in your head, voice in your mixed voice in your chest, you’ve got the full compliment of loud, medium and soft.
Extra soft, extra loud. All of those things are available.
And you have the full range of overtones throughout your, your voice, right, your range. And then you can apply these to all the genres.
Now there are other subtopics we could go into. Yeah. But what if or what if and what if and so forth. Have I ever used a high larynx? Yes. And let me explain. There are situations like the, say for example in musical theater, if you’re playing Ado Annie, you’ve may employ a high larynx technique to sing. I’m just a girl who can’t say no or let’s say Adelaide in Guys and Dolls. I pass. Then could develop that cough. Well that’s what I’ve got today. So there are conditions in musical theater, w particularly with certain characters and character actors where the high larynx, but you, you know immediately that you can tell that there are, you know, that’s the character’s voice and so it applies really, uh, you can use that very effectively and you can avoid some vocal abuse doing that. But just remember the tradeoff is you’re losing some of the overtones and you may not have quite the dynamic range.
Depends on the, on the high larynx technique. But, um, I suppose I could probably find most of the dynamics with that exaggerated sound. Okay. Now I hope this has been helpful to you. Let me address some of these, go back up here and address some of these questions. Okay. Um, how do you sing the high larynx, Oink Oink, let’s see if, if what I’ve described is going is answering that, uh, Maxo Burton, every time I sing, I get out of breath fast. Can you give me an advice on that Max? Probably two reasons. One of two reasons. Number one is you’re not taking adequate breath, in which case I recommend that you watch episode number fifteen @powertosing.com. You can go to the home screen and over the right hand side of the screen there’s a little hourglass search glass type in their breath control and get some information on using the diaphragm to assist you in getting adequate air supply. The second reason is the cord structure may not be coming to the vocal cords, maybe have an air leak. So I mentioned that today. You can hear my, I’m getting scratchy. I mentioned today that if the vocal cords aren’t coming together firmly, you may have a light or airy breathy tone and because the air is leaking through the cord structure, there’s too much air passing through. In other words, you run out of air fast or number three, it might be a combination of those two things. Hope that helps.
Um, Matt said, I’m guessing. Yes, there are times when you can sing with a high larynx, so I don’t know. What do you, what would you say now having heard these .. uh, this explanation? I think you’re right under certain conditions, but remember there’s always going to be a trade off. Okay. So Nuno Silva. Hi, chuck. Really like to ask you something today. I think I’ve hit an f five, but it was not intentional, but like three hours later and my voice was very strange. Like I could only reach c five. What was that?
I don’t know. Nuno, I’m not sure. Did you, uh, go into falsetto when you hit F five? Were you pulling the chest voice when you were, when you hit F five? Was there any added strain or tension when you hit F five? Do you think you damage something? Um, C5 would probably be more. Is it possible that you flipped into a higher register? So again, that would be kind of a falsetto kind of the situation. Those would be my guess. I can’t imagine you did any damage, but maybe you’re just more warmed up now. And so you didn’t flip or skip over one of the bridges because that would be into your, uh, uh, to another bridge going into the f five. Maxo Merton speaking to oink. Oh, he’s got his own breathing technique. He’s recommending oink oink breathing through your nose or mouth and you can see your stomach moving up and down. Okay. He’s teaching. Breathing. Okay. Uh, ………………. Hi, nice to have you here. ….. C h. L. E. B. O O. Not sure how to pronounce that, but nice to have you here. Thanks. Um,
okay. Uh, you are, you are welcome. Thank you for joining us today.
Okay. Nuno. Says he thinks it was a mixed voice, so there would be no reason then, uh, if you were in mix, there’d be no reason that, that the technique that you used caused you to lose it. Lose the F five. Um, so I don’t have an answer for you. If you were in mix and you weren’t straining or so forth, I don’t know why you can’t hit it now. Okay. Well, today is maybe a shorter day. Um, I hope that this information has been beneficial to you and it gives you some clarity as to pros and cons of using the high larynx and singing. I want to say that it’s, it’s a fast way to create an artificial sound. I think too often we want to, um, have more power, more loudness or a bigger sound or whatever. And so we use a shortcut instead of developing our mix instead of developing the balance and the voice because those things can be done relatively quickly, whereas a mixed voice requires us to do some, uh, some training and, and um, and eliminate the s the reach and the squeezing and so forth. And that frankly takes longer and more patiences and maybe a little more
in depth insight and inquiry into your own voice, but it’s worth it. Um,
Nuno says, now that I’ve regained my range, I can hit f six. Okay. Awesome. Thank you very much everybody love and appreciate you. Uh, some of you may not know what your vocal type is and this is what we’ve really been talking about today. This pulled chest high larynx is a vocal type. If you don’t know what you tend to do when you sing to the bridge, maybe you’ve seen with a breathy voice, Maybe you tend to pull the, the, the larynx up. Maybe you tend to crack or flip it, the falsetto you need to to get your vocal type. So I prepared a pdf in the description below and I’ll put it in the um, and the card above here where you can download a pdf
that takes you to a vocal test, there are links to the vocal tests. There are links to videos about each vocal type, pulled chest – high larynx, flip-falsetto,, um, light chest – no chest or mix. It takes you right to those videos that explain that. And then there are exercises that help you get the larynx down that helps you eliminate a flip or a crack or a break that help you get the vocal cords to come together. That’s in the description below. Get your vocal type. It’s a pdf, it’s free and it gives you it takes you to free exercises or in the car above as I mentioned. So it’d be sure in download that and get that information. It be save you a lot of time, , and um, and it will provide great benefit to what you’re doing. It’s really what we’ve been talking about today. I’ve got a few more comments. Let me take these actually a bunch of more comments. So I’m looking at my comment section here. Okay. So, Nuno, says that he’s flip falsetto …. Horizon. Hi, nice to have you here. A nice to see you again. Thanks for joining us today. Uh, F song. Hello Chuck. What do you think about Ken Tamplin’s his way of teaching? You know, I’ve never taken a course from him. I’ve, um,
I’ve just seen him in passing some of his videos and I really, I don’t have too much to say by firsthand experience. My, uh, uh, I’ve had a few people who’ve come to me after having taken the course to say that they, they, um, we’re still looking for some help. So I really can’t, I really can’t comment on it because I don’t have much experience from it, from most of the, uh, pictures, you know, it looks like it’s over compressing or squeezing it. But that’s what we all do on youtube to get everybody’s attention in our pictures. So I don’t know if it’s that kind of singing or not. Um, his genre I think is as rock or more towards rock and so, um, at least everybody has to look like they’re doing that too to be able to sell, sell the song. So sorry, I really can’t get go into detail on, on what he’s done and how he’s teaching. Edgard says, hey chuck, thank you for your help. My pleasure at EdGard Cruz. Thanks for being here today. Thanks everybody. We’ll end this early and um, well I guess we’ve been going 45 minutes. That’s not too short. Thank you. This is Chuck Gilmore with power to Sing live number 126. We talked today about singing with a high larynx. I hope this has been beneficial. Remember, you can sing higher with beauty, confidence and power. You can do it without the high larynx. Thanks. See you next time. Be sure and watch out for the coming video.
Hi, it’s Chuck Gilmore with power to sing live number 127. Hi everybody. Welcome to the show today. We’re going to have a lively discussion today about falsetto versus head voice and a, so I hold on to your horses. I think we’ll have a good time and this will hopefully be a very, uh, informative, uh, broadcast. Nuno Hi, how you doing? Nice to have you with me today. And um,
glad to see people are beginning to gather around the, the discussion. So, hi Chris. Nice to have you here today. So, hey Salina. Nice to have you. Or Selena. Welcome. Well, this is a discussion that I personally have gone through in my life. Um, I, you know, I took lessons for like nine months. This is back in 1990. Ended up 96 into [inaudible] 97. I had lessons for nine months and then my teacher moved and then I was on my own for a couple of years. I just listened to a Seth Riggs is tapes on whatever I was going. I had the, whenever I was driving, I was listening to the tapes, singing for the stars and I was practicing. And then I started taking lessons again in 2000 from, uh, one of Seth Riggs is associate teachers and master teachers. And my very first lesson, guess what? I asked, we were doing an exercise, something like this.
And I said, what is that? Now I hit, been involved in, you know, with the tapes and I’d had lessons and you know, two and a half years later, I still wasn’t certain what I was doing up there. I didn’t know.
And he said, that’s head voice. So look, I, I understand this confusion and this, this wondering what in the world is falsetto versus head voice. And we’re going to get right down to it today. Okay, awesome. Nice to have you here today. Welcome. Um, and so Nuno says, I don’t know if this is bad or not, but today I have hit a g five and I think mixed voice, Mother’s g four g five. I don’t know. No, I uh, I certainly couldn’t do that. I could hit it and head voice, I think maybe on a good day. Okay. So what kind of, what kind of get this discussion going today or at least in my mind you guys as a comment I got from um, a subscriber or a comment or at least on my youtube channel and he had just watched my other video, my, my prerecorded edit video that’s been out for several years now and it just watched falsetto falsetto versus head voice, how to sing falsetto versus head voice.
It’s one of my videos. Maybe I can put it on a card, um, uh, and attach it to this particular live session today after the fact. I’ll go back again. Maybe put that in tonight. And so, Hey Peter, nice to have you here. Jose. Nice to have you. Uh, Peter says I had an a foreign mix. Cool. Awesome. Um, so here’s, here’s the comment. Let me read this. This comment he said regarding falsetto versus head voice, they sound exactly the same. How can you consider two identical sounds to be different registers just because one is breath here than the other. You can sing in a breathy chest voice and we don’t call that a different register chess sets, chest eto or something. Your head voice is reinforced falsetto. Oh, okay. These are really actually a very good question. Kind of an a good point to make here.
So we’re going to deep dive into this, cut it into this topic. Well, let me ask you this. Do you know the difference between falsetto and head voice in your voice? Yes or no? In the comment section below? Yes. No. Do you know the difference between your head voice and the falsetto in your voice? Yes or no? Now I’ll understand and I have great deal of compassion for those who still aren’t certain. Like I said in my beginning story two and a half years into this and fairly active in performing in other things, I still was uncertain about whether it was false settle or whether it was head voice. What about you? Yes or no? You know the difference or no, you don’t? So I got several. Yes. Okay. No, says it yet. He says, Jack Says No, Jack. I, I understand. So he did.
Selena. Patrick? No. Um, Hey George, nice to see you. And you’re back home for everybody who doesn’t know this. George Freeman was a resident of Paradise, California and uh, he’s just now returning to his home after these many long months. So George, glad you’re alive and glad you’re back home again. I know it has been a long, hard road for you and I can’t imagine for all of the families and, uh, people, individuals who lived in paradise. So I’m glad you’re here today. Chris Martin says, no, I’ve just come to accept my falsetto and any other sound being a reinforce falsetto. Okay. So we’re going to talk more about that idea of reinforced. I don’t really know what that means exactly, but I’ll give you some information here on what I think falsetto is and what head voice is and the difference between the two of them. So, Hey Joe, nice to have you here today. A falsetto is in your break. Um, yeah, I would say that that’s the case. Um, but I can also go into falsetto below. Well,
I don’t know if I can go on. I really can’t go on the falsetto when I’m in my chest voice.
I can’t activate the falsetto in my chest, so I do have to be,
I can do it at the a, which is in my break area because I am a, uh, a base, a boss, Bosco Cantata. So, um, maybe so Joe, I’ve never really thought of that exactly before. Chris Says No, I’ve come to, okay. And George has a answer to your question. Yes. George is able to discern whether he’s in falsetto or in his head voice, you know, says falsetto is a disconnected sound. Like you can’t go from falsetto the chest voice, I think, um, it won’t blend in. Correct. So let’s talk about that for a second. What, what he’s referring to is if I’m in Falsetto,
In order for me to get back to the chest, I have to reconnect the tone and to get that little clunk.
And, uh, and obviously I could do that a little bit smoother, but I still physically have to reconnect and you can feel that reconnection. And so yeah, it doesn’t into chest. Chris says, uh, let me see it. Don’t, I don’t know. Nuno falsetto. Okay. Look a Moocher looker Crumbo high. You can’t distinguish between falsetto and head voice. I get it. I’ve been there. Simon, Jeffrey, hi. Nice to have you here today. So the discussion today is falsetto versus head voice. One of the things that we’ve already established just now is the tone of the falsetto can coordination, won’t blend back in to just voice.
So I have to clunk back in. Yeah. Whereas if I’m in head voice,
it blends right in because the tone had never disconnected. The tone had re, you know, I had not lost that connection from chest up to the falsetto. Now. Um, no, sure not. Uh, uh, Lucas says a no. Hi, I’m sorry for interrupting. So really hope you get, you’re not interrupting. That’s the idea behind this live broadcast, sir, to interact it today. I really do want to get interaction. If you didn’t hear the question, do you know the difference between your head voice and your chest voice? Yes or no. Um, and as I mentioned, I had been in voice lessons for a couple years or at least actively listening and uh, on tapes of practicing and performing in musical theater and so forth. And I still was uncertain about whether I was in head voice or whether I was in a falsetto. So we’re going to let, let’s, uh, maybe get a little bit deeper into that.
So here’s, let me repeat this question or this comment that was made by, uh, one of my, my, I’m a subscriber or comment or on Youtube he had just watched falsetto or how does sing falsetto versus head voice? And he said they sound exactly the same. Can you consider two identical sounds to be different registers just because one is breath here. Then the other, you can sing in a breathy chest voice, but we don’t call that different register a different register like chest, chest, Eto, it’s creative or something. Your head voice is reinforced, reinforced to falsetto. Okay. So that’s what has generated such thought on this topic because it’s a really great question that brings up a lot of confusion. We’re going to solve that here in a second. Homemade. Oh, I’ll made mass. You retracted your message. Uh, hi. Nice to have you here.
Love these live broadcast. So tuned tuning in as they do with the awesome. Yeah. Great. Thank you for being here. Uh, Daniel Marker. Mark. Daniel, I’m not sure which, but it’s great to have you here. Um, okay. So let’s, let’s dissect this comment a little bit and cause this is going to lead us to learn some things. Um, Simon says that I think I’m starting to get it. I’ve been recording myself now for a while and watching your videos so I’ve gotten so much better. Yeah. Um, you know, that is such a great way to, if you see an acreage, this, thanks Simon for making that comment. As we experiment with their own voices, we start discovering things and it’s the way that I, I’ve made so much progress and discovery in my own voice by just playing and it recording and singing along with exercises and listening back and trying different things.
And that really has made a difference for me. Homemade mass as high a high George here, uh, Georgia here. What type of exercise should I do to be able to sing the high notes with chest voice as I always seem to want to go in head voice when I reached high notes. So George, yet I don’t recommend it. So what you’re really saying is how do I, you know, maybe the better question is how do you sound like you’re in chest voice but be in head voice because we don’t want to pull the bottom voice higher, higher and higher because frankly you can damage your voice. And um, and yet we hear a lot of singers who, who do that exact thing. Unfortunately, many of those singers have had to have surgery on their vocal cords. We all, I can list, you know, four or five or six.
And there are many more than that. One very prominent, uh, singer is a Dell. Now she had a two hemorrhages and this is amongst other reasons. One of them is that she’s always chopped, clipping right at the top of her chest and not giving her herself a chance to, uh, sing in, in a head voice at the top as she gets into those higher and higher notes, rather, she just keeps pulling up the bottom. Um, but she’s not alone in this. It happens to a lot of different people in a lot of different singers and many of them, um, you know, high level professional, uh, singers with lots and lots of money and uh, and yet it’s a problem that persists even in the more classical genres that persists. There was an article some years ago and I can’t remember now who wrote it, but they were talking about this problem existing in the, in the opera genres. So this polling the chest voice too high is just a recipe for problems. So maybe the, the way to answer that is, um, there are ways, I’m not going to go into a lot of detail right now, but there are ways to get a stronger middle or mixed voice and a stronger head voice so that it sounds very chest, like a dark Darko. Hey, nice to have you here. Hey Chuck, can you explain about twain?
Is it okay to practice few minutes in a day? Uh, will not give me a lot of nasality or because I feel some mass residents and I feel great and feel ringing in my voice after I don’t.
So homemade mass while really? Yes. So now I got two things going here and Darko, um, you’ll be fine. I’m not sure exactly what you mean by twining, but if you’re talking about like the bratty kind of a brand new sound, you’ll be okay as long as you’re doing it right. Don’t do it loud and stay very, uh, in, in my, the way I teach it to stay. Uh, the way I teach this kind of ready sound is
nae, nae, nae, Nae, Nae, Nae, Nae, nae, Nae, nae.
You don’t have to do it loud. Um, but it helps. And we’re going to maybe get into that a little bit. Um, actually my, my video coming up this Friday, I, I addressed that a little bit. So going back to, um, homemade mass, let me just say, look, here’s, there’s a way to uh, sing into your head voice and not lose the power.
No, I’m in head voice.
Mom, mom, mom, mom, mom, mom, mom.
It’s not too bad.
Mom, mom, mom, mom, mom, mom, mom, mom, mom, mom.
Got a little bit of a crack there,
coming off a some, I still have a little bit of a bronchitis, but now if I said
Ma, Ma, Ma
tried to pull the chest voice up, that’s where the damage can come in. But it’s possible to learn to sing with very strong head and mix sound, um, without having to pull the chest voice upward. Okay, let’s get back to topic at hand. So, um,
you bet. Homemade mess. Hope this has been helpful and we’ll continue to be helpful. So let’s, let me, let me just address a what exactly his falsetto and then we’ll contrast that with head voice. If these were the vocal chords I were looking right here at your, at your neck. Okay. And I were looking at the vocal cords, it’d be looking like this. Okay, if you’re in Falsetto, you’re just on the very outer edge. Edges of the chords are coming together. There’s not muscle or the body of the court structure digging into it. And so that’s one condition of this falsetto is this very lightly, are the edges coming together now? Um, so that distinguishes it from head voice, which is including more of the body of the chord structure. Okay. So that’s one difference is that in contract, so let me say that we, that falsetto and head voice do vibrate in the same area of the body in the head. Right? And so the comment, this comment was made, he said that he said they sound exactly the same and that’s why it’s so darn confusing. They do sound the same. Listen.
Which one was falsetto and which one was head voice? I’ll do it again.
I’ll change the order. Ha. Well, okay. Same order.
What do you think? Well, one was falsetto and one was head voice. There are so similar in their sound and yet, so let’s make this not a discussion about that they resonate in the same place they do. They do resonate in the same place. Typically, unless I try and pull the falsetto down, which I can’t get very far before I have to, you know, before I, I had to stop and have to clunk back into chest. But fundamentally they do resonate in the same place. So it’s not about that they sound different or similar and it’s not about that they vibrate in the same place. What distinguishes what, what’s different about them is not even so much initially at least the sound, but the condition of the vocal cords. One is that in in fall settle the just the outer upper area of the chord structure is just coming together lightly and there’s a lot of air passing through, whereas in head voice their gear, you’re getting deeper into the vocal cord. And uh, there’s, well I’m not sure on on the air, but there’s, there is there certain muscles that are engaged in the head voice that are not engaged in falsetto. Okay. So there’s certain muscular portions of the vocal cords, the don’t engage when you’re in falsetto.
Okay. So let me, uh, any, any questions or comments about that? So that’s a difference. There’s a different muscular coordination between falsetto and, um, and head voice. All right, so backing up here, just to pick up a, let’s go to, uh, so ink kinks, is it, what’s the difference between the light head voice and a light mixed voice?
Can you demonstrate it? Um, I don’t think that, I think that probably the difference would be that, um, I’m in on different pitches and so I’m getting different over tones depending on the pitches. But in terms of physical coordination, I think they’re very, very similar. As you go higher. I think that there’s less body. I think there, there’s less, uh, abduction. But I’m not being scientific about that. I’m going to, I’d have to check with somebody who was a scientist, however, so I can demonstrate both. Mix Light, mixed light sounds like a drink. Uh, light, mixed voice and light head voice. But the difference is really where is the pitch because let’s just say it’s right here.
that’s a g. That’s my head voice. That’s where it head voice begins for men. But let’s say, let’s do, do it. A note, a note down the whole note down.
that’s mix. So there’s not a lot of difference between those two, except those two pitches are different. And so there’s some overtones that are present.
And, and um, some lower overtones precedent, the lowered mix and some, uh, some of the missing and the higher end, the higher head voice. No. Say go up a couple notes. Well into head voice. Be Flat. Mama, mom,
mom, mom, mom. That’s going to be different because there’s really not much, uh, of the lower head. Uh, uh, uh, um, there’s not as much. There’s not, there’s missing overtones from the bottom because I’m so far into head voice. So let’s, the major difference is just the head tones or the overtones are going to be different and um, whether it, you know, uh, so soft mixed voice, soft head voice, the difference is going to be the overtones. And Chris Marvin says that’s because the sound of pushing the chest at the top is way more pleasing and, uh, than using falsetto or head voice. Yeah. Chris. And it’s a shortcut. So people who can’t mix our can’t sing and head voice with power or strength that they revert to the pole chest and that’s what gets him in trouble. Or they choose not to because they’re concerned that it’s going to change their sound, their signature sound.
And so I wonder sometimes if a singer who’s made a, you know, uh, millions and millions and millions of dollars and sold millions of songs is worried that if they start singing correctly, it’s, they’re going to lose their audience of, because of the fans expect a certain sound. The problem is that they lose the singer, you know, or the singer loses their career. And so that’s the trade off. So you really want to start your career singing correctly. You know, you want to start at the singing healthily and uh, and take the time and invest the energy and the money and the, and the, the practice hours and so forth to develop the strong, stronger, more powerful middle or mix and, and head voice. That way you know, you’re, you’re able to do it, do it all. And great question. Okay. So let me, uh, let me try and knock off a couple of these other comments and then it’ll jump back in because we need to get to a couple of other really important points. A differentiating between falsetto and head voice. Um,
homemade mass. What, that would be wonderful to know. How to sound stronger on the high notes. Thank you so much. Um, so homemade mess in short, it’s a longer process, but it begins by figuring out what your vocal type is. Let me just stop now and say, if you don’t know your vocal type, that is, what do you tend to do is you sing higher, maybe a, in Chris’s case he’s referring to bike pulling the chest voice. Maybe you pull chest or a or have a high larynx that’s a vocal time. Or maybe you go breath of your light so that you get through the top. So your light chest, no chest, or maybe you tend to break into falsetto that would be flipped falsetto. Uh, so in the description below this video, there is a Pete, a free pdf entitled get your vocal type, get the free pdf, download it and it will take you to a link to take a vocal test and the vocal test.
Then there’s a quiz. You take a quiz and you send that in and it will come back with the answers and there’s a little thing you can figure out what your vocal type is. And once you know your vocal type, then there’s links to the videos there. You can watch the get information about your vocal type and there’s free exercises to download to help you start learning how to uh, sing high notes without having to pull chest voice. Okay? So the first thing you gotta do is you’ve got to learn how to transition from chest to head, chest voice to head voice without pulling up the chest or without going really breathy or without breaking or cracking in the falsetto and so forth. So, uh, get your vocal type and get, get all those links are right there. It’ll save you lots of time. That pdf will, it’s free. It’s in the description below. I’m going to probably put it in the card, uh, up in the upper left corner of the video. Okay. After the fact. Okay. So, um, let’s, let me just, uh, let me talk about another distinction between falsetto and um, and head voice.
When you are in head voice, there is a muscle activated called the thyroid or written annoyed muscle. Sometimes they refer to it as the ta thyroid or written annoyed that muscle is activated and head voice. That muscle is not dominant necessarily in head voice, but it’s participating. There’s another muscle called the Crico thyroid that uh, becomes more dominant as you go higher. This is all kind of, you know, I can’t really relate to it as a singer per se. Um, at least I did earlier in my singing. I’m starting to understand a little bit more now and so I can kind of feel the difference in falsetto the thyroid or written annoyed. The ta is not participating. It’s not engaged, it’s not, um, it’s not being used is not activated. And uh, and so in falsetto there’s a difference structurally in the production of the tone.
So even though they may sound both of them sound light as this comment or made the sound the same, there’s a fundamentally a muscular difference between the two. One of them has more muscle engagement. In the case of the head voice, that’s the thyroid or written oid is, is not, maybe not dominant, but it’s participating in the, in the, in the tunnel production. And, uh, the falsetto in falsetto that is not there, they’re just not, the ta is not activated. And so that makes a big difference. So when I’m coming back down from head voice,
oh sorry, yes. Falsetto.
it just blends in. Well, I’m going to theorize it’s because I, uh, my, uh, thyroid or written Lloyd was there. It was, it was still activated during that whole process. Uh, if I started down here and said,
the side right or written annoyed must be still activated because I haven’t let go of the tone. Didn’t disconnect. Now if I said, mm,
guess what’s not activated now?
someone will correct me, I’m sure. But I’m, I’m guessing that that’s the muscle re-engaging. Hey, uh, cause I was in falsetto and it was unengaged on the way up and disengage the tone, disconnected the tone, let go. And so that’s a result of one of those muscles cutting out. So there’s a muscular difference between the two. And, um, that’s what, what I teach is how to keep that muscle. Like, how do I keep, how to keep the tone connected that’s more relatable to me. So another words,
so that’s all one connected line. Oh my gosh. I had never thought I could ever do something like that when I was, I didn’t find out about this you guys until I was, well that’s about 2122 years ago. I was about 43 44 years old. And um, I had no idea I could do that. I stopped singing. I, I stopped at the e above middle c I just went to the high c or higher, maybe d. So, but if I break it, if I break the tone, it’s the tone disconnects on the way up and I go into falsetto. Yeah.
it’s resonating in the same place or vibrating in the same place I should probably say is more accurate.
but got to re conducted the tone was disconnected. Yeah.
So that’s the fundamental difference between those two. Now there’s some other issues. Uh, and that is if, if I’m in Falsetto, I don’t quite have the ability to, um, the intensity is somewhat limited versus my head voice. So I, you know, I can’t really demonstrate this. Well, I can be very loud with falsetto.
oh, that’s the high a, let’s see a bump, middle seat.
I can get more intensive because the chord structure, it’s deeper into the courts and I can get more, I can get more out of that. There’s more intensity that I can find. Uh, but I can’t quite get that with a falsetto. So, um, that’s a difference. A little bit of a difference. I think in some highly developed falsetto voices, um, that I’ve heard, um, and, um, highly developed female and male falsettos. When they really get up high, it’s hard for me to hear it, to distinguish the difference. Um, and some highly developed falsettos start sounding very, uh, brilliant, very bright. But here’s the thing, not all of the, not all of the Ma, there’s, there’s, there’s disengage to some of the muscle. So what happens to the muscle if you don’t use it? There’s an old saying, it’s called Wolff’s law. And um, anatomy is used a lot in orthopedics because these physicians are dealing with restoring, um,
Function of knees and hips and other limbs so forth. If you don’t lose it, you use it. Sorry. If you don’t use it, you lose it. And so I think the same thing applies to the falsetto. If, if, if we’re singing in falsetto all our lives and we’re not engaging that particular muscle, then you start losing the function. And so what do you get?
Whoa, Whoa, Whoa, Whoa, Whoa, Whoa, whoa, Whoa, whoa.
So a lot of people said, well, why do I hear that wobble? Well, it’s because you haven’t used a, the muscle and the voice,
f sharp. So as the top of my bridge, and um, so you buy by utilizing the full body of the court structure in head voice, or at least engaging all of the muscle and keeping the tunc connected, you’re also doing yourself a service in terms of the longevity and the health of your voice through the years. Okay, I’m going to stop talking and let me take a couple more of these comments here are, you guys are really a loaded up on a lot of things there. So let me just see if I can get, um,
a couple of comments hearing. So once you develop, your voice is singing. Let me see. Did I get that? A homemade mess and I get it. Wonderful. That okay. How do you, so can kick his ass once you develop your voice, is singing above the massage yo as easy as singing in the, in a light head voice or do you need more effort? No, it’s, it’s um, yeah, it’s actually easier to sing above the Pissaggio. I know that sounds crazy. I didn’t believe it at first, but it’s easier above the, besides of the close you to get to the beside show, the more the voice, the nervous system wants to go to chest. And so there’s a bit more discipline there, I think that has to be applied. Um, but it’s easier to, to sing above the besides you
and um, and uh, so eat, singing above the passaggio is in his head. Voice, whether it’s strong or light head voice, its head voice and um, there’s no, I don’t think there’s any more effort. It’s a little bit less hard. Let that less difficult than in the, besides you homemade message. Thank you. Very, very helpful. I actually have a sore throat today, so I think a hormone voice a few days ago. Please be careful with that. Oh my gosh, our voices are so valuable to us, aren’t they? Dark? Go. Hi. Uh, saying hi to ink. Nice to have you heard Darko. Um, well thanks. Darko says truck is amazing. You’re amazing. Direct. Go.
Daniel. Mark sales like falsetto on the first one. Yep. You were right Daniel. It was falsetto in the first, uh, thanks. Sync. The first one Joe. You heard it exactly right. You guys. That was the first one was falsetto when I said
yeah, it’s getting, it’s getting so that I can even hear this. It’s maybe harder if I went up higher.
Hi. You can hear. I can hear it. Okay. So, um, just Simon, you were right. First one. Exactly. So, uh, Hi Martha. Martha proud of him
or parts of pretend. Anyway, great to have you here today. My dream is to become a singer. You’re in the right place. Best exercise for head voice. Um, again, I recommend that you download the pdf below, get your vocal type, find your vocal type and then practice the exercises for your vocal type. And that will give you the best exercise for head voice for your voice. Starting out of the gate darkness. I pray everyday practice exercises like nay, nay nays mums a Baas. Uh, we, we go ugh. And I improve a lot. I practiced this a two hours a day. Feel good head residents Darko, you practice longer than I do. And so, uh, that’s dedication. John Calver. Hi, nice to have you here. John said, darkness is, I have one question. Need a lot or a need, a lot or less breath. We’re head voice.
As you sing higher, the vocal chords, uh, Elongate, they get longer and as a result they are, they’re stretching and so they’re getting thinner, thinner in terms of, uh, of thickness in the cord. And so it takes less air to in to sing higher, not more. If we use more errors, we sing higher. It tends to tighten everything and then you get, um, you get a, um, unwanted tension and then it gets harder and harder to sing higher and higher. So it takes less air. And because of the pitch, it also takes a, it’s also louder because the higher the pitch the morning engages the human ear. It’s very penetrative. You, it’s, it really, you know, it really, uh, get the ear going on those high pitches. You don’t have to sing it as loud.
Okay. Simon Jeffrey says, I w I think it would be very helpful if someday you started reviewing, if you started reviewed your followers, submitted singing songs with a certain category, say high notes, falsetto, et cetera assignment. That’s an interesting thought. So review my followers as they submitted singing songs or like within a certain category, say high notes or falsetto and so forth. Um, cool. I can, I’ll have to see what, you know where that leads. Thank you very much, Simon. I like that idea. Um, how would that help you? I’m curious you guys, anybody who wants to comment, how would me reviewing either my followers are like just reviewing some singers cause I see that going on. Uh, I don’t want to do it just uh, to, because everybody else is, a lot of other coaches are doing it. How in what way would that help you? I’m very sincerely interested in knowing how it would help you, uh, either to be, I think I get, I get it that if I reviewed your voice in certain, like a song of with the high notes or whatever, I understand how that would help you. How would it help if I reviewed, um, Ariana Grande’s let’s say, or, uh, Michael Bublé or [inaudible] or something.
Uh, I’m curious, how would that help? I appreciate any comment in the below. Just as brief as you, you want to be any of mark says, uh Oh, he’s just less breath for head voice and resident sounds. Breath compression is used to hit higher cleaner nuts. Breathlessness dries your throat. Okay. Awesome. Nice answer. Uh, Daniel Mark, his job brotherliness dries your throat affects healthy court closure and clean tone. Nice. Um,
How many messages you have? A great voice. Is Egg Yolk with milk? Really amazing for fixing a voice to sound better fast?
Homemade mass. I don’t think so.
There’s, you know, B, if you think about it, the vocal cords themselves don’t really, they’re not really bathed in the liquids we drink. It’s more of what kind of seeps through or something like that. Because when we swallow, the epiglottis closes over the, over the top of the cord so that we don’t in inhale or aspirate fluids. And if we do, you know, we start coughing and, and the vocal cords try and get that liquid out so that we don’t fill up our lungs with, with fluid and, and stop being able to breathe. Right.
I don’t really have a formula for what’s, you know, for, for making the voice.
Sound better. Um, I think probably your best bet is stay very hydrated with water and get lots of sleep, plenty of sleep and um, and stay healthy. And in other words, didn’t want to sing sick if you can help it. Uh, but I am curious a homemade mass, if you’re having a vocal issue right now where you’re trying to heal something, just wondering. She said, or he said, why do I think you’re a sheet? Did you say that earlier? Maybe your heat Inca King Jack. How do you know when your voice is developed?
MMM. Ah Huh.
Is it ever fully developed? Um, don’t the pros keep working? You know, I know I’ve heard Seth Riggs talk about this. He was on tour with Michael Jackson, um, met multiple times and I think of the thriller tour. He was vocalizing Michael three times a day. The first time it was like an hour. The second time was like 30 minutes in the s and the third time was 15 minutes before he went on. And this is throughout the day. So Gosh, you get a person at the top of their game like Pavarotti. Who said he worked on getting the F above Middle C for 10 years? When is your voice fully developed? I don’t know the answer to that. Physiologically. They, I’m told somewhere around for, uh, some voices or I’m not sure if it’s this male and female, but somewhere in the late twenties, physiologically it’s fully developed. Maybe that’s the quick answer to that, if that’s, if that’s makes sense when you’re like 28, 29 years old, something like that.
Okay. Somebody whose message is being held for review a Angus, oh, that’s maybe what’s being hid or, uh, being, um, so let me just, uh, take that one out. Maybe that’s being hid from you guys. Okay. Sorry. That was my cousin and he said, okay. Okay. Scared of the pills. Uh, sorry. That was my cousin. Okay. Omar, how much can I learn? Can I improve by the end of this year? If I practice very, very hard, I am able to sing in tune and understand when it’s off. Your videos are awesome, by the way. Thanks Omar. You can improve a lot by the end of the year. You could improve it a lot, um, by the end of the month and, and so forth. I mean there’s, there are moments of, of a plateau, we think our plateau, but they’re not because we’re developing, we’re growing, we’re improving, we’re developing strength, we’re doing, we’re getting balanced with all those different things.
And so I think that’s a, a great runway of opportunity for improvement. And he says, I think it could help if someone is singing the same way as one of those celebrities. Okay. And has developed some of the bad habits is them. Okay. All right. Thanks. Ink. That’s a good, that’s a good thought. Uh, homemade mass. I am a, she. Okay. She, sorry for the reference to the male gender, uh, Simon Jeffords because when you listen to yourself over and over, you’re more prone to blind sight and he followed her. Inaccurate technique would be good to get your opinion. Good. Nice comment. Thank you. Yeah, I think, you know, and I think that’s a good point. And that’s a good reason for lessons by the way, is that it’s always nice to have another set of ears listening in on what you’re doing. And I think that’s why provost still could to study.
The very best can still continue to get checked up periodically.
Uh, because they’re pros. Now there’s some exceptions. I know there’s some, some people out there, I’ve never had a voice lesson in their life. I think I heard Donny Osmond was one of those, just never had a lesson. Just, uh, got, uh, you know, wonderful gift. And of course he’s taking care of it. And I know he’s done exercises and things like that, so I’m probably talking out of term, but I’ve, I think I’ve heard that he’s just never had a lesson. John Calvin says, I think the review of student’s idea would be good to show that where people are going wrong or right. I’m not sure how many would submit their voices. Yeah, that’s the issue, you know, um, it would be very valuable for others, I’m sure to hear. But do they, do you want to show all the wards? You know, excuse my voice or a I, like I said, I’m getting through, um, some bronchitis last couple of weeks.
Okay. So, um, I’m going to say P B, I’m 16 years old. Should I practice it? Become a good singer. Yes, absolutely. Uh, you can, um, if you haven’t seen this, go search on my website, teenage boys, and there’s a couple of really great videos that would really be helpful for you. So totally, yes. Stay with it. Because you can make some progress even though you’re going through your vocal change now. Absolutely. And Joe says, yes, you’d be able to hear our weaknesses and possibly help us with our problem areas. Uh, the question is, Joe, where’s you’re willing to let everybody else see that? I just realized I have a vocal range of five octaves. Well Nuno Wow.
Okay. That’s pretty darn good. Alright, you guys. So, um, let me just, let me just check here and see if, um, are there any other questions about falsetto versus head voice? One of the things that, here’s what I answered. I said to this comment, or this may be one of the best questions I’ve received about the difference between falsetto and head voice. Even after two years of listening to and doing exercises from tapes, et Cetera, I still was confused what my own voice was doing for the exact same reason that they sounded the same and they were vibrating in the same area. But this is not falsetto versus head. Voice is not about sound per se.
Both head voice and falsetto vibrate in the same place in the body. So in some ways they do feel similar and sound similar. I think that what they sound more similar than they feel.
I can tell the difference now just by feeling it, but early on I could, but this is about the condition or coordination of the vocal chords, not the sound with Falsetto, the ta, the thyroid or written annoyed muscle is not activated. It is not participating in the production of tone. In contrast, in head voice, the ta is activated in participating in the production of tone. I’ll be it not, it’s not the dominant muscle, but it’s, it’s still active. It’s still active, active in contrast and head voice. The ta is activated in participating as a result. This allows the tone in head voice to blend into chest voice. In contrast, when you try to blend falsetto into chest voice, you must first activate the ta. This is why there’s an abrupt interruption in the tone. We’re trying to blend falsetto into chest voice. Now we mentioned a couple of the things that we’re, we’re in, we’re activating the full muscle. So we’re, we’re using it and developing it with our head voice. Whereas falsetto, if you don’t use it, you will lose some of the muscle. Um, and the court and it as we age, we particularly begin to notice that because we get the, um, the dreaded wobble.
Oh, Whoa, whoa, Whoa, Whoa, Whoa, Whoa, whoa, Whoa, whoa.
And it’s because we have not used certain parts of the voice. And um, and falsetto is one of the, is the main one of the, one of the reasons, okay. So, um, there are no such. Okay, Yada, Yada. Darko asks or says a chuck. I practiced more mix and head voice this two months I’ve itiner and I, and my, and I’m teacher tells me to not forget chest voice because I will sound more feminine if I only practiced high registers. Is that true? So dark. If you’re, if you’re in the gym and you’re exercising your legs and you’re only exercising the quadriceps, the front, you know, you’re, you’re, you’re, you’re lifting your legs up and you’re exercising the quads, but you’re never actually exercising the, um, the hamstrings, the back of your leg. What do you think is going to happen over time?
You’re probably going to do that, have a weakness in the, in back of the leg and, uh, you may even be susceptible to injury. Um, and maybe you’re going to be a little off balance. Maybe you’re not going to have the fast star or the quick stop. What are some of those areas? I would say the same is true with the voice. We want to exercise the bottom, the middle and the top. And we want to revisit that almost every day whenever you practice. So I would say, um, that I don’t know that you will lose it, but you may not have a, you might lose something off it, maybe not all of it, but there may be some weakness in it. So I would say do a full body workout so to speak. Inc says chuck is the difference between false settled. I had voices, the falsettos breathy a head voice has closure to it. It’s not about sound ink. It’s not about something I can do a pretty breathy head voice,
Oh, oh, oh, whoa.
And it’s vibrating the same places.
it’s about the musculature. So review the video when, when it’s on, when it’s back online. Um, and you’ll see that there’s some muscles missing in falsetto us as Darko. I think that yes, you need to practice your chest voice to, uh, Omar Rashid using your content as well as that which is on the Internet and with my friend’s opinions, can I become a great singer without the need of a vocal instructor? It depends, Omar, on your gift. If you’re a gifted singer, yes. If you’re not gifted or uh, you know, like separately, exceptionally talented. I would say no George, no wobble here. Chuck. Awesome babies has served as a good to sing song too much. Or uh, we shall or shall I practice only vocal exercises. Do both PT a PB do both exercises and songs if you can. Right now it’s tough. I know, uh, being 16, the voice is going through the change and you’re probably got a break in it, but it’s possible to reconnect the bottom to the top because when I, when my voice changed, I stopped singing it at the e cause I thought that was the end, but it’s not,
it’s possible for you to find that again. So, uh, it takes a while at your age, but it’s there, it’s there, it’s there to be rediscovered and [inaudible] and used, um, when you come alive again. Okay. So I can, I go live every week at the same hour. Okay. Wherever you’re at in the world every week at the same hour. Same day, same hour. Okay. In the United States, uh, in the West, I’m in the State of Utah. It’s 2:00 PM mountain daylight time. And then when daylight savings time is done, then I’m a mountain standard time. All right, you guys, I got to run here. I’ve got some students coming in for lessons this afternoon. Thanks for a great discussion. I hope that this has been beneficial and helpful to you. Um, thanks for your great comments and um, and I, I appreciate the, uh, the insights that you shared today with me and with our fellow singers. So thanks very much. I’ve chucked Gilmore with power to sing and today power to sing live. Remember, you can sing higher with beauty, confidence, and power, and I’ll see you inside the next video. We’re going to end the stream.
Hi, it’s Chuck Gilmore with power to sing live number 125 thanks for joining me today. We’re going to be talking today about Flip-Falsetto vocal type and understanding your voice. So welcome to those of you who have joined us already are waiting there. And uh, in the waiting room, I guess you’d call it a I say hi to uh, Jesus number one on the list there. I used to have you here at Jesus, uh, Amir, uh, Official and Nuno Silva. Hi You guys. Nice to have you here today. So is there anything more frustrating and maybe even more embarrassing than singing your song and you’re right at the money note where everything is supposed to be fantastic and all of a sudden it cracks or breaks or it flips right in the middle of the note. Oh my gosh, how embarrassing. Cross my fingers. Hopefully, uh, never will happen to me.
It hasn’t happened yet, but I’ve seen plenty of examples on, on the Internet. You’ve probably have seen them to where the person singing, ah, and it cracks. Now, I know there’s an instance where even Pavarotti was singing a song and he’d been ill I think, but he was there, you know, doing his job. And, um, he had a high, I’m not sure what, what, what the note was like a high B or something. And sure enough, he had a little flip right in the middle of it and he said he was booed, believe it or not. So audiences aren’t very tolerant of things like that. At least the operatic, uh, um, audiences. I remember being in a, in my area here, we have the world famous, a tabernacle choir, uh, from the Church of Jesus Christ of Latter Day saints. And they, they’ve been, you know, broadcasting for 80 years or something and they invited a guest artist.
It was at… Christmas time program I think, and a well known, well known bass, singer. And right in the middle of one of the songs, uh, flipped. I think he was sick. I think he had a cold, you know, and so we can’t really, there was just some instances that if your voice is sick and you’re under the weather and you have to be performing or you are performing, um, and it happens, unfortunately, there’s really not a whole lot to be done. But today we’re going to talk about exactly what we can do. We’re going to talk about what it is, why it’s happening, and what you can do to eliminate this from ever occurring in your singing. And um, the only exception is that if you’re sick, the vocal cords are swollen and you’re, um, everything is harder. Simply just simply put, everything is more difficult.
You virtually have to be perfect in every way, uh, and be so very careful. And in many instances, take the lower note rather than the higher note and those kinds of things. If you’re sick, that’s not our discussion today though. Our discussion today is what do you do when you’ve got, um, the tendency to have this happen or if it happens in your voice and you just don’t want it to happen again. Okay. So hello to Vicky Williams and Jo Wesson. Hi you guys. Nice to have you here today too. All right, let’s get down to a business here. I want, I want it to be very in these live broadcasts. I want to get right to what we’re talking about here. First of all, please tell me, have you ever had your voice crack or flip while you were singing or while you’re performing yes or no in the comment section below? Yes. You’ve had that you’ve had a flip or a crack or a break? No, you haven’t. Uh, let me know in the comments below. Also, if you’re new here, please subscribe and, uh, you know, give me, give it a thumbs up if this is helpful to you today. And share it with a friend. Okay. All right. Now, so the topic is the Flip-Falsetto voice type flip. Flip-falsetto voice type is something that occurs when we sing. So if I were to demonstrate the flip or a, the flip into,
On the flip while I’m singing, it would be something like this. There’s a couple of ways that happens. So I’m going to demonstrate, uh, both of those ways that you can get a flip or you can like flip into or crack into a falsetto. So,
so on the way up or if I’m singing up. .
and it, it cracks. Um, that’s one way that it happens. Another way it happens is if, if you’re singing….
And you just let go. And that happens and I’ve seen it and I’ve heard it. So that’s another flipped into falsetto. You don’t hear the, uh, that kind of thing. But the reason why you don’t hear it is because they bail out before it happens.
Now, they have to, if they do that, oftentimes it’s letting go right into a falsetto because they don’t want it to go so light and so heavy that it doesn’t sound ….
That it brings attention to itself.
well, I’ve transitioned into falsetto, so I’ve, you didn’t hear the flip, but I’m into falsetto. So that’s step, that’s the second way it happens. It’s just, you let go into, you just purposely transitioned into falsetto. Um, the, there’s another flip or flipped into falsetto or crack or break. And that is, it’s it, you’re singing along.
but you reconnect it. So right in the right in the middle someplace, it, it does a little crack break and then you reestablish the connection or a little little flip, a momentary, ah, and it, it goes back into your mix or into the head voice and so forth. Um, so it’s possible that you get like a road bump. Like there’s this right in the middle of the vocal tone, right in the middle of the line is ah.. And, but you reestablished the tonal connection and keep going. That happens and it’s unwanted, right? Nobody wants that to happen. So the same things that cause, um, the, the sudden flip and crack, uh, into falsetto. The same thing that causes this, the let go into falsetto is what’s behind that as well. And I’m not talking about maybe some stuff on the vocal cords, some phlegm or something that you encounter and it sounds like it’s flipping or cracking.
Now I’m actually talking about a momentary disassociation. Ah, losing the, losing the cord structure that’s in place. It becomes unstable for a moment and comes back together. Okay. So what, that’s, so that’s the illustration of what is the Flip-Falsetto..Number two now is what causes this from this, what causes this to happen? And I think in, there’s two things, but they’re both related to the big one there. It’s the larynx coming up or which, you know, if, if we keep keeps singing this way, as the larynx comes up, it’s going to, um, we’re, you know, it will cause us flip or this crack or break into the falsetto. And the second way is you feel it coming up and so you just switch because we don’t know what to do with it. That’s the let go of it.
So you don’t hear an actual break. You couldn’t hear a difference in the quality of the tone. But you do that because you don’t know what else to do because you know, you can’t keep carrying up the bottom that you can’t keep, you can’t pull up chest. And so there’s not, it’s not a lot of weight that you’re pulling up, but you sense that there’s this transition coming and the larynx starts to come up and you just switch to get out early and you can kind of Save, save yourself from this abrupt crack, this abrupt break or um, flip. And so essentially it’s caused, now I’m not talking about this is the exception of course, is if you’re sick, if you’re singing sick, the vocal cords are swollen and so forth. All of that aside, if you’re perfectly healthy and this is happening, it’s the larynx that’s coming up. And so that brings us to number three. What do we do about it? How do we, and why isn’t this, why isn’t the vocal type then pulled chest high larynx if that’s what causes it? Well, it’s not pulled chest because we’re not saying, ah,
you know, we’re not pulling up the bottom so it’s not pulling up the chest, but the larynx is starting to come up a little bit. .
So it is the sensibility of the, you know, is going to, it’s going to do it if we don’t change, if we don’t transition, but we just don’t know how to keep that larynx down at it’s speech level resting where we normally talk. And so, um, it’s a little bit different than the pulled chest high larynx, kind of vocal type that’s usually characterized by a lot of muscle, a lot of loudness and a lot of the polled pulled up from the bottom kind of thing. And the larynx really, you know, skyrocketing through the ceiling, so to speak. Whereas the flip into falsetto, um, isn’t quite the same sensibility. It’s not quite the same emotional experience as the pulled chest high larynx. A little bit of a distinction between those two, especially in how we approach it in a way. Um, the exercise I’m going to show you right now to how to guard against or how to, I guess we’re gonna retrain the nervous system and keep that larynx down. Uh, and also that, that’s the one part of this. The other part of it is if you’re just letting go, then um, we want to help you gain some confidence through that middle, through that bridge area, through the Passaggio. We want you to develop the confidence to know you don’t have to let go. There are ways to get through that and maintain that same tonal quality. So
how do we eliminate it? Number one is with an exercise called the G. Well, if you put your hand here on your Adam’s apple lady, she had to kind of trace it down here to feel that first, that first prominence as the Adam’s apple. Yours is much smaller. So you kind of have to press into your neck, trace it down, and feel that if you’ll put your finger there and guys, you can find it easier and just say a really stupid sounding good. You should feel it. Move.
it drops down. Now if you just say Duh, Duh, Duh, it just sits there. But if you say it drops, so we’re going to use that dopey sound as a tool. It’s a temporary tool to hold the larynx down during the exercise. So instead of saying, Duh, we say gee kind of a Dopey gee. And say Gee you notice I’m, I’m keeping that imposed feeling. I keep me that dopey feeling on the larynx and I’m holding it down with that dopey sound. Ladies, you would start here.
and keep going up.
Now if you lose the dopey sound, it starts sounding a little bit squeeze. (sings).
Gee gee gee.
You could hear how that changed.
You want to keep that same imposition. If you do keep it imposed like that with a dopey sound. If you don’t lose that, if you lose the dopey sound, it goes, it goes. Um, as I just demonstrated it, it gets a little thin and tight.
(sings), Kiki, Kiki, Kiki.
But if I keep a dopey, gee…. But you could hear the, the extra space it creates by lowering the larynx, it sounds a little bit hootie or a little bit hollow,?
But we’re retraining the larynx to stay down so that the vibration can go up into our, uh, through the bridge and into our head voice. But the larynx doesn’t have to go anywhere. So, so ladies, you would keep going.
If at any point you say, gee gee you know the larynx is coming up and you’re losing, uh, that because you’re going to hear that you’re losing that dopey sound.
Oh, so that’s retraining the larynx to stay down. No, the guys do the same thing.
Now, another exercise to work on this is to do the octave repeat exercise. Sounds like this for the guys it would be
No. And, and the, let me give it a little tip. So, Ooh, Ooh. With, ooo lips.,
Now, that’s the, and the guys octave, that was the high A. That’s where the lady’s begin in their bridge. Lets Take it there ladies. And you would sing
c sharp now. Top of the first bridge.
So obviously Jo, I think you would bridge where the guys are bridging. If you’re, uh, if I remember right, your contrato, uh, any of the contratos bridge where the guys do e, f, f sharp, uh, for the bosso. profundo’s and Cantantas, the very low bass voice. It would be the same thing only on the a,
so it’d be, uh, so gee….
we would do the same thing as the ladies are doing an octave lower for the Bosso Cantatas the lower bass voice. Now that’s one way to keep the larynx down. And how do you, how’s that translate to the song? Well, when you start practicing this, you want to do the exercises like this because it’s going to inform what you do in the song. It will begin to re, um, retrain the nervous system to create new muscle memory doing it this way. And so it’s very, it’s a very effective way to, to be able to begin singing and keeping the larynx down. Now the second strategy is an addition to the exercise is to take the song and, and just do it on a dopey gee. So if I said,
oh, I don’t know what a good song would be, uh, whether they don’t arrest me for doing it on live broadcast, uh, it’s getting so anymore. You can’t do anything without getting, um, a copyright strike against you. Uh, let’s just say it’s, um, uh, star spangled banner. I don’t think is copyrighted. (sings).
If I said uh MMM,
so if I were in a, in a, uh, well let me do it for a man’s voice.
That’s an example of doing this as ladies. You would, you know, whatever key you’re doing it at. You were up here on the c, d flat, e flat. So you want to do it with a dopey sound, dopey gee, and then translate that then to
it did do it a little bit dopey. Let me see. I’m not going to try that.. and the rockets red glare
So you went to try and translate that, um, exercise into an exercise with using the words..
and the rockets red glare gee gee…
So you can hear the larynx coming up.
you want to be able to, uh, keep the sensibility of that larynx down while you’re practicing the song and then you get more and more normal. (sings).
and the rockets red glare.
So that it doesn’t, you’re not singing it dopey because we don’t talk that way. You don’t want to sing that way, but you come from a position of keeping the larynx down and then gradually go more and more normal. All right. That’s step number one. Step number two is the, suppose you are the Flip-Falsetto type that just lets go. So as I demonstrated it,
uh, it’s just you bail out before you have to face it. Well we want you to develop some confidence there to know that you can get through there and not have to let go into falsetto or flip into falsetto or risk the possibility of cracking. So you could use this gee gee gee and that will be very effective. Another way of doing it is
nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, nae, Nae,
just a little bit of that funny, Nae, Nae, Nae,
Nae, Nae, Nae, Nae, Nae, Nae, Nae, nae, Nae, nae, Nae, Nae, nae, nae, nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, nae, Nae, Nae, nae, Nae, Nae, Nae, nae, Nae, nae, Nae, Nae, Nae, Nae, Nae, Nae.
Now I’m all the way through the bridge. If I am the guys, if I’m singing a, if I’m one of the in the, in the girl’s register in the girls, uh, keys and you’re bridging at the beginning of the a above middle C
Here’s from d to d, Two a
nae, nae, nae, Nae, Nae, Nae, Nae, Nae, Nae, nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, nae, Nae,
a little bit of a funny
nae, Nae Nae.
So the nae nae nae works great to, to build the, the confidence that you don’t have to let go of it in that bridge area. Okay, so you can do the same thing on those, on the octave repeat exercise,
name lady’s name, nay, nay, nay, nay, nay, nay, nay, nay, nay, nay, nay.
And by doing this exercise through the bridge, this is a high seat.
Hey B flat. Hey Nae, nae, nae, Nae, Nae, Nae, Nae, Nae, nae
and you start building their confidence that wow, I can, I can sing those notes without letting go into falsetto. And so it’s a great way to build the confidence. Guys… The same exact thing. You were started at the a flat
name, name, name, name, name, name, name, name, name.
G, F, sharp.
. Dang. Nae, Nae, Nae, Nae, Nae, Nae, F, Nae, Nae, Nae, Nae, Nae, Nae, E, Nae, Nae, Nae, Nae, Nae, Nae, Nae, nae, Nae, nae.
So there’s two very, very powerful exercises. That doppy gee. uhm going more and more towards normal gee uh, and the nae nae nae, start out a little bit funny. Take it a little bit more normal as you get more and more secure in it.
Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, nae, Nae, nae.
So you want to get to to normal as soon as you can because we don’t talk that way. Why would you want to sing that way? Or we go talk to like that, so we want to get it to our normal speaking voice but with now or retrain larynx, new muscle memory, the larynx is staying down, begins to get the feel and understanding that it doesn’t have to go up to two to help us there. We can do it without the larynx. Rising and that leads to no flips, no cracks, no breaks, we can eliminate that all together. Um,
so all of those, these exercises that we’re, we’ve, that I’ve shown you the different scales truly help to retrain the nervous system because we get into these habits of singing early before we know what to do and they work. some of them, but unfortunately also, uh, cause the tone to crack or break. And so we’re, we’re limited a little bit. Um, and, and the strength of our voice or in the agility of the voice, we’re a frightened by the middle, we’re frightened by the higher notes. And, uh, and so we want to deal with the issue, the issue being, um, keeping the larynx down or in the case of letting go of just building the confidence that you can go through that without having, just to let, uh, let go of the tone. Um, okay. So,
all right, so those are the, those are the three things we’ve talked about. What Flip-Falsetto is. We’ve talked about the, what causes it to happen. Uh, it was the rising larynx and, and, uh, a number three, a couple of exercises to address how you take care of it. Now just to wrap this up and then I’ll go back and ask, uh, answer questions. Uh, so I see. We’ve got a bunch of questions going here. Um, there are a lot of exercises that are available for the vocal type flip the voice type…. Voice or vocal type Flip-Falsetto and, and so I’ve prepared a pdf. It just says “get your focal type”. It’s in the description below this video and I’ll and put a card in up in the left corner here. Um, my left your right and um, I’ll have a link, a link it to get your vocal type of pdf download. The PDF it’s got links to the vocal test. If you don’t know your vocal type, you can find out by taking the test, it will give you a link to each of the vocal types. Flip-Falsetto in this case is one of the four and there are exercise, there are videos about the flip falsetto.
(sings). I just, uh, I had to you, that’s really interesting. I had it, I had a Mashup of different examples of flip- falsetto, but, uh, with the new regulations that are new laws passed in Europe, um, I’ve gotten probably eight to 10 copyright strikes now, um, that they’re, they’re going to ban my, some of those videos all over the world because I show examples of Katy Perry flipping or Sarah McLaughlin, um, you know, flipping into Falsetto, uh, other examples of singers, uh, flipping in the falsetto and cracking and breaking. And because I’ve got that mash up there, um, they want to pull it. I’ve, I’m, I’m trying, I’m fighting it. I’ve written back and said this is educational and the Mashup is to help everybody understand what it sounds like, what it is and actually see examples of it, but sometimes they just don’t care. And then the, the, uh, the video will be banned worldwide.
Um, I’m hoping that that’s not going to be the case, but if you go there and look at one of the videos and it says, uh, this has been removed or you’ll know why. Um, so download the PDF, it will save you lots of time. What they won’t be able to prevent is you can download free exercises for the flip of falsetto vocal type as well as pull chest high larynx light chest -no chest and mixed vocal types. So, and this pdf was to save you time. It’ll take you right to the links that you can get these. All right, thanks you guys. Uh, that’s getting down to business. I covered it all in less than 30 minutes, but I want to address your questions here. Okay? So,
we have, um, Elmir Official says hi me again. I mean, did I miss somebody? Okay, last time I said I have a nodule on my left cord. Now I have two questions. If I don’t speak at all, can I get my voice again? What did the doctor say? Elmir, let me know. Um, please, what did, what are they telling you? Is that it is a good to do some voice therapy exercises. If I have a nodule, is it a soft nodule or is it a hard nodule? A Nuno says hi. Hi. Nuno. Nice to have you here. I’m flip-falsetto. Okay. I hope this has been helpful for you today. You know, let me know if you’ve got a, I’ll check and see later if you have some questions. Vicky Williams. Hello Vicky, great to have you here today. And Jo, as always, great to see you and very nice to have you here.
Omer… Kozik hey vocal Freud,, um, s Shoddy. Hi, nice to have you here today. Um, just two questions at the top. please, um, so, you Nuno says I’m flip falsetto but kind of, but like I kind of can control it, but yes, already has happened to him or to Nuno her. Sorry. You know, I’m not sure which. Um, I’m thinking you’re a guy, but I can control it. Um, Vicki Williams says, Oh yes, he’s had that, um, you know, says he’s learned that with my videos. Awesome. So Darko, Fivebones, I’m so happy to, to find my mixed voice with structure size. Now I need to work on my belting mixed voice. Give me some advice. Um, what do you mean by belting Darko Fivebones? Uh, there’s a lot of different, um, definitions of belting. I don’t teach belt per se. I teach mix and, and so, uh, how to blend to the chest and the head voice and it can be very, very powerful and a lot of people think it’s belting, but it’s, it’s not.
So I’m not sure exactly how you’re defining belt. Some people define it differently. Um, okay, so Ink that chuck, I can get above the, passaggio with the mum exercise and it’s connected, but I’ve been doing it for two weeks and it’s still at the same closure volume. How do I make it grow a give it another two months? Ink, keep after it every day it’s going to get better. Uh, you know, if you told me that you’re training for the marathon and you’ve been you’ve been working on it for two weeks, I would say you have another couple of months, two chooks. Highest Nice to have you here Two Chooks. Uh, thanks Vicky. I hope that that’s a, you find that to be a helpful exercise. Um, and remember we can always take the exercises and, and put them into the song and use it for the same benefit of the nae, Nae Nae, the Dopey gee. Uh, any of the exercises that we do can be inserted right into the song, replaced the words, and then go back and do the words. I’ve got a video coming out this Friday. In fact, that shows an example of using the nae nae should be really helpful. Um, ToChooks is when I sing falsetto. I sound like a dying cat.
Huh. Um, don’t sing falsetto twoChooks, whatever you do. No, no. Says a twochucks. (sings), that is normal. Wait a minute. You just falls out. It kind of sounds like we have a feminine voice. (sings), no, I mean, that’s for sure. I call it im my Minnie mouse voice. Either Mickey or Minnie. Either one.and there’s just no depth in it right now. I can go lower. I can take it down to here, but that’s about it. Ladies, you got an easier though. Sometimes people can’t tell when, when you’re singing high notes, at least you’re in falsetto. But, uh, of course you don’t need to be in falsetto. And that’s the great thing about this head voice stuff. Two Chooks. I flipped from soprano to almost baritone. (sings).
Huh. That’s what happens to us guys. A copyright thing is big. It is big. Uh, it’s going to change, uh, Vicky, the way, um, creators on Youtube, uh, do things. Um, and you know, there’s something called Fair Use, which is law in the United States. I don’t know that, that um, it’s going to fly in Europe and if it doesn’t, then I’m, all my, many of my videos are going to be contested because I’ve inserted examples in the, in the videos from singers online. So it’s a very, I think it’s a very sad thing. Um, Nuno is a counter tenor. Oh, okay. So I’m a guy, sorry. You know, you keep saying I’m a woman. I’m sorry. You know, I just don’t know anybody named Nuno and so I don’t know. And sometimes, um, I get really confused. Twochooks, I said I’m female. Oh, you guys are chatting together here. Okay. Um, okay. So, um,
(sings). You know, is talking to me, cause I called him a girl. Uh,
Anna Mancini. How do I get Vibrato. Anna? Great question. Um, well let me refer you to power to sing.com and go to play lists. And in the playlists, I’ve got one there that’s like four videos on Vibrato that will help you. There’s a lot of information there, but let’s, let’s talk about that for a second. Um, let me just have you, let me just give you a really what has to happen is the, the vocal chords need to feel what virbrato feels like and it will start to memorize that feeling and, and they’ll, they’ll start doing it. So one of the real fast ways of doing this is say,
shake the, shake your hands in front of you.
and stop shaking, but keep the vibrato feeling going. So if you could try that, that’s a really fast, easy way. And you can keep working that in almost every.. In your songs that you’re singing. You know, you can be singing along and, and let’s just say you’re again singing the, uh, your anthem national anthem, wherever you’re from and the States, it would be, um, oh, say can use
oh say can you see
by the dawn’s early.
So you could, you can start working that into your singing just by moving your hands. Now. Um, that’s what’s going to happen is you start the vocal cords, start feeling that, and then you’ll, you’ll be surprised. Sometimes you’ll be able to continue it without shaking your hands. And that’s the beginning of the memorization process. You want to hold it out long enough that the vocal chords can start to deal with it and start to practice it. Okay? So that’s one very fast way of just inducing the Vibrato. And, and so Anna, you do have to manufacture it. You do have to make it happen. I didn’t have vibrato either until, uh, about 21, 22 years ago. All I was told that if you weren’t born with it, you don’t have it. And I believe that for 43 years. And then I found out it wasn’t true.
And I learned to do Vibrato four 43, 44 years. I sang with a straight tone, no vibrato. And, uh, I, it makes me feel sad that I did that, but I don’t have to do it anymore, Vicky a Friday. Okay, good. So, um, Nuno said it’s sad to be a countertenor because I sound like a girl. Well, do you know, um, gosh, there’s some amazing singers on youtube that I’ve seen recently that have these amazing, uh, those, you know, they’re counter tenors and they sing pop and, um, so, you know, I am, here’s the deal. We all have to embrace our voices. There’s nothing to do about it. And, uh, and so you want to maximize what you’ve got because then you really find that you have some, you can do some things, you know. Um, for many, many years I didn’t like my voice
and, or I have a voice lesson. I’d put the cassette tape in. Does anybody know what cassette tapes are? Listened to it in my car right after I got out of my lesson, I would be so excited and I turn it on and listen to that. Oh my gosh. I thought I sounded so much better than that. But it takes a while. It took a while for me to get my voice worked out and so, but we’ve got to, we went to, we went to embrace our voices and I have, and here’s the other thing, uh, Nuno, not everybody’s going to like your voice. And I take this as a, um, here’s my philosophy. I do musical theater and in the theater where I, where I do shows, we’ve got about 520 seats. Okay. It’s a beautiful theater. And on any given night, I would say that maybe 20% of the people there when they read my, the program and they find out that I’m going to be, um, I’m going to be Alfred P Dolittle in My Fair Lady this summer.
And they look at it as a, oh, fantastic. I know him, I know his voice and I’m excited to be here. Uh, another hundred and other 20% are going to say, um, oh (sings), he’s okay. (sings), I’ve seen him before. Pretty decent. Another hundred. And I say, who’s Chuck Gilmore? I have no idea who he is. Another hundred are going to say, uh, you know, I would maybe like to see the other guy or, and then the last hundred gonna say, oh my gosh, I think we had to leave. I don’t like his voice at all. That is life. There’s only small percentage are going to like really, really liked my voice. Um, you look at a lLady Gaga has got Atlanta, no, 120 million Twitter followers or something. Um, but in terms of 7 billion people, that’s a pretty small percentage of people who like her voice enough to follow her on Twitter.
Right? So, uh, we don’t need a lot of people to make a living singing if that’s what you want to do. Uh, but I don’t like everybody. Everybody’s voice. Do you, do you like everybody’s voice that you hear? Now? We all have our preferences, our choices. So I’ve accepted that. I’m, I know there’s some people that are going to say, I love your voice and that’s all I need. Just a couple. Then my night is w and I’m happy and that’s happened. But I, I would never in a million years believe that it all 520 people thought that it’s just not, this is not life. That’s not what we do. We have our preferences. Um, and so embrace what you have. Cause there’s going to be somebody who loves that voice.
I’m looking at the notes are on the comments here. That’s why I’m looking there. A hi with ney like you do it, the larynx rises doesn’t it? Yes. Marion, it’s a slightly elevated larynx but it’s not as high as a pulled up pulled chest and high larynx. It’s, it is, it is off the level of speech level and that’s why it’s a temporary tool. Just look, the, the dopey gey is a temporary, we’re pushing it down or raising that larynx up with the, with the, with the, um, with the witchy ney get to get to normal as soon as you can. (sings). Temporary tool TwoChooks. I actually do the nae nae to the
Nah to the nay nay. (sings). Um, Nah, Nah, Nah. To Ne Ne Ne is as fine a nae nae nae to Nana is a great exercise to Nuno says, uh, uh, I can reach super high notes, but I like, uh, but like I sound like a woman, you know, embrace it, you know, but you could make millions of dollars with that voice. Theodore, how can I do the nae nae exercise without flipping? I think it’s pretty hard because my range is limited. Uh, so Theodore good question. Don’t do it so loud. Don’t do it as loud as I didn’t do it. Light. If I said
nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae,
plenty loud. And I’ve got a microphone sitting right here. So, um, you know, I pick up quite a bit of sound with this. Don’t do it as loud as you’re hearing.
Nay, nay, nay, nay, nay, nay, nay, nay, nay.
Just loud enough to be connected. You don’t want to be in falsetto while you do the nae nae nae. So take the volume down and you’re going to find that it’ll stay, it’ll stay connected. Um, if, if it keeps flipping, do the dopey Gee. (sings).
Theodore also, I’ve found that my teen boys, teenage boys, it’s tough. I don’t know how old you are, but, um, uh, 15, 14, 15, 16, 17. It’s tough for the guys, for the boys. So I just try and find anything that will work for them because they’re going through vocal change. Their vocal cords are getting fat thick, long, and uh, you know, it’s just, it’s insane during that period of our lives for us guys. Okay. Um,
Akshay, someone says, welcome. You’re here somewhere. Nice to have you here. Vicky says, uh, it’s amazing how singers listen / heed so well, but also liking your own voice got easier once I sang better. I know. It’s, (sings), it’s true. Vicky. That’s a good point. And so Nuno, um, you know, as you get better and better, you start embracing and liking your voice, but I think you’ve got to approach it with the idea that someday you’re going to like it and not be regretting your voice all the time. Thank you. You’re great. Your advice is. spot on. Thanks Ana or Anna. morbid productions. I’ve improved so much because of you. Thank you so much. Hey, thanks more. But I appreciate that. That’s very kind of you. Um, I agree with Anna. Vicky says, well thank you. You guys very kind. Morbid says, how do you strengthen your falsetto, uh, and sing louder with it. I lose my falsetto after warming after warming up my voice. I can only sing normally without falsetto, but without warming up, I can do falsetto very well, so morbid it’d have to, uh, I’d have to hear what you’re doing. Um, the way I define falsetto is a disconnect, a disconnected tone. It’s a disconnected tone. So if I said,
oh, that’s, oh,
you could hear, I was just connected because I had to reconnect into chest a head voice rather than, is it connected tone?
it’s a connected tone so I don’t have to worry. It’ll blend into my chest. And so,, I hope what you’re asking is how do I strengthen my head voice because I’m trying to eliminate falsetto. We don’t want to have to rely on falsetto.
so thats headvoice’
no break. So, uh, how do you strengthen your head voice? First thing you have to do is learn to bridge. You have to be able to go through e f f sharp without a disconnecting, without pulling, without going exceptionally light or without flipping or cracking or breaking. So I recommend that you, again, you go to that pdf, make sure you get my vocal type, take the vocal test and uh, and then do the exercises for your vocal type, uh, whatever that is, because that’s going to help you stay connected into head voice. And, um,
that’s going to help you stay connected into head voice. I’ve got a gentleman and I’m going to be teaching at, uh, on Skype at three o’clock, giving me a message. So, hi, Christopher. Um, okay. So do get the exercises for your vocal type and start working on those that includes the nay nay nays, the gee gee gee’s and many others that will help you bridge. You want to be able to bridge or transition from chest through the middle area called the bridge up into head voice, um, with a connected tone. And as you do that, that’s how you start strengthening your head voice. That’s how you start building power into your head voice. Uh, it’s a long answer to a short question. Theodore. You’re 17.
Theodore. Um, be patient. It will come. You have to do, you have to work extra hard. I, my friend. You’ve got to work extra hard. Uh, good. (sings). Yeah. The gee gee exercise works fine. I’ve found that to be the case many times. If one for a teen boy, if the nae nae doesn’t take, a lot of times the gee gee will. Another one you might want to try Theodore it is Goo goo goo.. Keep it a little bit dopey.
I do it quieter.
goh, goo, goo.
That’s head voice. It’s light head voice and us guys don’t like it too. Well, it doesn’t feel very fulfilling. It feels like false settle. But that’s head voice and that’s what you want to start working this going through that middle area there. Theodore, if you can do it without flipping, try the Goo goo goo. as well as the Geeky. Um, Isivaa Sanaru. Hi. Nice to have you here today. Isivaa Sanaru
don’t know exactly how to pronounce your name. I think it’s really cool. How do you find your false subtle ahead voice if you can’t even make any sound above chest voice? (sings), that’s the challenge, right? That’s what I did. I couldn’t, I wouldn’t make any sound above the e above middle c. Ah, I stopped because I knew I would crack or I would have to keep yelling. You know, it was just, it was just awful. I wouldn’t do it. And so essentially all I could do is yell and that’s not really making the sound. So, um, as these exercises we did today, um, again, depending on,
Like Theodore is a 17, so he’s got a tougher than all the rest of us, but it works.
Bring the size of chest voice way down. That’ll make it a lot easier. Go very light with that chest and you’ll find the top will start to come in. Do it with the gee, gee gee, the nae, Nae, Nae,
Nae, Nae, Nae, Nae, Nae, Nae, nae, Nae, Nae, Nae, Nae, Nae, Nae, nae, Nae, nae.
Oh my gosh.
He’s excited. We don’t start for another nine minutes. Um, okay. So, um, uh, as Isivaa Sanaru, bring the volume down, do it softer. Do all these exercises again. Do the exercises for your vocal type and um,
MMM. I was an inadvertent call. So bring the volume down on your chest, bring the volume down on how loud you’re doing the exercises and see if the middle and the upper, does it start to open up. Nuna says, um, uh, when you’re getting higher or just let go and let some air through. (sings). So oftentimes when we’re first starting this, we get squeezed tight, tighter, tighter, tighter. When just, the opposite is what has to happen. Another great one is, …..so that was the high B and a or the the B4. And so the bubble lip is awesome. Exercise also that’s available in those exercises for your vocal type. Um, so get that pdf and get going on. It is, there is life after the above middle c and it’s wonderful. Okay. So I’m morbid productions is okay. I understand now. (sings). Head voice. Thank you. Good. Thanks for, but uh, you know, sometimes this just definitions, but do they do make a difference? Um,
yes, Nuno, So Isivaa Sanaru I’m not sure how to say it. Isivaa says there’s no air. No, there’s just air. No sound. That’s because the larynx is going up. You’re going into swelling mode, put your hand on your larynx and swallow and it goes up. That’s the muscles pulling everything up and it cuts everything. Cuts of sound right out. You cannot make a sound if the larynx is very high. So you got to keep the larynx down. Um, so do the exercises for your vocal type, do them, soft, don’t, uh, and back off of chest. Okay. So I got just about two or three minutes here. Bye for now. Oh, thanks Vicky. Um, so helpful, uh, along with the other side. Thank you very much. Thanks for joining us today. Here’s a yes, they had the pdf download. Awesome. I’d be doing the exercises for a while. Great. Um,
Vicky says the addictive, isn’t it? Cool. Jo Says you’re helping me to discover new things all the time. Check. I’ve had a bit of a sore throat and cough for almost a week. Went back to normal. Look into a lesson with you. Awesome. Hope you get to feeling better, Jo. Um, it’s frustrating isn’t it? To be sick. Uh, aside of that, thank you for joining us today. Be sure and subscribe to the channel and give it a thumbs up and all that stuff. Akshay, uh, you retracted your message. So Morbid says, so, all of this is so helpful. I don’t even have to ask questions. You’ve already answered them. Awesome. Okay. Akshay, there you are. Why do I flip into falsetto? It’s because the larynx is coming up. Akshay um, the larynx is coming higher and higher and when it does, it cracks. Don’t know why.
That’s what happens. Is it a bad thing? It’s bad if you don’t want it. I don’t want it. I don’t want to crack or break in my voice. Uh, if yes, how do you stop it? Yes. Sorry. I have some of these questions are repeating. I hate, uh, I’m late and missed the beginning. Akshay, I got to run because I got a lesson here in five minutes, but this, this whole video is exactly what you’re asking me about. Okay. So be sure and just, it’ll, it’ll be up and ready to go in about five or 10 minutes and then be sure and catch it. Theodore says going to ask one more thing when I sing high notes for me. That’s d4. Yup. That was me to Theodore 17. Man. That’s the top. It feels like the top, it feels like the end of the voice, doesn’t it? It’s like there’s no air is passing through my nose. , it’s uh, it’s just, again, the larynx coming up, everything kind of squeezing down, bring the loudness down, bring your volume down. Do these exercises today started out really light nay,
nay, nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, Nae, nae, Nae, nae.
Oh, you liked the gee’s too, the gee’s work for you. Okay.
You gee gee geee…..
concentrate on hell. Uh, letting that go towards the hootie. Sound gee…… You can, uh, you can sit into that or you can kind of lean into that. geeegee (sings),
But, um, don’t get loud at specially at the beginning and uh, for a while, just bring all the loudness, all the volume down and you’re going to find it to be easier. Theodore.
She’d said she, you weren’t straining, you might not be straining, but you’re going into swallowing mode. The larynx is coming up and if, you know, if I with my larynx comes up. (sings).
(demo larynx going up)
It just cuts it right off. There’s no, I can’t get any air in and out. And so that’s, it’s, trust me
Okay. Thanks you guys. I got to run and um, love you all. Thanks for joining me today. This is chuck more with power to Sing live number one 25. And remember, you can sing higher with beauty, confidence, and power. I’ll see you inside the next one. Thanks. And take care.
Hi everybody. It’s Chuck Gilmore with power to sing live number 124. Today we’re going to talk about mixed singing voice out of find it. And, uh, so I want to welcome you to the show today. This is a, um, it’s a very interesting topic, this mixed singing voice. So we’re going to talk about what it is. Again, we’re going to talk about how we find it and then we’re going to talk about staying in it. So I want to say hello to everyone who has joined today. And, uh, welcome. Um, so when I was a new singer and, uh, was learning how to sing with this technique in particularly
mysterious to me was what, what exactly is mix? You know, what does, what does mixing, am I in it? Am I, am I in a mix and my feeling it right? What’s this supposed to feel like? Um, and so I just find, I found myself just several years into studying the techniques. I remember one day getting into my my vehicle and saying to myself, I had a little, you know, back, this is back when there were cassette tapes, right? I’m putting it into the cassette tape player in my Ford Club wagon as big Ford Club wagon was red. And I, I think I almost said out loud, I don’t know if I’m in a mix or not and uh, but this is the process of, uh, I was going through of learning to identify the feeling and so forth. So I want to say hi to Jessica, Jessica, Jessica, the Jessica.
Hi, nice to have you here today. Nice to welcome you to this. And so this mixed singing, how to find, mix singing. I mean it’s um, you know, how, how do you find it? What exactly is the mixed singing voice? Hector, nice to have you here today. Hector Madrigal hello, welcome. You guys, don’t think I’ve recognize you having been here on a regular basis. So it was nice to have you here. Um, thank you Hector. It says a nice videos that I have here and there are hundreds of videos now as a result of years of creating these videos and they’re for you there to help you. Primarily what I’m trying to do is get the word out that there is so much more to your voice than think and that you realize, I remember as a youth being only able to sing to a certain point. I hit the e above middle c and that was the end. I thought that was the top and I was wrong. That’s not the top. And this is where the mixed singing voice comes in. This mixed singing voice is um, it comes in
once we understand it and once we are able to use this mixing invoice, you’re able to, you know, you’re able to sing much higher than you realized. This is especially true for the guys, for the ladies. You still can keep singing higher. You have to, that’s where most of your voices is, is into your, uh, middle, mixed middle and, and to your head voice. For us guys most of our voices and chest. And so we tend to think as guy singers that when we hit the top of just voice, that’s it. That’s all the further we can go. But this mixed singing voice is so powerful because it enables you to sing much higher than you realized. Okay. So let me balance back down here and say hi to everybody. Uh, I’ll mirror official hi. Nice to have you here from Azerbaijan
. Sorry, I can’t even pronounce the name of your country correctly. So good to have you here. I rice my, I raise my larynx while singing a high note. What should I do? Hey, we’ll talk about that today. Uh, call Gamer. It’s through 1:33 AM in India. Well, so great to have you here. And I was about to sleep. Now I’m staying. Yeah. Okay, well I better get going here. I hope this is a value to all of you guys. Um, your video of mixed voice in five minutes is amazing. Thank you. Okay, so let’s talk a little bit about, let’s get right down to this. First of all, what does mix voice? A mixed voice is a blend, right? It, you have to have more than one thing in order to mix something together. In this case it’s your low voice, your chest voice, and we’re mixing it with one other element, at least here. And that is the head voice. So if I were to put my hand on my chest and say, ah, you can feel the vibration singing in your lord in your lower register there, do your lower notes, ah, you can feel it vibrate. So you’ve got that part of the voice that if I said, okay,
I’ve got some head voice up there, but how do I like take the head voice and the chest voice and mix them together? And why should I, why should I do that? Well, there’s this point in between the low voice and the high voice. There’s this middle area here. Let’s just say it’s, here’s chest, here’s head. And there’s this middle area of my voice that, um, exists. I didn’t know it existed. It’s a bow. It’s the e f f sharp in the men’s voice. And for the ladies, for most of us, most of the ladies, a, uh, a above middle C, B flat, B and c, the high c. So for the ladies up here, for the guys, so this is that realm of the voice called the bridge. Sometimes it’s referred to as passaggio. It’s a passage and it’s just where we’ve got to begin mixing the chest voice with the head voice head with chest so that we can continue singing through this area of the voice. Middle sometimes is referred to this bridge or this passaggio. So that’s essentially what the mixed voice is. It’s the voice that has the blend of, or a mixture of chest and head voice. So listen to it. When I don’t have that mix,
cracking it into the falsetto or breaking into falsetto or
I go right through it, but I don’t have any chest voice there. Right. And, um, or here’s the, a blend of the, of that voice of the chest. …and the head voice.
So as I go through the e f f sharp, you can tell there’s a little bit of a difference there. Listen to what happens to the vowel. Okay.
So the vowel has closed down slightly. It’s narrowed slightly in this case, from ah to uh instead of Uh instead of the ah. So if I keep going on a h ah it’s going to crack or I’m going to keep yelling up higher and higher. And that’s very stressful on the vocal cords. So one way to find it quickly then in this example is to narrow the vowel
And that is one way to allow the vibration to shift up into my, uh, up above the roof of my mouth and had the vibrations start to vibrate up in here in a above the soft palate above the hard palate to vibrate in the nasao-pharynx. This area up here as well as down here in my mouth. So now I’ve got a vibration in two different places. If I don’t let that happen,
I’ve just vibrating down below the hard palate down. But if I narrow the vowel,
I can keep going on that.
That’s astounding. Who would ever thought that I, I would have never dreamed in a million years that I could sing above an e.
I’ll tell you a story. When I was in high school, I had the leading role my junior year in high school in Camelot, but I didn’t have to sing very high as King Arthur. The next year I wanted the, we put on a Carousel and Billy Bigelow, the lead, has an f. So I could sing the hero difficultly. I could f was out of the question. That was a tenor. That’s for the tenors. I didn’t even, I didn’t audition for that role. I auditioned for another role and I got the role of Enoch Snow, but he didn’t have to sing the f well to think if I’d only known this, I could’ve sung the F or the f sharp for the g or the a flat because once you’re in that mix, you could just keep going. We’ll talk more about that in a second. So that is one way to, uh, so the mix is the blend of chest and head voice and it’s a, a vibration that’s occurring also in the body.
So that vibration is occurring down below my hard palate here down. And it’s also that if that, if I’m doing it correctly and allowing that, uh, that vowel to narrow slightly, then the vibration also also shifts up into my head. I’ve got vibration up here and the vibration down here. So I’ve got a mix of this combination, this blend of vibrations. Now, head vibration and vibration down in here. So I’ve got this chest and head vibration, which is kind of freaks you out at first. It’s a little bit hard to at first, you’re just not used to that feeling. All right, so let me say hi to a couple of folks here. Uh, Hector says, uh Oh, he said the video mixed voice in five minutes is amazing. Thanks. Um, Elmir official. How would you say this video on, would you say this video on channel because it’s too late here. Got To sleep. Hey, it’s only one 33 in the morning and wait a minute. Oh, uh, uh, Elmir . Let me see where. Oh, you’re an average. Uh, I Azerbaijan by Jan.
That’s a long ways away. Sleep tight. It’ll be here. The video will be here. Uh, the staff in a few hours. Uh, it’ll, it’ll just, it’ll be available on youtube. Julia. Hi Julia. I’ve tried all your tips but failed. Yes, I can help you. Um, I’m not sure why you failed, so we may have to get together in a private lesson. Um, and I think that, um, that information is in the description below where you could schedule a private Skype lesson. Um, okay. So then we have ’em call Gamer says, is it really important to have a piano to practice singing? No. You know, if you have a recording, it’s helpful. So, you know, I do, you know, when, when we’re practicing vocal exercises, if you’ve got it on a phone, uh, awesome. If you have it on a computer, that’s great. And, um, I think it’s really hard. I don’t even myself, I don’t accompany myself when I practice exercise. I do it to a recording and so it’s very helpful to have, um, a recording, but you don’t need the piano to do that. Um, okay. So, uh, Elmir official says also, I have one question. I have a nodule. I have nodule on my left vocal cord. If I don’t speak at all, will I get my voice again or do I have to do some vocal therapy? Exercise like lip trill. Now Elmir had, what has the doctor said? What did the ear, nose and throat doctor say when he saw the, the, the, um, the nodule on your left cord.
Please get me that information. Um, and Matt. Hi Matt. Nice to have you here, Julia. Okay. Um, yeah, Julia, usually it’s because of the larynx is coming up or because the vocal cords aren’t closing adequately. Um, but it’s hard for me to tell you that and have you say, oh, okay, I can go fix that. You know what I mean? Svien hi Svien . Nice to have you here today. Okay. So we’ve talked about what is mixed voice, it’s a blend or a mixture of and head voice. And number two, how do you find it? I’ve demonstrated that ladies, it’s the same thing for you. If you were to sing,
and you said, ah, but kept opening that vowel, by the time you get to the a, which is where you need to start entering into the bridging process, it’s going to be too wide. So you want to take that vowel?
go from all a h to u h? Yeah.
so that Ah to Uh, we’ll help you get into it. There is a fast way to do it today. It’s not the only way. And sometimes at the very first try, it’s a little challenging because we tend to want to spread that vowel. Ah, so we want to keep the vowel pure. We want to keep it the same way. So really in essence, that’s what we’re doing by narrowing it. We’re keeping that vowel like we talk like we say it like we say it.
you don’t say, ah.
So that’s the same principle for the ladies in your bridging process, which begins for most female singers at the a above middle c, that’s the a4, a, B flat, B, and c. By the time you hit C sharp, you’re all the way through. So, um, now how,
another way, let me give you another exercise where you, where everyone can begin to experience the feeling of mix. And this is another way to begin to identify, or another way to know how to find it. If you, if you’re a guy and just, let’s just take the f right in the middle of the bridge and said,
new, new, new, new, new, new, new, new, new, new.
Yeah. I’m be very strict on that Ooh. And I probably over closing, I’m over narrowing it. I’m, I’m closing it down. Release a significantly with my lips.
New, new, new, new, new, new news.
No, no, no, no. I’m not saying
no, no, no, no, no, no. Nooooo
if I get that and the right, that right combination of that closed vowel and stay very on it. Don’t let it open. No, no, no,
no. New, new, new, new, new, new,
if I take that same thing and say new noo, noo.
No, no, no, no, no, no, no, no, no, no.
And repeat new, new, new to no, no, no. But I’m very careful to leave the know, right. Where that new felt then I could start to feel what mixed feels like.
No, no, no, no, no, no, no,
no, no, no.
Notice what I didn’t do. I didn’t say
no. I didn’t
opened the no up. I left that. No right in the same feeling as the new,
no, no, no, no, no, no, no, no,
new, new, new, no, no, no, no, no, no, no.
I’ll give you a way to think about this. This just came from one of my students. He said, I feel like I’m singing in a long pipe along metal, and I put this, this, this visual into it, like a long metal pipe. So if I have to sing,
no, no, no, no, no, no.
I got to keep that. No, right where, right inside that “pipe”. Okay. It’s got to stay right in there. But if I say
no, no, no, no, no.
If I opened it up, it goes beyond the pipe. Okay. It’s just kind of a way of thinking or visualizing it. That’s not a, that’s not an official speech level kind of, that’s just my thing that one of my students told me and I thought that’s kind of an interesting, I can relate to that feeling.
No, no, no, no, no, no, no, no, no, no.
It’s staying right in that same groove, if you want to call it her. Uh, it’s, it’s, it feels almost as if I’m just thinking the difference between new and, no,
new, new, new, no, no, no, no, no, no, no, no, no.
I’m, I’m not doing anything with the ooo on my lips. I’m leaving at the same. And when I say no, I’ve just barely making a change in with my tongue. I’m almost just thinking it. Cause the hard part is staying in that same, staying in that same groove, that same pipe, that same place. .
As soon as I open it up, I lose it. I’m not in the mix at that point. What am I in there?
New, new, no, no, no.
Let me ask you this question. Do you easily, are you easily able to find mix yes or no, and the comments below? Yes. No, I can’t find it easily.
This is a way to do it. Let me know, please. Um, okay, so good evening. How many times did you built a h h o too many time. You build your mix. I don’t understand the question. I’m sorry. Hector. Is there, is there a tea you recommend to clean the vocal cords from mucus? I don’t have any recommendation on any tea. You know, because imagine Hector, if you were pouring tea on your vocal cords, you would probably choke because the epiglottis closes over the top of the vocal cords when we have fluid in our mouths and as we’re swallowing. And so there, there’s no tea or no water that gets on the vocal cords. As soon as something gets on the courts and starts to seep through, they cough it right out so that that epiglottis closes over the top of the vocal cords.
Now, maybe some warm drinks or some gargling, you know, gargling might help. And so I would say probably what I do if I have like a cold or something like that, I have a mixture of saltwater, of salt and water and a little bit of a, so a teaspoon of salt with, uh, with, uh, um, two cups of water, a teaspoon of salt and a half a teaspoon of baking soda. And I’ll do a nasal wash. I’ll use a Neti pot and wash my nasal passages out with that. And then, uh, the same mixture I would use for to gargle with some warm water, not hot, but just warm water with that salt water baking soda. And the gargling seems to really help as well. Um, okay. So sometimes I could find it. Sometimes I don’t. Okay. Hector says he could find that mix. Um, anyone else? Matt Says No. Okay. So, um, Sumer t I’m 17. I can’t use my head voice properly. It kind of sounds windy or blurry. My vocal coach says this because my voice is not mature enough and it’s still changing. When will I be able to use it? Um, so,
issue m e r initial t are you guy? Are you a girl? Let me know. Uh, Dennis Channel just passing by. But I’d like to thank you for all your lessons has helped me a lot. I understood, uh, what problems I have to work on. Mostly keeping larynx still and uh, now I slowly can connect the tone. Awesome dance channel. So cool. Thank you for that comment. Uh, that’s, that’s why I do this because who would know I didn’t have any, I didn’t know that. I didn’t know that’s the problem. I didn’t know that. I didn’t know my teacher who had her master’s in vocal performance. She taught me for a couple of years. We never talked about, um, mix voice. We never talked about head voice. Really. Everything was, uh, from the top of my range. He above middle c and lower. And I had one song that had an f in it and uh, oh, it was awful. I, I never, never felt good about it. Um, but I wasn’t mixing, I was pulling my chest voice higher to try and hit that. F This is always probably a little flat because of the strain of reaching and pulling the chest voice higher and the larynx going up and all that straining and so forth. So this is a way to eliminate all of that. All right. How do we stay in? How do you, so we know it’s a blend of chest and head. One way to find it is so
new, new, new, new, new, new, no, no, no, no,
no, no, no,
no. I’m not just doing it in chest.
No, no, no, no, no.
And I’m not doing it in falsetto.
No, no, no, no, no, no.
If I’m in Falsetto, I can’t mix because I don’t have any chance to mix it with, so we’ve got to stay. We can’t be at falsetto defined mix and we can’t be pulling up the chest voice to find Mix. So a good way to find it. It’s just with that new, new, new,
no, no, no,
no, no, no, no, no,
no, no, no.
But remember, the no has to stay in the same feeling or the same groove or the same pipe or however you want to imagine it. That same place as the, uh, as the new, the no has to remain there. If I said
new, new, no, no, no.
It’s gone beyond where the new was. So we want to sing it in that narrower, smaller place that the new was in
new, new, new, new, new, new, no, no, no, no,
no, no, no, no, no, no,
no, no, no, no, no, no, no,
no, no, no,
no, no, no, no, no, no, no.
That’s the beginning. And that’s how you can find it really fast and you can get into it. You can also sustain that. You could say,
oh, no, no, no, no, no. Oh No, no, no, no. Oh No, no.
It’s another way of feeling it. Now, let me, let me show you another thing you can do. So ladies, yours would be up here. Hey, B flat. Sorry. Hey, B flat B. Woo.
No, no, no. Woo. No, no, no, no, no.
Remember if it breaks in the falsetto that’s not mix or if it just pulls up the chest.
that’s just pulling up chess. So you’ve gotta, you’ve gotta be careful on that first, first, uh, new, new, new that you keep it closed down. Put that, no, let that no be in the same condition. The same place.
Don’t change your lips. Just think the difference, Don’t hardly do anything inside with the tongue. Just think that. No. And keep it in that same feeling. You’re singing it in that more narrowed, smaller, new, new, new, uh, location so to speak. Okay. Now staying in it. Let me just show you what happens. Take that same thing and go a little bit lower.
No, no, no, no, no, no, no, no, no, no, no, no,
no. Go down.
No, no, no, no, no, no, no, no, no, no, no, no, no,
no. Even though you’re going, guys, even into your chest voice, stay with the same thing you’ve been doing.
No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
Oh, it gets harder.
No, no, no, no, no, no, no, no, no, no.
Notice what I’m not doing.
No, no, no, no, no, no.
Not just letting it go into chest. I’m still maintaining some of that vertical vibration.
No, no, no, no, no, no, no, no, no, no, no.
I’m letting it just drop it to my mouth when I, when I demonstrated how to do it wrong.
No, no, no, no, no, no, no, no, no, no.
Don’t. Let it change at all and bring it down into normally where chest would be, but keep it in that mixed condition. Yeah.
Ooh, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
That’s back to the e. That’s where the bridge begins. So you’ve, I’ve demonstrating how you could pull the mixed, how the, you can pull them mixed voice down and then you can really, it’s a very interesting phenomena. You start feeling something different there, and it’s, for me, it’s almost easier to feel the mix feeling. Here’s the, here it is on the C sharp.
No, no, no, no, no, no, no, no, no, no, no, no, no.
Now if you did that louder. But again, , we’re strict with a vowel. Don’t let it change.
No, no, no, no, no, no, no, no, no,
Oh No, no, no, no.
That wouldn’t be right.
No, no, no, no, no, no.
And as you practice that, you start to feel the difference of between chest and mix.
Oh, no, no, no, no, no,
no, no, no, no, no, no.
You start to feel it and hear it. That’s one way to find it. It’s one way to become familiar with it so that you can identify it quickly and so that you can take the necessary steps to stay in it. All right. So how do we stay in mix? Let me take a break here and answer a couple of these comments. Uh, my new sound stayed the same, but it pulled chest. Yeah. So Julia, you were in chest already. If you stayed in chest, you were already in chest. So if new, we’re up here. So that’s the difficulty. It may be easier for you to go higher and, and, and do a new up on the high c, let’s say Julia.
No, no, no, because it’s harder to pull your chest voice there. Try the new on a higher note. This, the c sharp.
So for guys, if you’re having the same difficulty, go to the f sharp new, no, no,
Or try it on the G. No, no, no.
Woo. No, no, no.
Here’s another tip. Finding it this way may be easier instead of new, new, new, no, no, no. Do it on.
Gugu. Gugu go, go, go. Ooh. Oh, go. Go, go, go, go, go. Ooh, Ooh, Ooh, Ooh. Oh, Coco cuckoo. Cocoa.
Those are two other ways that you can do the same thing. It’s a little bit harder to pull chest voice with the
you’re going to hear it right away. and you pull
Same thing, Julie. You might want to try it on the C.
right? If you said
you could start to feel, if you’re not, you know, if you’re pulling the chest voice up. So yeah, you’ve got to, you’ve got to be able to do it right in that you’ve got to maintain the purity of that vowel. Okay.
And then might be easier to find it on the Gugu or even the Cuckoo
so prin says before g4 I use, oh, I haven’t, let me see you back up here. He asked me the question. Um, hello. Tell me how to determine the maximum possible now just from my voice, how to understand that there is a technique error and no, any physical limit.
I would say that if your, if your voice stays in balance so that it doesn’t, the vowel stays pure or does the spread and the chest voice is not being pulled up. Um, they’re not breaking into falsetto. Um, if you’re, if you’re in mix, if you’re leaning on that and mix sound it staying, staying in mix, it’s not falling into the chest, then you’re probably on the right track. But I don’t know that, um, I doubt that you’re doing it as loud as you possibly could until you find the, and maintain and work in a balanced condition. So let’s illustrate for a second how to stay in mix. If I increased the loudness ?
No, no, no, no, no, no, no, no, no, no, no, no,
no, no, no.
Oh, I got a red light on my audio. Sorry about that. So it takes a little while, but start out, uh, and crescendo on it. Yeah,
no, no, no, no, no, no, no, no, no, no,
no, no, no.
If you can practice that and not fall into chest voice,
you know, have it fall down. The vibrations falls down into your mouth and it, and it, it is no longer in your mix then you know, you, you, you haven’t learned to get louder and maintain the balance in your voice. So you’ve got to start it out medium or medium loud and, and live with that until you feel like you’d gradually increased the loudness while maintaining the balance in the voice. But at the vowel opens or, um, starts to spread. If you crack or break and the falsetto, if you are just pulling up and yelling the bottom up, then you know, you’re not in balance and you, you’re not in a condition to get louder and have it build your voice. It’ll just build your, um, your ability to yell and that might hurt your voice. So, um, usually the technique error has to do with a falling out of mix are falling out of your head voice and just yelling at in chest before g4 again, uh, uh, supreme before g four, I use chest and no’s. Chest plus knows a g four to e five. Just head and chest here. I feel that, uh, that I need more volume. Anything above head and nose. Uh, sorry. I don’t know what you mean when you talk about no’s. I’m not sure how to answer that question, but here’s, here’s one thing to illustrate you guys. Once you’re in your mix,
uh, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
Oh No, no, no, no, no, no, no, no, no, no.
And that’s the c sharp. Obviously I’m going into my head voice at the g four. I just head voice all the way up. But notice what didn’t happen. Nothing changed. The same coordination, the same condition, the same balance. Once you’re in your mix, it takes you right into your head. Voice, so nothing changes and uh, and they should get more and more skilled with that. You can increase the volume, increased the loudness as long as you maintain that your balance. If your vowelve starts to spread or if you crack or you fall down into the chest, pull, start pulling up chest, the Larry starts coming up and you’re losing the balance in your voice, then you’re, you’re, um, you know, you want it back off the volume. You only want to do the louder volume while you’re bi. You’re maintaining that balanced voice, um, is, uh, is visible, visible.
Hi, how, how out, how I can to be a vocal coach of SLS. Where can I can just study and how to train the second bridge. I am baritone. Thanks. Uh, so visible. There is no more training program for speech level singing. They used to have a, a program where they would certify a SLS teachers and they, they’ve discontinued that. It may up again sometime, but Seth and his wife are not currently doing a teacher certification any longer. And that’s been the case for about the last, uh, since 2013. Uh, they stopped certifying, they start stopped. Uh, well they, they had, they had some courses that they would, they, they taught some of us who attended, but you are no longer, um, given a ranking. There used to be different levels of teachers and so forth. They stopped doing that, I guess probably a officially it didn’t stop until 2016.
Uh, we were still meeting together for several years for training from Seth and uh, he would, uh, it would be kind of a pass fail situation where we would, he would let us know if we could continue as teachers. But um, so I guess officially since 2016 there is now not been any other training courses for certification of speech level singing teachers. And, um, so I don’t have any other information to tell you beyond that. We haven’t had any, um, any other training certification for teachers. Julius? I’m a trans and a baritone. Um, okay. So I haven’t worked with trans voices, Julia, so I can’t give you an experienced answer. Um, so, uh, I would say you would train your, um, yeah, I would say you’d train your voice as a,
So you, you train your voice no differently. I don’t train men’s voices differently than women’s voices. We trained in the same and the bridges, um, I take the bridge wherever the voice presents the bridge. So some men bridge lower, um, like the A, B Flat B, um, below middle c and a and the in the middle. See some women bridge lower, they bridge at the e F, f sharp. Those are contraltos where with the lower and they actually literally begin bridging sooner than the, uh, most of the other altos and Sopranos, which is at the a. So I would say it’s going to be dictated by where your natural resonance begins, uh, or the vibration begin shifting. So, um,
I’m not sure what the question was now. Julia, sorry. A Nuno Silva behind. Nice to have you here. Uh, ink says, I’ve been doing it, doing it in the exercises, in light head voice, but how do I make it into full voice? It, here’s why. Here’s how you build, here’s how you build your mics. This is how you stay in it and how you build it.
No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
Oh, he’d be very strict on the exercise.
No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
Ladies, you do the same thing. You started at the c sharp
Oh, and you stay in that next, each time, breaking that down to the a, now you do those things over and over again until you’re able to do it. A crescendo a little bit more at first, you won’t be able to do it loudly,
noon, noon, noon.
Gradually over time you’re able to lean harder and harder into that narrower place. This is what I mean. If I said, no, no, no, no, no. I’ll never be able to build my mix because I’m just doing it in chest and so I can’t work. I can’t be singing it and chest and built mix. I’m just going to build chest voice. So we’ve gotta be strict on when you begin to crescendo. So I define leaning into that by, uh, crescendoing in that narrower place and keeping it in that narrow place. Let’s add a vowel and say, uh, let’s say new. Nuh,
no, no, no, no.
It’s a more open than no, so it’s a little more challenging. And let’s add a third one new Nuh, nah, nah,
no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
Are you build that by practicing crescendoing but keeping it in that same place that the first vowel was new, new, new. If I open it up, no, no, no.
I’m not going to build my mix. So you’ve got to stay in that narrower place. The first one was new.
Oh, no, no, no, no, no.
And over time. Crescendoing more and more by being an and At the same time being strict, not to let that fall out beyond where the …, the first vowel was the new new new. That’s how you built the mix and that’s how you, uh, get louder over time. I’m talking months here. I’m not talking about hours or days in my experience at least. Uh, Steve, Hi Steve. Steve Notice is fried the same as mix, but with the little raspy. No, Steve. So fry,
if, if I have a little bit of Rasp, the vocal cords are doing this. There’s, there’s still vibrating this way. The FRY was more like a piece of bacon laying flat down,
from what I’ve been told. So it’s a different kind of configure. It’s a different kind of response on the vocal cords. There’s not really a, a vibratory motion with,
be like piece of Bacon laying down.
and so, um, hi Tj. Nice to have you here today. Uh, Tj says, I like head voice but struggle with middle area. I liked singing in my sweet spot below the bridge or strategies to bridge some notes low, some high mix is not consistent yet. You know, Tj, there’s only one way to do it and that is to do, you know, get right in there and face it, you know, face it down. Uh, work on that. E F F sharp. I think you bridge lower and um, and just keep working it and be strict on all of these. Like I’ve shown today, be strict with these exercises and, and be patient with yourself. It will come, it will come. Nuno uh, says Sylvia says, I have a doubt. I have a doubt as a counter tenor or tenor and not really sure. I feel that I start to mix around f sharp four g four and I think that goes up to a d five or d d sharp five.
Should I let it go to head? So new? No, you as a countertenor you should start bridging at the e four f four f sharp four. And the reason why it’s so difficult and so challenging for you is you don’t feel it much there. This is a very, very challenging place for a high tenor because you’ve got to start getting into your mix earlier at the e f f sharp for that way at the g and the a flat and the a it you will, you will automatically go into, if you’re in your bridge, the first bridge, the second, by the time you hit the second bridge, which is where the lady’s bridge, the A, B flat, B and c, you’re going to go into it correctly. By c sharp, you actually start bro. Uh, you start beginning to approach the third bridge, your third bridge, which is d e flat, and by e five you’re now in your third bridge.
But the secret is e f f sharp four, get into it early and you’re going to find the rest of these bridges will come together and come together quickly. Well, come together more quickly than then. Uh, otherwise, so, um, your head voice is the same as mine. It begins at the g four, yes, g four. So with each which each, with each succeeding bridge, you get some of the overtones dropping from the lower bridge. And some other overtones kicking in from the height from the next, from your next bridge that you’re approaching. Visibil you are welcome. A new note is, is that okay being a countertenor? Yeah. Oh, uh, okay. So I hope that clarifies that new, no, no. You want to bridge sooner and get into Ed Voice. Chuck does the light method work for everyone because the vocal coach, Phil, somebody said he couldn’t build this voice from a light sound and tried for years and he built from a heavy sound. Um, I don’t know, Phil and I don’t know what he’s doing, but, um, I haven’t, uh,
my experience is that, uh, yeah l, it works really great to do it from the light, from a light condition because normally when we start doing it from a heavy, we’re also pulling, pulling chest, the larynx coming up. So if you get a stronger sound, but then you have to get the larynx down. Or You have to spend weeks or months or years trying to get the extra squeeze out of your voice. You know, I don’t think it’s a good, I don’t think it’s a necessarily what I would recommend. Well, I don’t, I don’t recommend that. Okay. So, uh, so we stay in it by being, by being a strict, not allowing ourselves to go beyond where the, that more narrow first vowel is.
No, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
And then over time, uh, ink, you, you, your practice increasing the volume, but don’t let it fall out at the chest.
Oh, no, no, no, no, no, no, no, no, no, no, no, no, no, Nah.
So those are all those all come about over time as you, as you’re strict with yourself and uh, increasing the volume but not letting it fall into your mouth yet to vibration into the chest, which changes the vocal cords and a, just thinking some up and essentially, um, you start pulling the chest voice. No, no, no,
no, no, no, no, no, no, no.
So it happens and it happens when we do it and we invest the time. Part of the problem is everybody is such a hurry. You have to have it tomorrow and uh, it’s like going to the gym. Truly. It’s just like this. You go to the gym and say, I need abs tomorrow. Well, it’s impossible unless you already have abs. I, you know, I mean, yeah. So it’s, the physical voice is the same as every other muscle in the body. It’s, it’s a development process. It’s a balancing process and you can’t, you know, in, in, in terms of nature, you just simply, it’s the law of the harvest, right? I could take a seeds out into my garden and plant the carrots and say, I want carrots tomorrow, man. I could be very insistent and I could be at a real big hurry. I need to have carrots tomorrow. And I put them in the ground, I’d water him and the sun come out and I go out and there’s not going to be a carrot growing. There’s a law of the harvest is, it applies to voice. It applies to any physical activity. Do you want to be a great tennis player? You don’t go out and start, uh, um, serving asis and winning matches.
It takes weeks, days, weeks, months, years, multiple years, decades in some cases. You guys all heard this, you’ve heard me talk about this, but um, Pavarotti in an interview in a with a gentleman in the UK, he’s with Helen Sutherland and uh, uh, Marilyn Horne, the three of them being interviewed, he talks about how uh, you’re not a true tenor if, if you’re, if you’re not covering the, uh, f f sharp and g and he calls it covering. I would say it’s a mix. But he said he showed this and he said, this isn’t bad.
oh. He said, well, it’s just a, bev is not elegant. And then he said, I’m done. I can’t do it. Like he did it, but
you said that might sound easy. Take maybe 10 years, 10 years. Think 10 years for Pavarotti to do it. Maybe you can get it at seven. I don’t know what chuck, what is the difference between early bridging and late bridging? Late bridging is pulling up the chest voice and early bridging is getting into your mix sooner. So it’s always okay to bridge early. You can get into your mix before the bridge. I recommended it’s never okay to bridge late our poll chest voice too high. All right everybody, great to have you with us today. Thanks for your comments. Um, if this was helpful to you, please give me a thumbs up. Really, it’s really important to give me a thumbs up. Subscribe. If you haven’t subscribed, share with a friend. Uh, please let me know in the comment section below. Uh, this has been helpful or, or not let me know if we’re still needing to do some, some more on mix and finding mix and staying in mix and, and um, and more information about mixed. I’m happy to share that information with you. It opens up so many different things. All of a sudden you’re not locked out of a, at the top of your chest or you don’t have to flip or crack. Ladies, as you go to the, to the b flat, the B, the c, the c sharp to our counter tenor today, you don’t have to break on the beef flat. Um, all of these, all of these principles kind of fall back to bridging of that first or a mixing on that first bridge.
you know, to be able to do that in two octaves and not have it break or anything like that, that’s all that all hinges around this first bridge to eff sharp and being able to find that mix.
No, no, no, no, no, no.
Oh No, no. Those are all going to help you, uh, to define your mix, to be able to, um, to understand what the mix voice feels like and to be able to stay in it. Thanks everybody. Appreciate you being with me today. Um, oh, I got a question from Cathy. Uh, lollipops. Katie lollipops. Hi Katie. Hey, chuck. Can you tell me, can you tell me, can you tell me he vibrato again? Well, Katie, I can show you. Vibrato
she, she, she, she, she, she, she, she, she, she,
uh, that’s, uh, there’s a whole, there’s like four really great, uh, a lot of videos about vibrato. If you’ll go to power to sing.com, go to play lists and look for Vibrato playlist. Okay. And that will give you lots of stuff to watch. Okay. Uh, Michael, like, Hey, nice to have you here. You guys. We’re going to wrap this up. Uh, learning. Somebody thinks about my voice. Thanks. Nuno. Thank you. Um, supreme. Thank you. I wish I could pronounce your name and speak it correctly and, um, I know you’re from the Russian area there. I can’t remember where, maybe Ukraine. Um, but, um, I wish I could do better with your language. Uh, but thank you guys. I love and appreciate you all. Remember, you can sing higher with beauty, confidence and power. There are ways to do this and this mix voice is so powerful and enables you to get through that bridge and get into your head voice and on up, uh, with, you know, with, with such ease and such facility of your voice. Thanks. And I’ll see you were, I’ll see you in the video this Friday. I’ll be posting and then next week in our live broadcast.
A solid mixed voice technique is required for a powerful middle and head voice. The Mixed Voice Technique of pulled up Mix is used for a more powerful sound but doesn’t damage the voice like pulled up chest voice.
Hi. It’s Chuck Gilmore with Power to Sing Live. I think this is number 122. How are you? We’re going to talk today about the mixed voice technique, and particularly going to talk about pulled up mix for more powerful sound. This is a question I had today, or this week in my comments section.
So I thought maybe we would talk a little bit about that. Pulled up mix. So really quickly let me just … Hi Sherrie, nice to have you here today. Noona, very nice to have you. Hi Joe. Great to see you. You guys, let me know if I … if you can here me and see me okay, alright? My YouTube … Well it says I’m getting a good stream now, so I think we’re in pretty good shape.
Meanwhile, do you know when you’re singing in a mix voice? Yes or no in the comment section below. “Yeah I know where … I know, yes.” Or, “No I don’t know when I’m singing in a mix.” Just curious about it. Do you know when you’re in a mix singing voice? Just yes or no in the comment section below. It’s a really, sometimes, I think a rather confusing thing, when you’re first learning it particularly. I think maybe we may want to address a little bit of that today. Because, I recall being kind of ambivalent about it, not really knowing exactly how it felt for a number of years when I first started with this particular vocal technique.
But oh my goodness, once I started getting this sense and feel of what mix was, then the whole world changed. Hi everybody. Let me see here. Zachary nice to have you here today. And Bestie, hi. Okay. You don’t know for sure. “Not sure I ever am.” Zachary says, “No.” Noona says, “Yes I think so.”
“Hi from China. Nice to have you here. Your video helped me a lot.” Cool. Thank you very much. I’m really excited to know that. Sherrie says yes. She has a pretty good feel for when she’s singing in mix. This is really vital to us as singers. So I remember in the olden days, I would have my little cassette tape and I would put it in the vehicle I was driving. We had cassette player in both our … We had a big Ford Club Wagon, 12 passenger. I have 8 children, so we loaded them in. And also in my other car that I used for driving to work and so forth. Really for quite a long time, I was always wondering about this mix.
So [inaudible 00:03:28] hi. Nice to have you here. Taylor Hardin. Hi Taylor. “Just subscribed yesterday.” Cool. Yup, you’re just in time. Peter Dakias, nice to have you here. So great to have you guys join us today. If you didn’t hear this question, do you know when you’re singing in a mix voice? Can you tell whether you’re in mix or not when you’re singing. So just let me know yes or no in the comments below.
So I think I recognize most everybody here today. If you haven’t subscribed, please subscribe. Give me a thumbs up and … thumbs up, subscribe, hit the bell so you get notified when I go live or when I post a video. You may have noticed I haven’t posted for a little while. I’m working on some things and we’ll be back to posting regularly probably within the next week.
So, okay. So let’s kind of get down to it here, right? We’re going to talk about what a mix is, and we’re going to talk about what pulled up mix is, and we’re going to talk about is there another option to try and get a stronger sound. So this was the question, the question to me was, “I have a hard time with my head voice. So it’s just not giving me any power. So can I pull up the mix to get more power?” And the answer is, yes you can. I’m not sure that that’s exactly what you want to do. Because think about it for a minute, if you don’t have a good strong solid head voice, when will you develop that? When will you get your strong solid head voice if you’re always pulling up the mix?
First of all we’re going to talk, what’s mix? Number two is we’re going to talk about what is pulled up mix? Then we’re going to talk about some alternatives maybe to that. But I’ll demonstrate that, or I’ll try and demonstrate it and we can talk more about it.
So Peter says, yeah he does know when he’s in mix. Good for you Peter. That’s awesome. Bestie says, “Can you explain the difference between mix and a powerful falsetto? How is the feeling exactly?”
Well first of all Bestie, I don’t teach falsetto. Falsetto by my definition, is when the tone disconnects.
Like a yodel.
That part that goes high …
… is the falsetto. That’s a disconnected tone. But I’m going to guess you mean a powerful head voice. So we’re going to talk about what’s the difference between what’s the mix and a powerful head voice.
[inaudible 00:06:19] Hi. It’s nice to have you with us today.
Okay. So first of all what is mix? Well in order to mix something together, you have to have at least two things, right? So if you’re baking something and you mix something together … Let’s say you have to have a bowl of flour, and you mix together some water in it. So you’re mixing two things together. That’s the idea behind a mixed voice. There’s two things, at least, that you’re combining together there. And in the case of singing, it’s a mix of the chest voice and a mix of the head voice.
So if I’m singing in my chest …
… and I break into falsetto, I’m not going to be able to mix, because I can’t blend with falsetto. I can’t blend falsetto with chest. They don’t blend together.
So if I say …
… I’m not mixing, I’m just pulling up the chest voice. So that’s not a mix. If I said …
Let me think.
If it’s so very light that I don’t have … There’s a big air leak in my voice, so I’ve got a lot of air escaping through the vocal chords, I suppose strictly speaking it could be termed a mix, but what’s it good for? You know, in that situation there’s so much air escaping, there’s so very little chest voice …
… that I suppose you probably really couldn’t call that a mix either. If you did, it would be very, very light or breathy, or an airy mix. So your balanced mix, where you’ve got your chest voice, and you blend it with a head voice, would sound more like this.
(singing) So …
This is for the guys. This is the E, F, F Sharp.
So that’s a blend of chest and head voice. Now what’s happening is at the E, F, and F Sharp, some of the head voice starts to come in. If I do it right. If I don’t do it right, and I keep pulling chest …
: … then I’m not allowing any head voice to come in. If I break into falsetto then I’m not able to mix anything with falsetto. So in order to have that mix, there has to be a split in the vibration in a way. We call it a split vibration. It’s probably not scientifically not exactly accurate, because how do you … you know. If you have a pool of water or a flood of light between one part of the cavity, and another part of the cavity, it’s all one thing. Yet, it’s resonating in two different places. That’s probably the best way to describe it. Or it’s resonating in both places, okay? So we’ve got some chest resonance, or we’ve got some chest vibration, and we’ve got some head vibration and that is your … That’s the way I feel that mix.
: So let me just say that one of the things I want to talk about is how do you actually turn that mix on? So maybe let’s do that right now. It’s really connected in a very simple way, to the vowel. So listen, if I said … as I’m going through the bridge, the “ah” goes to “uh”.
: Can you hear that?
: If I don’t …
: If I keep trying to say “ah” or the vowel starts to spread, then I start pulling to chest. If I let go completely, I go into falsetto. Or if I am too light and breathy, you know what that is. So a quick way to go into a mix is to not go into falsetto, so you don’t want to break into falsetto, and it’s not to go so very, very breathy or light, but it’s just to modify that vowel, to narrow it slightly.
: Oops. I’m in the wrong key.
: So now I’m on the G, which is the beginning of men’s head voice. Ladies, what about you? Where does it start for you? Does anybody know? Hey George. Nice to have you with us today. I just asked the question, do you know when you’re singing in mix? If you do, let me know, yes or no, in the comments. Just, “Yes. I know.” Or “No. I don’t know when I’m in mix.” So we’re talking about mix today, and we’re talking about pulled up mix. Right now I’m defining what mix is.
: So ladies, A, B Flat, B, C, C Sharp, those are … The C Sharp all the way through the first bridge. In the bridge is where your … That A, right here … is where your mix beings. That’s the mix of chest and the mix of head voice. Now a lot of us, all of us guys or girls, tend to bring that chest voice too high. That’s one of my concerns about pulled up mix. Because I’m worried … because I haven’t heard this … I’ve never heard this particular singer try this, but I’m worried that the reason why his he’d voice is so light or weaker, he doesn’t have any power in it, is because he’s pulling up chest too high, and he’s never really gotten into an actual mix so that he can keep taking the mix coordination and transitioning into head on the way up.
: So I’ll illustrate that. I get worried … So ladies, let me finish this first. A, B Flat, B, C is where you begin the mix. So if I said …
: Breaking into the falsetto.
: Let’s see, so that’s pulling up the chest. If I don’t flip into falsetto and just keep pulling …
: And keep going, you’ve heard that before, right? Or, if I’m just too breathy/airy …
: … I don’t have any chest, really, to mix in. So I guess that’s really the answer there. So what you start to do there at the A is the same thing that I just showed you where the guys start doing at the E.
: Should have stayed in the key. But here’s the A.
: And I’m not great at illustrating in your register, but if you want to try that on the “ah” and just slightly narrow it, “ah” to “uh”.
: And see if you can feel that start to go up above the roof of the mouth. It starts to balloon a little bit. Kind of opens up again in that area there. You start to feel some resonance happening there.
: Good. George says he is aware of his mix. Awesome you guys. So Bestie says, “You said we can’t pass our bridge with pushing and/or with our chest voice. Then how do the singers belt them?” Many singers belt by pulling the chest voice, yeah. So we can’t pass the bridge pushing or pulling chest, Bestie, and mix. Okay? That’s what I hopefully … Maybe I misspoke that. But if I said …
: Yup, I’m pulling the chest voice higher. But I can’t mix when I’m pulling just chest, because there’s no head voice coming in. So if I keep pulling chest higher and higher, I just have to yell harder and harder. Unfortunately, that’s what happens when some people try and belt it. They’re just yelling the chest voice higher, and they’ll never get into a mix, never get into head voice. They’ll have to crack and break into falsetto, which is disconnected tone.
So if I kept pulling the chest voice higher, whether it’s in the girl’s register, or my register …
: I break into falsetto. And how often have you heard that in both men and women’s voices? Now the ladies can kind of get away with it, but us guys, we can’t. We just can’t sing that way. Well I mean I guess it depends on the genre. I can’t sing that way on stage. Nobody would take me seriously. Right? Hey Zack. Nice to have you here.
: “Now that you mentioned it, I might be able to tell now.” Okay. Good. So hopefully this is helping a little bit. Have you tried that ladies?
: “Ah” to “uh”.
: Or guys down here?
: “Ah” to “uh”.
: Now the interesting thing about head voice is just staying the same condition. You don’t change anything.
: You’re in that place. You just got through the bridge, and you keep the same coordination. Now let’s talk about what’s pulled up mix. What do you think pulled up mix would be? Well if I said … Let’s just say I did it on “nay, nay, nay” for a second.
: Or let’s see. I’m going to get in the key of G.
: What is that? It’s not pulled chest.
: It’s not falsetto.
: It’s not strictly head voice. And so, it’s gotta be a mix. Even though it’s a little bit on that witchy side. Let’s say I do it now, instead of saying …
: But if I said …
: Then you hear some of the condition of that breadier, witchy-er sound in that “no”.
: Well, what is that? I wouldn’t say that’s head voice. I would say I’m pulling mix up. It’s not pull up chest.
: It’s not falsetto.
: So if it’s not mix, if it’s not falsetto, it’s not head voice, and it’s not pulled up chest then it’s gotta be some kind of a mix. So … If I said …
: I wouldn’t say that’s just pure head voice. In the head register for sure, but you hear all that, the bottom, in that sound, and it’s a harder, edgier, cutting sound. So it’s not pulled up chest, it’s not falsetto, it’s not just pure head voice. So I would say it’s mix that was pulled higher and higher. So if I said …
: Sorry. Got some stuff on the … Embrace the phlegm right?
: If anything, I would say that pulled up mix certainly is more … It’s got a lot of … Well I don’t know how you would describe it. I would say it’s probably definitely louder and so forth, and maybe has more bite to it. Maybe it’s kind of a more R&B kind of feel. Let me take a couple comments here, what do you think? Joe says … Okay, Bestie says, “It really sounds like head voice to me.”
: Well it doesn’t feel like head voice. Let me see if I can … okay. Let me see if I can illustrate the difference. Let me see if I can do it. I don’t know. I never really tried it. If I said …
: I would say, for me, that’s …
: Now. Let me see if I can illustrate more of a pulled up mix kind of feel.
: So, for me, that’s more of a pulled up mix. It’s a little bit different than …
: Can you hear the difference? There’s more of the … I guess it would be a little bit more of a pharyngeal kind of presence in that. Okay. Let’s see. Joe says, “I can keep it from breaking into falsetto, but I can’t get rid of the crack completely as you do.”
: I understand that Joe. There’s probably … We would have to take a look at your voice individually and see what’s going on. Now, there’s a difference between feeling the transition and a complete crack. So if you’re not breaking into falsetto completely, you’re probably just feeling a little road bump there that’s the transition. That actually can smooth out over time. It did for me. I used to remember feeling all the time being able to …
: I’d feel like in the middle there. I’d feel kind of that … I don’t feel it anymore. So in time you can eliminate it. But if the larynx is coming up …
: If it’s the larynx coming up, and it does break, then of course you’re going to feel it. It’s possible that it’s breaking and reconnecting on the way up too. Usually it’s because the larynx is too high. Almost always. In some way.
: Okay, so … Or there’s a little bit of reach in it. Joe says, “I also break where you do.” Right, I think if I remember, your bridge is … You’re more of a contralto. The deeper voice? Am I right Joe? Okay. Jovie Gold. Hi. Nice to have you here Jovie. So if you didn’t hear the question, do you know when you’re in your mix? Yes or no? Let me know in the section below.
: All right, so that pulled up mix is a harder sound. I think it’s more of an R&B or gospel kind of sound. Maybe an edgier rock and so forth. But you know, I think it’s still a little bit less than necessarily optimal. So we’ll talk a little bit about maybe what’s an option here. The other option would be just to develop your head voice. So we’ll take that in a second.
: Zachary asks, “How do we know if the larynx is too high?” Zach, if you break on the way up, the larynx is coming up. So, if I had a … I don’t know if I can do this today or not, but let me just show you the difference in sound for a second. If I said …
: One is the larynx is up, the other is the larynx is down. So usually it’s … You feel it if there’s some kind of a reach. If you feel like you’re going into swallowing mode where the larynx really starts to travel up, usually you can’t hit your upper notes. And you also can’t hit the lower notes. If the larynx is up, it’s hard to get the low notes together.
: So mine’s in pretty good shape today. But I … If there’s a little bit of … Yeah so, it’s different, it’s not where you speak. Now I should say Zach, that there are singers, students that have come in, and they talk with a high larynx. The larynx is up. I think mine was too for most of my life. And just through the last several years, I’ve noticed it dropping and the sound got deeper and so forth. Part of it is I’m aging. That’s another aspect of it.
: So indications that the larynx is too high. Number one is you’re breaking into falsetto, or you’re pulling a chest voice up.
: If the vowel spreads wide, the larynx is going to come up. So if I’m singing …
: So if you noticed that the vowel is changing from what you would normally just speak to something that’s spreading open …
: You know, if the vowel is changing, the larynx is coming up. Trust me. So those are indications that the larynx is going up. You don’t want that to happen. We don’t talk that way. So another way to measure it is, where does it rest when you speak? How does it feel when you speak? That’s where it should be. That’s what we want to have happen when we sing. Which leads me to … Oh let me take a couple more comments.
: Jovie says, “I go off key now and then. Which kind of practice should I do, please? This gives me a headache.”
: Jovie, there isn’t necessarily any scales that … Well here’s the question. Do you go off pitch when you go to the bridge of the voice, or do you go off pitch in that you can’t find the pitch at all. So if I played this note …
: Are you able to hit that note? Or this note?
: Can you hit those notes? Do you go off pitch only as you go higher as you approach the bridge?
: That’s the question. Let me know the answer to that, and then I’ll respond.
: Bestie says, “Yeah. That’s mix I think. But when you sing, how do you fastly transition to your voice/chest mix? Imagine you’re singing around the G4, A4 or C5. How do you do it without cracks or other weaker sounds?”
: So Bestie, what you’ve got to practice is keeping the larynx down. So one exercise for that everybody, would be to say … To do kind of a … If you put your hand here on your Adam’s apple, and Bestie, you probably have to kind of put your finger in there and feel that lump, it’s about mid neck. If you swallow, you can feel it move up. It goes up and that’s what we don’t want to do. We don’t want to go into swallowing mode while we sing. So if you put your hand there on your Adam’s apple and say … “duh” not just, “duh” but “duh”, you can feel it drop. So you can do exercises with that kind of imposed larynx just to start retraining the larynx to stay down. Now we don’t sing that way, but the exercises help condition the larynx to stay a little bit lower.
: So you start to feel that you don’t have to raise the larynx in order to sing higher. So one exercise would be a “gee” sound like this …
: With that dopey sound.
: If you put your hand here on your Adam’s apple you can feel that with that dopey sound, it pulls it down, and don’t let it go up during those exercises.
: You just keep that in position, and that starts to retrain the larynx from going up. So when you’re singing and you’re starting to learn how to transition, then you go to these longer scales.
: That’s a great way to start practicing the transition. This is an even better way …
: Because my vocal chords are adjusting and I’m going through that bridge, both bridges and coming back down again, and the vocal chords are adjusting nicely. So you know, those are great exercises to learn to adjust or to make the transition. Or the tongue trill. Great, great exercises to develop the speed and agility to adjust from chest through the middle, through your mix, and then to your head voice.
: Now let’s talk about what the alternatives are. Number three, the alternatives to pulling up the mix. We know we don’t want to pull up chest, and you can always pull mix down. That’s okay. It’s never okay to pull chest up. So pulling mix up, I think, is a little bit … You have to really have a handle on mix. Otherwise, you risk the possibility of pulling chest. And if you feel like your going to crack or you do crack, you probably were pulling chest. Or if you feel like the larynx is going up, you’re pulling chest.
: So as an alternative to pulling up the mix voice, is a little bit longer term work and it takes a little bit longer to develop the head voice, because there can’t be any tension in it, there can’t be any reaching in it. Because if there’s a little squeeze on the vocal chords, they’re just not going to function 100%. They’re not going to function as easily as they are when there’s a complete release. There’s no tension in it. There’s no squeeze to the vocal chords. Once we get to the point without that, then the vocal chords start doing their job very nicely.
: So, I’m not sure what condition I’m in today. I haven’t done any vocal warm ups. But if I just said …
: That’s not pulled up mix. I’m just going into head voice.
: That’s the high A. Ladies, that’s your first bridge.
: Now, it takes a little while to develop the strength of the head voice. But you get to it not by pulling up mix, that’s not how you develop it. You get to it by working to get a balanced voice throughout the range. So that just takes some time.
: So, how do you do it? And I’ll just say right now, in the description below is the get your vocal type PDF. Getting your vocal type, finding out what your vocal type is will help you to understand what you tend to do when you sing through the bridge, when you’re going into your mix. Just by identifying whether you’re pull chest, high larynx, or whether you’re flip falsetto, or whether you’re light chest/no chest or whether you’re a mix, is going to help you develop that head voice. It’s going to help get your voice in balance.
: So go to the description below. It says, “Get your vocal type.” It’s a PDF. It’s got links to the vocal test. It’s got links to all the videos on each vocal type, and it’s got links to the exercises that you download. So you want to start there. It’s going to help you transition from chest … Bestie, it’s going to help you transition from chest, through the middle, into your head voice, and back down again. It’s going to help you develop the agility to do it quickly. To transition quickly.
: And so, what I’m saying is, is that the alternative to developing your head voice, takes a little bit longer, but it’s really, really rewarding. So, again, I’m not in really excellent … I don’t think I’m in excellent voice today but, just being able to sing up there with strength is, you know, it’s such an advantage. So it starts feeling the same everywhere, no matter whether I’m in the bridge, or I’m in chest really, or whether I’m in head voice.
: So that’s about an octave there, and a half. Or an octave and a half tone. So when you start finding that coordination of the head voice, which comes about by just getting this balance in the voice so there’s no squeeze, no tension on it, then the vocal chords can kick in, and you get this depth of chord, and you get this brilliance, and you get this power in your voice. That’s where this whole technique takes you. Being able to develop a mix, and then transitioning into head voice without tension, without reaching up, without the larynx coming up, and over time you develop that quality of singing, where no matter where you’re at, it feels the same.
: It’s the same thing. There’s no reach in it.
: So that’s where everything is headed. And its so possible, you guys. I know, because there was a time I couldn’t sing any higher than this.
: I was 43 before I learned that it was possible to go higher. I had no idea I could do that. Hi Daniel. Nice to have you here today. I want to say hi to … Oh and Anna Lou. Hi. Nice to have you here. “Is belting just a strong mix voice?”
: So Anna Lou, what is the definition of belting? That’s part of the problem here is that some people call pulled up chest belting, and some people have a different name for it. And it really kind of depends on what it sounds like and how they’re producing it. There’s a university in my state here that teaches something called belt. It’s a high larynx mix. It’s supposed to be. The vowels are a little bit more open, a little wider, and I don’t particularly like the sound, because there are a lot of overtones that are missing in the voice. I’ve heard singers on stage doing the belt, and they have two volumes, loud and soft.
: So, you know, I watched one belter singing to another belter and it’s a romantic moment and it’s just loud, loud, loud, loud, loud and soft, soft, soft, soft. So it just didn’t seen to have the dynamic range. Now I’m sure everybody is different. This particular singer couldn’t do that. So it was really, really hard for them to be able to sing …
: To be able to do that loud, soft, soft, loud kind of thing. And that’s what the mix and the head voice does for you. So one definition of a belt is a high larynx mix, with a little more open vowel. A reduction in some of the overtones of the … or more open or more natural voice. So that’s my definition. Okay.
: Let’s see here. I could do … So Bestie says, “I can do most exercise but I can’t do them on songs. I can do most exercise but I can’t do them on songs, like diaphragm or mix.” Well that’s certainly the first step though isn’t it, Bestie? You’ve gotta be able to do them in the exercises. And if you can, you’ll get them. If you’re doing them right, they’ll translate to the songs. If you’re not doing them right, they won’t.
: But here’s the other thing, Bestie, now you get into the words. So the words are changing vowels. You change the vowels and that can get you into … That’s another discussion. That is the management of vowels. We’ll talk more about that at another time.
: John H. says, “Is there an exercise to keep … ” Sorry. I’m missing [Ox J 00:42:08] here. Ox J, hi. Nice to have you here. “Can we learn to mix without learning the basics of singing? Can we learn to mix … ” I couldn’t. You may be able to. But I was not informed enough. I didn’t have enough background. I didn’t have enough understanding of my voice to do that. So for me, no. I don’t know about others. I have met a few people who seem to mix naturally. But they’re natural singers. Born, just have this gift.
: But for people like me, I haven’t met anybody that just figured it out on their own. John H. asks … Hi John, nice to have you here. Those of you who have just joined us, do you know when you’re singing in mix? Yes or no? Let me know in the comments below. Also, be sure and subscribe. Give it a thumbs up if you haven’t subscribed. Thumbs up, subscribe. Hit the bell button. And the other thing I wanted to tell you is if you haven’t gotten your vocal type, get the PDF in the description below to get your vocal type.
: It will take you to the test. The PDF has links to take you to the videos about the vocal types, and it will take you to the exercises. It’s the absolutely first step to getting through your bridge with mix. Okay?
: John says, “Is there an exercise to keep the larynx low?” Yes, John. If you put your hand here on your Adam’s apple and say “duh”, really stupid “duh”. Not just “duh, but “duh”, you should feel it drop. “Duh”. So what you want to do is to take that dopey sound, and do it on “gee”, and then say …
: Or …
: Now if you keep that larynx, that dopey sound going, it’ll go a little hoot-ey.
: If I don’t …
: My larynx is coming up. Or ….
: It might crack or break. So I want to keep that dopey sound.
: And that’s helping me practice retraining the nervous system. Keep that larynx down.
: And if I say …
: Larynx is up.
: You gotta stay kind of dopey, kind of hoot-ey.
: It’s the best exercise to keep the exercise down. “Gee gee gee” or “goo goo goo”.
: Bestie says, “Wovel or tone is changing when it comes to mix too, right?” I’m not sure what W-O-V-E-L is Bestie. “Tone is changing.” It really shouldn’t. There’s not … It’s resonating. It’s vibrating in a different place, so it may … It’s going to sound a little different. Yeah. The tone is going to … Because it’s vibrating in a different place in the instrument, it’s going to be a little different.
: So it’s a pitch difference. There’s not a lot of difference in terms of mechanic.
: But there is a bit of difference in tone, because there’s a vibration moving to a different part of your body. Just like the tone is different down here.
: Three octaves, that’s not too bad. Okay, so let me see. Anna Lou, “Is belting just a strong mixed voice?” Okay. We answered that. Daniello … Danny … Dan … Danello. Danello, sorry about that Danello. “Nice exercises.” Thanks. Hey Danello, nice to have you with us today. Great to meet you. “I couldn’t to download the free PDF in your link.”
: It didn’t work? Well I’ll double check it. Thanks for letting me know Danello. So I will double check that link, and I will fix it if it’s broken. Anybody else have trouble with that? Let me know. If someone wants to try that and see if it’s a problem, let me know. Danello can’t get his to download. So I’ll double check it. It would be nice to know if someone else has been successful with it.
: Okay, so we’ve got … [inaudible 00:47:47] says, “What’s my vocal range?” Hey that’s about it today [inaudible 00:47:51]
: That’s the G. So that’s a G2.
: Really, for me, I mean I can perform at this …
: That’s the E2. I mean I just vocalized up to the G5. A performance range for me, I’ve performed a song that had a high C in it, the C5. It was just a passing note, but I’ve done that in a performance and I auditioned once with a song that had a B Flat in it. A B Flat 4. But generally speaking, I perform in lower … Maybe anywhere … So my performance range would probably be more like an A Flat, A Flat 4 and down, middle C area and so forth. But that’s the range, is E2 to about G5.
: So Bestie says, “Do you mean pulled up chest exercises? I’ll definitely download them.” They’re not pulled up chest exercises. They are exercises to stop you from pulling up chest, okay? That’s the pulled chest, high larynx. Exercises are to help you not do that and to teach you another way to bridge without having to do that.
: Youthful Combat, hi. Nice to have you. It’s been a while, I haven’t seen you. “Very cool exercises every week. Thank you very much.” Thank you. Thanks for being here. Daniel Mark. Hi Daniel. Nice to have you here. “Are you familiar with singers like Adam Lambert?”
: Yeah. “He’s quite rocky, but he sounds like he’s got a loud mix.” I would say so. “Is this a high larynx mix or … ” You know, I think the guy’s got a gift. That’s a good example of somebody that has a gift. I think he’s probably in his head voice and it’s a real strong head voice. There may be some pulled up mix periodically in it, but he gets up there. He really gets up there. So I would probably say he just has a really solid head voice.
: Aqua Epic. Hey Aqua Epic. Don’t know you, nice to have you here today. “Is there an exercise that helps with fluidity? If you listen to a singer such as Joey Tempest, he does it perfectly. I would like to learn to match that.” I don’t know exactly, Aqua Epic, what you mean by fluidity. But again, this one and a half scale is great, because it takes you from your chest an octave and a half up, to your head voice.
: So if I said … Well if I just did it this way. Probably the best exercise for fluidity that there is. Because it helps you transition, helps the vocal chords make the transition. It balances the voice, keeps the larynx down. And that’s just a great exercise. The tongue trill the same way.
: You can do it faster and faster and faster. Two [chucks 00:51:35]. No. Okay. Maybe this is help then, Two Chucks. It would be nice to know if you’re feeling a little more informed on the mix. So Chris. Hi Chris. Nice to have you here today. “Some mix are more chest full. What can be done to sound a bit less heady when you want to sing a song that is telling a story that should be speech like?”
: When you want to sound a little bit less heady? Yeah Chris, so again, of course, what you want to keep working on is balance, getting balance in the voice so there’s no reaching with it, there’s no larynx coming up and so forth. So we’re not squeezing the vocal chords. You know, it’s helpful to have the low breath, pulling your tummy in when you’re doing the exercises and so forth. So we want to eliminate the tension. We want to eliminate reaching and as we do that more and more, and get to the point where we keep the larynx down, then the rest of the voice starts kicking in, and the head voice starts coming in stronger.
: I would say that’s your longer term solution. When you want to be a little less heady, and you want the song to be a little more spoken, I would say, Chris, that one of the first things I would do, just to get your a little bit more strength … Let’s just say that when you’re doing that, you kind of go into a more of a legit softer sound. More like …
: You know? But you want to have more to your voice than that. I would say …
: So you might want to do an exercise like …
: And go a little bit towards that exaggerated sound.
: And then maybe …
: But keep a little bit of that condition of the “nay nay” in there.
: You know? So that you’re starting to get that same sensibility of that little bit of exaggerated witchy sound into your voice. That’s a quick fix that sometimes can give you what you need to do in a song that’s coming up. But the long term would be to keep working on developing the … you know, your head voice and the mix, and the chest. All of it together. Hope that helps.
: Ox J says, “I think mix requires compression in the vocal chords, and resonance in the pharyngeal region, but I can’t do it practically. Then I sound like a cat moaning. Chuck please do a live chat about compression.”
: So it should be … There is compression. There is compression in our singing, and we’ve got to wrap this up really quickly. Thanks for everyone’s participation today. It’s been real exciting. We’ve got to be able to … There is a compression, but it’s a friendly compression. It’s not a squeezed or pinched compression of the chord structure as the air is passing through. What we find is, by getting the right balance of air with the vocal chords closing around it, the muscle of the vocal chord. By getting it balanced, that’s when the real power sets in. So if I said …
: So again, like I say, if you just need … yeah. So if you think the mix requires compression in the vocal chords, I don’t know that it does require it. A lot of people rely on a little bit more of the compression. Like the “nay nay nay” give a little bit, not really compression, but there’s a little bit more tension in the muscle of the chord. Not tension … Yeah I guess maybe it’s a little bit more compressed. I don’t know what the word is here. I’m drawing a blank. Anyway …
: You can certainly do that and start to fill that in. But really, where it comes from is this complete relaxation. It’s a letting go, and kind of pressing into the condition of letting go.
: And you start feeling that and think, “Wow that’s a nice strong powerful head voice.” But I just keep reproducing the same thing. I think, “Let go Chuck.” And then press into that. Get a little bit louder into that feel of letting go.
: That’s the F Sharp. Ladies, you’ll find the same thing, the C Sharp, B Flat, B, B Flat, A. The further you are away from the bridge the easier it gets so here’s the F Sharp. It’s a harder one for us guys, because it’s the top of the bridge.
: So, an exercise to build your mix, you guys, is to say …
: And keep the second vowel in the same place the first one was. I didn’t say …
: I didn’t do that. That’s pulling up chest.
: So leaned heavier, I leaned more … I got louder. I crescendo-d on that narrower place, in that narrower place. I didn’t let it go spreading.
: Not like that.
: That’s where you gotta keep that to build that mix.
: Don’t do that.
: So I gotta be staying in that same narrower place to build their mix voice. If you go in the chest, you’re just going to build chest. Ox J was able to download the PDF. So Daniel, or Danello, we had someone here who could download it. Try a different browser. I think … Well mine is Chrome. Turn off your computer. You know, reboot the computer after you’re getting off here to see if you can download that. If you can’t leave a comment and I’ll try to figure out another way to get it to you.
: Okay a couple of people are saying the PDF is working. So thanks for checking on that everyone. Okay. We have gone over an hour. What a session today you guys. Thank you very much. I hope this has been helpful in some way. We’re talking about things, you guys, that take some time. It takes some time to learn. It takes some time to begin to feel. It takes some time for the nervous system to accept it. It takes some time to build new muscle memory, and it’s not something that goes by forcing it. That’s what’s the challenge behind this. You can’t just force it. You’ve gotta be patient with it and do things as correctly as possible, and then the right things begin happening.
: Okay, Ox J could download it. So thank you for double checking. Visible, hi. Nice to have you here today. “The vowel modification means that when we’re singing, we have that sing in the high notes with vowel modification. Example “E” to “eh” to eh”. Can you do an example in mix?” So that’s a great question. So if I’m going to modify the vowel, let’s just say if I don’t modify … If I say …
: So I’m spreading the vowel.
: So I’m going to go from add “eh”.
: So take it from “Can” “ah” to “eh” “Can”.
: Spread that vowel. “Ah” to “Uh”.
: And on love I don’t let it go to [lave 01:01:22].
: So “la”, “ah” to “uh” …
: … is an example. So it’s not a big modification. It’s just enough to help you stay in your mix.
: Versus …
: You can hear the splatting, splatting, splatting. By taking “ah” to “eh”, “ah” to “uh” those are going to make the difference and it’s going to sound like you sound when you speak them. You don’t say “Can you say the love tonight?” You don’t say that. But that’s how we sing it sometimes.
: Okay. Hope that helps, Visible. Chris says, “This witch sounds helps a lot. It’s a nice switch. This “nay” to “no”, thanks. Or [inaudible 01:02:24].” Yeah. Thank you Joe. Thanks George. Fahad, thank you. Nice to have you here today. Daniel, thanks. Great everybody. Thanks. Love you all. Be sure and subscribe if you haven’t, and thanks for being with me today. This is Chuck Gilmore with Power to Sing Live and remember you can sing higher with beauty, confidence, and power. See you inside the next one.
Free PDF – Get Your Vocal Type:
Chuck Gilmore: Hi, it’s Chuck Gilmore with power to sing live number 123. And welcome to our show today. Today we’re going to be talking about what is mixed, what does mixed voice mean? And I’m going to give you some singing exercise that are going to help you build that mixed voice and that’s going to help you pretty well understand what does mixed voice mean. So hi everybody, very nice to have you here. Have already got a crowd waiting in the, out here.
Chuck Gilmore: So Ivan hi, nice to have you here today. Nuno, Sylvia great to have you. The Fandom Ariel thanks to you guys for joining me today. All right so let me just ask you this question. What does mixed voice mean? All right, so if you will learn today by doing exercises what mixed voice means, because I’m going to strive to get you in your mix. But vocally if you’re in a mix of two things, you have to have two things to mix right? Like flour and water. If you’ve got to mix something you have to have two different things. What two things are we mixing vocally? Do you know? If you do let me know what that is, what are we mixing? Or maybe it’s just one of the two things. If you don’t know just say I don’t know. Just let me know on the comment section below. I don’t know or I can give you the answer. I could give you a hint but I think you’ll probably figure this out.
Chuck Gilmore: Okay, so today I want to talk about this subject because first of all I had never heard of it myself. I have never even heard of mixed singing. And I sang for years and years and years and then stopped singing for a long time because I had a big fail in singing solo and I just decided that I wasn’t going to pursue it. Well, it was, but that was where my heart really was. It’s a story we aren’t going to hear but let me just say that I’d never heard of mixed voice or mixed singing. So they, when I first learned about it, it fascinated me but I still didn’t really understand it. For a couple years I’ve studied voice and still couldn’t tell if I was singing in a mix and exactly what theoretically I guess I knew what it was supposed to be but I did know how it felt.
Chuck Gilmore: So I’m hoping that today at the end of this discussion we’re going to have that solved. I want to say hi to again Nuna Daniel, hi? It’s your last time, Chest residence, yep. Chest and head residence. Right on Daniel. Hi, George nice to have you here today. It is easier to find chest and head voice than mix. Agreed I think that’s really great point. Okay, so here’s the lay of the land today. I’m going to talk about number one, what does mixed voice mean? And I’m going to demonstrate that. Number two, I’m going to talk about how do you know you’re in a mixed voice and I’m going to give you some exercises for that and number three I’m going to give you exercises to build your mix voice okay? And so we’ll go to that point.
Chuck Gilmore: I’m not going to take a lot of questions in between. I’ll answer your questions at the end but I want to get through these three things because people want to know what these are. All right so number one, what does mixed voice mean? All right, in short mixed voice means as was already explained by Daniel, it is a chest and head residence blend. So if I were just singing in chest it would sound like this (singing). That’s not a mix. I’m just pulling up the chest voice. I don’t have any head vibration blending in or mixing in with my chest. If I, so in a fashion I’m explaining what mix is by what it is not. (Singing) that’s not a mix. That’s breaking into falsetto.
Chuck Gilmore: So the reason why that’s not a mix is I have nothing, there’s nothing to blend there because I’ve let go of my connection to the bottom. So a mix then is being able to continue through this middle area which we call the bridge which is the transition from low voice chest to high voice head. That bridge area is where that mix begins (singing). So you may not be able to tell that there’s an element of chest and there’s an element of head unless I take one of them out (singing). I just took out the chest (singing). So that’s not a mix. The mix is (singing). Excuse me, and so that mix is a blend of the chest voice and the head voice. Now if I said (singing) what’s missing? Well, I don’t have a blend, I don’t have a mix of chest because there’s no chest in that. It’s all either falsetto or I don’t think that was falsetto. (singing) that’s falsetto. I don’t have a mix there because it’s only falsetto. I don’t have any chest at all.
Chuck Gilmore: Now how do I get in to that? Listen to this as I go through that middle and we talked about this last week (singing). The vowel begins to narrow slightly. So picture a figure eight. So the shape of the eight, the number eight. So imagine as you’re coming, it’s getting narrower, narrower in this transition area. Lets just pretend that’s your bridge. So that vowel has to narrow slightly to get through that transition and then it can open back up again and it keeps doing that repeatedly over and over. So because there’s another bridge and then another bridge and so forth. For the men about every tritone. Well, for men and women about every tritone. Most guys we only really deal with the three bridges. But the women can sing in fourth and fifth bridge and even sixth bridge.
Chuck Gilmore: So now, the answer to the first question what does mixed voice mean? It is a blend or a mixture of chest (singing) and some head voice (singing). That’s not a mix that’s a let go into falsetto (singing). So falsetto doesn’t blend in to the chest either. Or it’s, again it’s not (singing). I’m just pulling up my chest voice. So I don’t have a blend of the head voice. And so in that area of transition if I don’t start mixing or allowing this combination of both chest and head vibration. Then when I, by the time I get to the top and if I keep doing it with chest, more chest and more chest it’s called pull chest. It’s pulling it up higher and higher. And it’s very stressful on the vocal cords.
Chuck Gilmore: Singers who get damaged vocal cords are often pulling the chest voice too high. Okay, now number two. How do you know you’re in a mixed voice? Well, I guess I’ve already sort of answered that, haven’t I? If I go into falsetto it’s not a mix (singing). Nothing there to mix. If I pull the chest voice up I’m not in a mix. And so we’ve got to maintain this bottom (singing). Now the way I get into it, it’s by narrowing the vowel (singing) from A to A (singing). Now I can open the vowel back up that’s an advanced technique but it’s because I’m already in mix and I can singing a little more open vowels as long as I maintain that mix.
Chuck Gilmore: So as long as I stay in that narrow place (singing). So I’m opening that vowel (singing). But I’m not just pulling up the chest (singing). I’m not doing that. So how do you know you’re in a mix voice? The second part of that is not only are you not breaking into falsetto or you’re not pulling up the chest but the area of the bridge. So for the men it will be the E, F, F# above middle C. For the majority of men. For the majority of women singers it’s A above middle C. A, Bb, B, C. That’s an area of, that’s where that transition zone is at that bridge. So if you’re singing in that area, so for the men (singing). That’s the E right here (singing). Now if I’m pulling chest it’s going to be (singing). Or if I’m in falsetto (singing).
Chuck Gilmore: So if you’re staying connected and you’re not pulling and you’re not in falsetto you’re in a mix (singing). Now a one fast way to get into your mix is staying connected, right? So let’s do this for a second. Would you say, (singing). Ladies I don’t want to leave you out because it’s the same principle (singing). So ladies if I take you from middle C to high C your bridge starts here on the A. Just do that for me and say (singing). What we have to do first of all is connect it so that the voice is not disconnecting or the tone is not disconnecting. Listen (singing). If I said (singing), if I break then I lose the bottom. I lose the tonal connection to the chest. So I want first of all I must have a connected tone. And so this Na, Na, a little bit silly sounding (singing). Ladies this is in your register.
Chuck Gilmore: And so this is from E above middle C to the B right next to the high C (singing). Well, what is that? It’s not falsetto, right? It’s deeper than falsetto but it’s also not pulled up chest. So I didn’t break into falsetto but I’m not pulling up the chest voice. I’m not saying (singing). So it’s a form of a mix. Now the larynx is up a little bit but first of all we’ve got to connect it. We have to get the tone connected from chest to head. So that Na! Na! Na! is a great way to know that you’re in mixed voice. No is it finished, a finished tone or a finished sound? No, because we don’t sing that way, or we don’t talk that way, right? So why would we want to sing that way, but it does build our confidence. (singing). Guys that’s yours. From B to the F#. C to G (singing).
Chuck Gilmore: So I know that I’m in some kind of a mix there, now like as I say it’s not finished sound but I’m connected in that bridge. I’m not in falsetto and I’m not pulling up chest. So that way I know that I’ve started the process of getting into my mixed voice. So that’s number, so let me also give you a couple other exercises here. If I said, this is maybe a little bit more straight forward. We’ll go a little more normally sounding. For the men let’s do you first, if I said (singing). I’m starting at the D, which is an octave, on the octave repeat it’s still below the first bridge on the top.
Chuck Gilmore: If you did this for me and say (singing). Those last two were a mix, they were the mix of chest and head. The E and the F. Now if I had said (singing) that wouldn’t have been a mix. You can hear the first one has some head in it but the second one just fell right down into the vibration. Just dropped right down into my mouth. And so it just becomes pulled up chest (singing). That’s just pulled up chest. If I leave that second vowel Nu, No. The second vowel No in the place where the first one felt (singing) that’s an easy way to feel that mixed voice (singing).
Chuck Gilmore: Now at first you might be tempted to say (singing) that would not be mix. You got to be very careful that you don’t allow that second vowel No to spread open beyond where the first vowel was in the more narrow place (singing). Now ladies it’s the same thing here. If I’d started at the G above middle C (singing). Now if you spread that second vowel and let it go wide (singing). If you spread it so that it drops down into the mouth you’ve lost that mix. It’s no longer a mix it’s just chest voice. So you’ve got to keep that, this is an exercise to find that mixed feeling (singing). Now again the first one can’t be (singing) it can’t be pulled up chest (singing). So that’s a fast way to find your mix voice (singing).
Chuck Gilmore: You do that exercise on the E, F, F# for the guys or for the girls A, Bb, B and C. Now you can start one or two notes before that. So for the guys they start here on the D just to get you into it (singing). But if I said (singing) that would just be, I’ve got a little bit of a mix going even though I’m pulling the mix down a little bit. The second one it’s just in chest. You got to maintain that vowel, you’ve got into the second one the No right where the first one was in the Nu. (singing) that’s the fast way to find the feeling of mix voice. I’ve got chest voice going (singing) and head voice going at the same time (singing).
Chuck Gilmore: Now number three, exercises to build the mix voice. And this, so hopefully we’ve answered what does mix voice mean. It’s a blend of chest and head. And the feeling of it is described as a blend (singing). And if I break into falsetto I’ve lost that mix. If I pull up the chest voice I was never in it and so that’s how you can monitor yourself. You’ve maintained that connected tone through the bridge. E, F, F# for the guys. A, Bb, B, C for the ladies. That’s the, A above middle C to the high C.
Chuck Gilmore: Now exercises to build mix voice aren’t too much different than what we’ve already covered here. Let’s start with the guys again, let’s start on the D, which is just a whole not below your first bridge. And just to get this feeling of (singing). F# (singing). Now if you doubt that you’re in, another way of doing it to get very tuned in to what your voice is doing do it on Gu! Gu! Go! Go!. (singing) if I say (singing) then I know I’m not in it. (singing) Or (singing). For the ladies, you will start here at the G (singing).
Chuck Gilmore: Now if at anytime I disconnected into falsetto I started pulling up the chest then you know you’ve lost the mix. Now it’s just either falsetto or it’s just pulled up chest. You’ve got to maintain that connected tone and if it disconnects then you know you’ve lost that mix. All right, now exercise number two. Nu! No instead of Nu! No! We’re going to say Nu! Na. Like nook, like breakfast nook (singing). E (singing). Now this is more difficult because Na is more open than No. So if I said (singing) can you hear that’s starting to splat a little bit? (singing). I want that Na to be exactly where the first one was which was Nu (singing).
Chuck Gilmore: Ladies same thing for you, A (singing). If I said (singing) if I open it up I lost that mix. Or if I crack into falsetto. So we got to maintain that (singing). This is the way you build your mix. You’ve got to be able to do this and do it repeatedly. If you just did it in chest (singing) what are you building? You’re building pulled up chest. You’re not building mix if you do it that way. Someone once said that it’s like they felt like they were singing in a pipe. This is one of my students. He felt like he’s singing in a metal pipe. Long metal pipe and in order to do it right, the second one had this fit the same pipe (singing).
Chuck Gilmore: But if I said (singing) now it’s outside that pipe. It’s got to be in that same location (singing). It’s just a visual way of thinking and feeling it. What does it feel like to you? Last exercise to build your mix. This time we’re going to add a third vowel (singing). Nu! Na! Na!. It’s like boot, U, A, book and a back. (singing). This is more challenging because the vowel is getting more open. It’s a more open vowel but we can’t let it spread beyond where the Nu! Nu! Was. If you do you’ll lose your mix (singing). Ladies for you it will be up here (singing).
Chuck Gilmore: Now if at any point I said (singing) that would have lost my mix. That vibration that was up in my head just feel down into my mouth and now I’ve just got chest vibration going. I don’t have a blend of the chest in the head. So doing this exercises as I’ve shown you starts to build the strength of your mix. Another thing that I want to point out is doing if you can crescendo that is get a little bit louder but leave that. Don’t let fall into your chest (singing). You can hear that I am crescendoing but can you hear that I’m not going beyond where the Nu! Nu! First was? That more narrow that smaller place? (singing).
Chuck Gilmore: If I did it would sound like this (singing). I’m peaking on my sound I’m sorry you guys. Probably it’s creating a little bit of distortion. But that’s what it sounds like to listen to somebody pull their chest voice. It just kind of it’s like distortion and it slaps you in the ears and it’s just unpleasant. But a nice solid strong mix voice doesn’t ever do that. Okay, so let me just say one other thing and then I’ll take questions here.
Chuck Gilmore: First step is you’ve got to know what you tend to do when you through the bridge. And that’s why I have the vocal test. So you need to get your vocal test. Id you haven’t taken then vocal test which describes what, so the results of that vocal test helps you understand what you tend to do when you go to the bridge do you tend to pull chest to it, do you tend to go into falsetto, flip into falsetto? Do you tend to just go really, really breathy so you can get through without feeling it? Or are you mixing through there.
Chuck Gilmore: So I want to encourage you to go in the description below and look a for free pdf get your vocal type. And that’s a pdf that takes you right to the vocal test on my website powertosing.com. It takes you right to videos about your vocal type, the results you’ll find in the test. You’ll determine whether you pull chest high lyrics or flip to falsetto or light chest, no chest voice, or mix. And then there are exercises on this pdf. There’s a link right the exercises, to the videos that tell you about it and then do the exercises that you can do to begin building your mix. That’s what this, it’s really what that leads to, that vocal test.
Chuck Gilmore: All right, thanks for your patience. I want to get to those three things and also encourage you to get the pdf in the description below if you don’t have you vocal type yet and that will help you a great deal. All right, so let me go up to the top here and I’ll start taking questions. Flirts of all I just want to make a comment on what Ivan says, it’s easier once you’ve found chest and head voice. Yeah, if you don’t have chest (singing) then what are you mixing? You can’t mix it. So one of the first things that we want to do that I like to do is establish chest. So if I have a student that comes in and they’re very light, and very breathy and there’s just nothing in the bottom. We’ve got to get the cords here, because what happens if you have this light, breathy sound? There’s just no chest voice. And then what are you mixing? A light, breathy, airy, whatever with the head voice. That just does not going to fly is it?
Chuck Gilmore: So we got to have the chest established. I think it’s harder to find, to do that with head voice because that’s what your, many of us including myself never been had a voice. So it’s pretty had to find that. Bu that’s what we do actually when we say (singing). That top note is head voice. So in a way Ivan you’re right, we start feeling that connected tone up in our head. Okay, so Nuno says Chuck I’ve been watching your streams and videos and today I’ve hit the E5. Wow! Nice. But it was strange because I felt my chest and head vibrate a lot. Well, E5 is way up there (singing). So I understand why you’d feel your head vibrate a little bit. What vowel was it Nuno? I guess that’s a good question to know what were you singing. Were you singing just an exercise, were you singing a word?
Chuck Gilmore: Because if the chest is vibrating I not quite sure why that would be the case since it’s so high. By then most all of vibrations up in your head. [Upadio 00:32:35] hi, nice to see you today, thanks for join us. Awesome that you’re here. [Svyian Solly 00:32:43] nice to have you here. Daniel Mark is strangely when doing that scale through the bridge I’ve noticed I can ascend but get stuck in a heady mix or maybe head voice when going down. Yeah, it’s a coordination thing. You’ve got to begin to allow the chest to begin coming in by degrees. We don’t want to slam into chest voice (singing). So you could bring your mix down until you start getting familiar. It’s okay if you keep bringing mix down into chest. You can overlap mix down into the chest (singing). So gradually left that chest come in. Good comment.
Chuck Gilmore: The Fandom Ariel says, Ha ha, a real shaker thank you for sharing. My pleasure thank you. You’re saying my name. Nuno Silver, this message is just for, is helpful. Okay, so let me see here. Let’s see what it is. Okay, juts K-K-S-K-S-K-S-K-K-S. All right, Daniel laugh out loud. So I put too much into my chest. You know, Fandom Ariel joined the club, for us guys especially we only live there right? We don’t talk up here. We don’t say cab or uber. We don’t talk there. And so it’s very foreign to us this feeling of head voice. It’s really something to get used too over time. Kings says, Hi Chuck, how can a person stop talking with the high larynx? Well, I’m not really sure. It can be a real habit and what I found that it’s helpful is to do this exercises as gradually brought my larynx down.
Chuck Gilmore: And so it’s interesting how the vocal exercises have carried over into my own speech. So a good exercise for a singer or a speaker would be the dopey (singing). I mean I’m taking the larynx and I’m pulling it down with that dopey sound. (singing). If you did those everyday a whole series of those, I think over time the larynx would come down. But in some cases, I think that perhaps a vocalist with some vocal exercises at the ENT maybe also very helpful. Nuno Silver, Fandom Ariel, okay they’re having a discussion here. Shouldn’t I be afraid of tense nervous when you’re reaching the bridge and maybe you should practice exercises Chuck is doing.
Chuck Gilmore: Yeah, you know you guys all of us are kind of in a different situation where we have this different reaction as we feel the vibration. As we feel are going up to the bridge and we start feeling that middle area starts to, our habit is just to grab it. And so it takes some really practice over time. Just relax it and do some of these exaggerated sounds like the Gi! Gi! Or the Ne! Ne! Or the Nuno’s that we did today. Just to kind of get you in a new condition. And then become comfortable with it. Nuno says you need to relax and put some, and put some head in to it. And stay in that place like for me it feels like a middle ground. [Inking 00:37:06] Chuck do church, do I need, do I, I do church, I do. When I do the Nuno exercise I can always sustain the No for maybe two seconds and then it starts to crackle and disappear. How do I do it with strength?
Chuck Gilmore: The crackle is caused by the larynx coming up. So be very, very focused on what the vowel is doing. So if have a student that says, if someone says (singing). Larynx is coming up (singing). But listen what happens to the vowel (singing). The vowel starts to change. Keep that vowel exactly, strictly the same (singing). Don’t change anything, for practice don’t change anything on your lips and barely, don’t just think no. Don’t even form No with your mouth, with your tongue. Just think no it will go in the right place. But if it starts to change be very aware of what the vowel is doing. It’s very possible that vowel is opening up a little bit. Ivan says, it’s important to know that it’s hard to pass the bridge if you start to heavy.
Chuck Gilmore: Great point Ivan. Ladies and gentlemen that’s the principle of the day Ivan has brought out. If you want this to be easier bring the chest volume down. He has hit the mark right on the head. Reduce the size of chest. If it’s this big bring it down to here okay? And so it matches the upper voice. To many of us want to try with this great big chest voice and wonder why we can’t blend it in with the head voice. Or why we can’t even get to head. It’s because there’s a great big obstacle on the way called chest voice. So exactly point Ivan. Bring that volume down in your chest.
Chuck Gilmore: Okay, got a message from my mother that her hometown is flooding. It’s right here. A little hometown up in northwest Missouri. So we say when we’re native. Okay, Daniel says, yeah as inking said I’ve noticed my voice feels very worn out for mix voice exercises. Although, I’ve used mums and bups. Yeah, I don’t do baps much but everybody just be very aware that first of all the first one is in the bridge. The first one can’t be pulled chest, because then you go to the second one it’s still pull chest. The first one has to be, that vowel has to be very closed down. That’s why we used Nu today. It’s the most closed vowel we have on E (singing). If I said (singing) I can still do (singing) in chest (singing).
Chuck Gilmore: So make sure that Nu! Nu! Is staying U and not A. And then the second vowel is got to be, it’s going to the exact same place as the (singing). It’s got to be the same as that first place when you’re first learning how to do this. It’s really, really, helpful. Eric hi, nice to have you here today and you’re welcome sir. Ivan says and to always stay relaxed with good support. Yeah, the low breath taking your breath with the assistance of the diaphragm and then pulling that belly button back towards your spin give you such an advantage. Really, it’s help full thank you Ivan. Again great comment. And it does actually set you up. The larynx drops a bit when we take a little breath. So it’s a great setup. ENT hi, what exercises are good for the second bridge?
Chuck Gilmore: Exactly the same one. And you can use just as I showed today I was doing it for the ladies but I could use the same exercise to build my own second bridge there. And I am then that the first bridge is in a perfect condition. Don’t jump to the second bridge it’s actually easier than the first bridge. The first bridge make sure it’s very, very intact okay? Especially if you can’t hit them yet. Yeah, so taking ENT is I think you’re going to find that as you get that first bridge down really well, the second bridge becomes very doable. Inking, let me see one. A4 is extremely force for me probably pure chest when I force it. Yeah, so that means you need to really focus on E, F and F# and even the G. Because if you’re doing those correctly A4 is not a problem.
Chuck Gilmore: If you’re pulling through the first bridge it’s going to be a problem when you get to the second. And it’s going to feel like you’re forcing it, it’s going to feel really, really hard. So first bridge ladies and gentlemen it’s where all the action is. Chuck what about Michael Jackson. He had a light breathy voice but a strong mixed voice. He didn’t have a light breathy voice, he just talked that way. But he had a very strong, listen to the exercise, go on to YouTube and search for Seth Riggs Michael Jackson vocal exercises. You’ll hear Seth taking way down to the and down in here. Michael was sing down there really strong, really big. But he did talk like that.
Chuck Gilmore: Seth asked him one time as I recall the story. So why do you talk that way? Oh, I don’t know I just like it. My grandfather spoke that way. So his granddad did too. So it’s just something that he did. He talked that way but he didn’t have a breathy voice. Chuck, what do I say, ENT and above that I’ve never had. So first bridge it’s where it’s all at taking the [inaudible 00:43:42]. One more question I have is when I really focus on have a relaxed time, my singing becomes extremely inconsistent. Feels like all of the coordination goes away. Do you use a little bit of tongue tension? No tension just let it, generally speaking the default position for the tongue is just resting in the bottom of the mouth, the tip of the tongue touching the lower back side of the lower teeth.
Chuck Gilmore: And that’s just, and just let it relax there. And it will, whatever you’re doing, whatever vowels that’s the default it goes back to that. And yeah try not to get tension in it. Look what happens when I tense tongue action, look what happens to my larynx. I’m pulling it up. So it’s connected to these muscles down here and so the tension of the tongue can cause just some real problems. So just you don’t want to over do it, you don’t want to over, relax is probably too much. You’ve got to have something right to form a vowel. It’s got to move around. But that’s the default position and that’s where it should go and just let it lie there comfortably.
Chuck Gilmore: I’m I to use, so no you don’t want to put any tongue tension. Can you do … A lot of people can’t do the tongue trill because they use the tongue with too much tension to adjust the pitch. But if you can do this (singing) that’s a good way to condition the tongue to be relaxed. Once I relax the tongue went to a high note I felt both chest and head voice at the same time okay. Sorry for the long question. Inking says, some local coaches say the best way to gain a mix voice is with the correctly each vowel, gain a mixed voice correctly each vowel when going higher and you’re automatically would be able to get to the bridge. I’d say so. That vowel is so important.
Chuck Gilmore: If I say (singing) take me right through it. But if I say, (singing) if I open and spread the vowel then I loose it. Or if I said (singing) it starts to spread the vowel I loose it. If stay (singing) so it’s very, very powerful. The purity of the vowel. Purity meaning that it doesn’t migrate form the correct vowel to an incorrect more open spreading vowel. On the second bridge topic my G4 is actually really soft and easy [inaudible 00:46:42] that’s why I don’t get, how I, why I don’t get how I can’t sing a high A4. It’s just that the E, F, F# right below that G needs work taken. After the G4 it becomes really full of tension and force. Yep. Okay, so Tekin ENT, I don’t have a lot to say about the root of the tongue. I’m not even sure what that is. But I can control my tongue in general.
Chuck Gilmore: And so just be aware of it and work to make sure that it’s relaxed and you’re only using it when you need to form words, vowels and so forth. Nuno Sylvia says, okay he’s given some advice. [Tuchucks 00:47:38], hi it’s nice to have you here. Almost missed you. Yeah, we’ve been going about 45 minutes now. Okay, are the vowels the key to gain the mix voice. I would say it is one of the major keys. Yeah, because if you don’t get the vowels right then you’re going to be spreading and just pulling up chest. Okay, so thank you guys it looks like that’s kind of the end of our discussion today. I don’t see any other questions here. I hope this has been helpful and that you can get right into somebodies exercise.
Chuck Gilmore: Does this answer the question what does mix voice mean? I hope it does. And by experiencing the mix voice with exercises I think you really gain an appreciation for what mix means. And it’s so powerful and so wonderful a way to sing because you can get up into notes that you’ve never heard before and have them sound really great. Sing songs that you’ve never been able to sing before and really expand your range. All of these things make such an impact. So Nuno says for me I D#5, E5 I can’t keep on doing mixed voice.
Chuck Gilmore: Well, you know you’re in head voice up there. So don’t worry about that. Let it go into head. Relax, the further you go up the more and more released and relaxed you should feel. Really, thank you for answering the questions. My pleasure I’ll be sure to get lessons really soon. That would be awesome. I do get this transcribed which is also in the description below. Thanks everybody I’m going to appreciate you and glad you could join us today. Please make a comment in the section below, let me know if this has been helpful to you. Also, give me a thumbs up, subscribe if you haven’t already subscribed and thumbs up on the video. All your comments are appreciated, I hope that they’ve been a benefit to you.
Chuck Gilmore: [Fort nice 00:49:50], just arrived show me an exercise please. Fort nice you’re going to have to watch the broadcast. I’ll hung up now and you’ll have it ready in just a couple minutes. There’s a lot good one on here. Thanks everybody we’ll see you next time. Now what I have to do is turn off the stream. This is Chuck Gilmore power to sing live. Remember you can sing high with beauty, confidence and power.