SING LIKE YOU SPEAK!
Do you want to SING in the same COMFORTABLE MANNER as you SPEAK? By MIXING your chest voice and head voice together, you'll be able to produce a voice that is HEALTHY, FLEXIBLE and POWERFUL!
What is MIX?
Mix is the most commercial and radio-friendly part of the voice. In order to have a great career, you have to find the best part of your voice. The best part of the voice is that blended area where you create the overlapping of two qualities, head and chest voice. The mix is what helps recording artists get record deals, what’s “wow-ing” audiences and what moves them because they have control, emotion and freedom.
The Mix is the most elusive part of the voice. It creates a smooth transition between the chest voice (bottom) and the head voice (top) which enables singers to reach their full potential. 90% of all singers experience some kind of break-flip or disconnect between these two qualities.
Without the mix, the extremes of pulled up “chest voice only” will kill a singer. The extremes of “head voice only” will bore an audience.
With the mix, you have the power of chest voice and the freedom of head voice - The same commercial tones used by greats like Stevie Wonder, Michael Jackson, Justin Timberlake, Brian McKnight, Mariah Carey, Celine Dion, Linkin Park, Josh Groban, Leehom Wang, Rain (K-Pop) and many more commercially successful singers.
We specialized in teaching the “MIX” voice.
There are points in the vocal range when the muscular mechanism which operates the vocal cords changes while the resonance sensations in the body shift. This is where most people experience a break, or a sudden shift in vocal quality. The biggest and most prominent break point for most people is the first bridge, which is the transition from chest voice into the head voice. The first step in beginning to smooth out this transition is understanding that at this first bridge a mixing must occur. The singer must find a place that is not pure falsetto, and not pure chest voice. We call this the middle voice or the “MIX”.
The larynx must stay down in a relaxed speech-level posture, and the vocal folds must maintain a balance between cord adduction (closure) and air flow.
In the chest voice, the vocal folds are stretching longer in order to rise in pitch, much like when a guitarist uses a tuning peg to raise the pitch on the string of a guitar. As the singer rises up to the top of their chest voice, they have three different options, only one of which is desirable.
1.They can continue to stretch the vocal folds beyond what is healthy, which causes too large of a vibrating mass, resulting in the rising of the larynx and the sound to "splat" or "spread" out of the mouth. The resulting sound is strained. It feels strained as well.
2.They can let go of most of the adduction of the vocal folds in order to sing on a smaller vibrating mass using only the outer edges of the cords. This is called falsetto. It sounds very airy with no carrying power and usually is accompanied by a very obvious break. Falsetto cannot blend with the rest of the voice.
3.They can keep the cords stretched, and keep the adduction muscles active thus bringing the folds gently together, while at the same time thinning the folds. This can be likened to a guitarist fretting up the fret board, or more specifically; There is a gradual elimination of the vibrating mass.
The third option is the only desirable option for the singer to move from chest voice into the mix. The thinning of cords condition results in an ability for the singer to stay at a relaxed speech level posture using a comfortable balance of cord closure and air flow. There is also an accompanying response of a "split resonance." Some resonance continues to come out of the mouth as in chest voice, but some resonance begins to travel up behind the soft palate into the head.
Finding the mix is important for singers of all styles. Over time the mix can be built into a very solid and full sound. The mix is versatile. It can be used to sound like an extension of the chest voice (i.e. a belt), or like a downward extension of the head voice. Either way, the mix offers an amazing opportunity for the singer to move through their voice with no apparent breaks of any kind.
Mix is the most commercial and radio-friendly part of the voice. In order to have a great career, you have to find the best part of your voice. The best part of the voice is that blended area where you create the overlapping of two qualities, head and chest voice. The mix is what helps recording artists get record deals, what’s “wow-ing” audiences and what moves them because they have control, emotion and freedom.
The Mix is the most elusive part of the voice. It creates a smooth transition between the chest voice (bottom) and the head voice (top) which enables singers to reach their full potential. 90% of all singers experience some kind of break-flip or disconnect between these two qualities.
Without the mix, the extremes of pulled up “chest voice only” will kill a singer. The extremes of “head voice only” will bore an audience.
With the mix, you have the power of chest voice and the freedom of head voice - The same commercial tones used by greats like Stevie Wonder, Michael Jackson, Justin Timberlake, Brian McKnight, Mariah Carey, Celine Dion, Linkin Park, Josh Groban, Leehom Wang, Rain (K-Pop) and many more commercially successful singers.
We specialized in teaching the “MIX” voice.
There are points in the vocal range when the muscular mechanism which operates the vocal cords changes while the resonance sensations in the body shift. This is where most people experience a break, or a sudden shift in vocal quality. The biggest and most prominent break point for most people is the first bridge, which is the transition from chest voice into the head voice. The first step in beginning to smooth out this transition is understanding that at this first bridge a mixing must occur. The singer must find a place that is not pure falsetto, and not pure chest voice. We call this the middle voice or the “MIX”.
The larynx must stay down in a relaxed speech-level posture, and the vocal folds must maintain a balance between cord adduction (closure) and air flow.
In the chest voice, the vocal folds are stretching longer in order to rise in pitch, much like when a guitarist uses a tuning peg to raise the pitch on the string of a guitar. As the singer rises up to the top of their chest voice, they have three different options, only one of which is desirable.
1.They can continue to stretch the vocal folds beyond what is healthy, which causes too large of a vibrating mass, resulting in the rising of the larynx and the sound to "splat" or "spread" out of the mouth. The resulting sound is strained. It feels strained as well.
2.They can let go of most of the adduction of the vocal folds in order to sing on a smaller vibrating mass using only the outer edges of the cords. This is called falsetto. It sounds very airy with no carrying power and usually is accompanied by a very obvious break. Falsetto cannot blend with the rest of the voice.
3.They can keep the cords stretched, and keep the adduction muscles active thus bringing the folds gently together, while at the same time thinning the folds. This can be likened to a guitarist fretting up the fret board, or more specifically; There is a gradual elimination of the vibrating mass.
The third option is the only desirable option for the singer to move from chest voice into the mix. The thinning of cords condition results in an ability for the singer to stay at a relaxed speech level posture using a comfortable balance of cord closure and air flow. There is also an accompanying response of a "split resonance." Some resonance continues to come out of the mouth as in chest voice, but some resonance begins to travel up behind the soft palate into the head.
Finding the mix is important for singers of all styles. Over time the mix can be built into a very solid and full sound. The mix is versatile. It can be used to sound like an extension of the chest voice (i.e. a belt), or like a downward extension of the head voice. Either way, the mix offers an amazing opportunity for the singer to move through their voice with no apparent breaks of any kind.
For singing lessons enquiry, please contact us at:
(852) 2529-9444 / info@singing-lessons-hongkong.com
(852) 2529-9444 / info@singing-lessons-hongkong.com