How to bridge - The Mix: Part 2 by Mary Beth Felker
Mary Beth discusses some tricks, myths and facts about the Mix
FAQ on the Voice: Download this article here
Topic: The Mix – Part 2
Q: How do I negotiate my mix, bridge, break, passagio – or whatever you call that awful thing?
(This article is taken from a posting I made awhile ago on a different forum. For this discussion on Voice Council, I think it’s important to note that there are many different ways of describing the passagio, bridge, break, mix, modes, colors or transitions –these are merely different words to describe the function. Though there are many stylistic overlays a singer can impose on the voice, there is an absolute physiological change that happens within the vocal structure as one sings different pitches. The singer experiences these physical changes as different sensations and sounds. This is where much confusion occurs in teaching and pedagogy. Some teach the process others teach the result: the how vs. the what. Learning how to allow this natural process to happen, without interfering or manipulating it, is paramount to building a foundation of vocal freedom outside of any musical genre. In other words, in order to stray far a field stylistically, one must know what and where home base is to return to.)
In my opinion, the goal of developing a mix or strengthening one’s voice is somewhat of a misnomer and a faulty understanding of the natural voice.
What did you say?!
Within the context and range of normal speaking expression and communication, everyone uses their voice in the upper areas, the lower areas, loud and soft, without cracking or breaking, and typically have complete control over that process. The result being one of a balanced sound for most. And yes, there are some exceptions where someone has a form of vocal dysphonia.
What that means is that if you merely do some "vocal play" you will discover that you are able to find your mix, or cover 2 or more octaves of pitches at all dynamic levels, rather easily. For example, start at the top of your voice and say, "Woo Hoo". For most, this is head voice. Move around in this area for a moment, imitating an ambulance siren. Now, speak down low and say, "Woh!”. To connect between the two sounds, merely walk the "Woo Hoo" down into the "Woh" pressing strongly on the /W/ and allowing the transition in the vowels to help with the transitioning of the vocal folds. You will notice you can do this exercise as loudly, or quietly, as you choose by putting more pressure on your lips as you pronounce the /W/ at the beginning of each sound. (As opposed to squeezing the throat.) Also moving from Woo in head, to Wah in chest, will create a similar function.
Applying this to your singing voice merely means adding some sustains. So, on the next effort, pause on a Woo or Wah for a moment, shake in the vibrato, and Voila! you have just experienced your head, mix, and chest voice, with sustains, at varying dynamic levels and minus any flips or breaks. The only reason this will not work is if you tried to adjust your volume at either end, morphed the word in some weird way, reacted to the shifting sensations and pitches (i.e., reaching up for the Woo and digging low for the Who) or did anything differently than how you would speak the words.
The process of mixing registers is natural, but the memorization and becoming comfortable with the sensation does take awhile. Why? Because we do not speak in our mix the majority of the time, and we are not used to experiencing, or feeling, our voice in that area. Training involves helping the student live there long enough that they will relax and trust that area. For some this takes a few weeks, for others a year or more. However it’s important to remember that the function is already learned for most, the recognition is not.
Here's the disclaimer: Those who have been previously trained, or have adopted for themselves a singing posture that is much different than their speaking posture, will have a difficult time re-learning the natural function of their singing voice. However, it's not that they can't learn it, it's merely that the muscles have memorized a different behavior for singing vs. speaking, thus giving the singer a different point of reference in resonance for their singing voice. The sound/feel the singer has come to know as their singing voice is incorrect and they must create a new identification. This habit is the hardest to break and often can be the most frustrating as well. Believe me, I've been there!
Once the natural singing reference is learned, the singer must also un-learn any compensating habits (which often manifest themselves as tension in some area) in order to allow the vocal folds to transition without any interfering extrinsic muscle behaviors. (My abdominals STILL want to push at times as I enter my head voice, and I have to consciously do something different to get them to stop.)
Soon to come: The beauty of mix: where do the bridges occur for most voices?
To learn more about Mary Beth Felker and the Voice Project, go to www.thevoiceproject.com
Comments
Hi Mary Beth, I absolutely love this article (parts 1 & 2) and am having a ball just "letting go" and enjoying the freedom.
It's taking a while to unlearn a bunch of ingrained tensions developed over a long singing career but so far, so good!
Thanks for posting this great advice.
Cheers, Dave.
Hilary email - www.riverofloveconcerts.com
Hi Mary Beth
Great Article....we speak the same language and I love to give my students simplicity and vocal freedom......just as I have myself.
When I have done workshops the hardest students to get loose are those that have had a lot of vocal training terminology tied in to their psyche. Uncovering it takes time and can be quite uncomfortable at first for them.....but when they experience the freedom....voile! A new voice emerges! Thanks for your clear and simple explanations. Cheers Hilary
Networking PC email - Networking PC
I'm supporting this idea all the way! I can not imagine who would disagree with it. On the whole - make posts like this more often.