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  1. When I said go from light to heavy, I didn't mean on the same note the exact second after the previous tone such as how Freddie Mercury may do, I meant as far as verse to chorus and second verse go, meaning one verse may be a lighter or more head-dominant sound and the chorus following that verse a more chest dominant sound in the same song. If it were really that close together I meant maybe belt a couple-grit sounding notes then go back to a non-belt sound, or maybe be in a contemporary sound and then come down and hit a couple operatic-sounding notes as far as tone-quality goes, and then most of the song just a contemporary sound. Maybe one song on an album I might want to sing with an operatic tone and another song not. But I actually am not too sure exactly what you meant their but I believe I wasn't talking about swelling. That would be pretty cool though....
  2. When I said that, I just meant that as to explain how my teacher approaches different methods to attain certain sounds because it got brought up in this topic. Before you begin training, If you already know what sound you are going for, then you can work on bridging earlier to get a more head-dominant sound, or later for a more chest-dominant sound. I never meant you NEED to determine what kind of sound you are going for before you begin. You may figure this out somewhere down the road after you started training. Me personally, I am not going for any specific type of sound, I am looking to be able to do pretty much everything really. If I want a more head-dominant sound and the next minute in even the same song even I want to belt a chestier sound, and even hit some operatic sounding notes the next minute, I can. "There are no limits to the way you can play your voice as far as light to heavy". I like that. That is what I am going for. To be able to do head and chest-like sounds without being limited to just one alone.
  3. My last comment was pretty long. I edited it and spaced it out a bit. A lot of people probably wouldn't have read the whole thing before I edited it.
  4. Lunte, I actually kind of knew the answers to these questions before I posted this topic. I pretty much just wanted to see some other singers perspectives on this whole thing because everyone has different view points. I have known what chest voice and head voice are for years, and like in the video you posted have always thought that mix wasn't a separate voice from chest or head, it is merely just a description of when the resonance is balanced out and connected, meaning your voice doesn't just flip into a lighter function above chest all of a sudden. But I'm not making this up, I pretty much knew the answer to these questions before the post I just wanted to see other peoples perspectives on this: my teacher's perspective....and that is that she classifies a certain coordination of "head voice" being a different approach than "mix voice". Like if you listen to opera, that isn't all head voice, some of that is middle voice which isn't chest but isn't head in my teacher's terms. She just calls the overall approach or technique "head voice" as opposed to "mix voice" approach. For head voice, you would start in chest and begin adding head sensations earlier in the scale, this involves a lower larynx and has that warm ringing tone to it such as in opera. For mix, you would start in chest and pull chest up where "head voice" approach would already be adding head sensations, and THEN begin adding head sensations a little later in the scale than the "head voice" approach. This would involve a more speech-like than lower operatic larynx. But here is how I would like to tell you what I think about this personally, and my teacher probably sees it this way when it comes down to it, she just uses these terms to help a singer determine what style they are going for or if they are going for a more chest or head dominant, classical/theatrical or more contemporary sound. But anyway here how I see it. It is all the same voice or "mix" (but like you said it isn't a secret third register just a description of a blended sound), these are just different ways of APPROACHING your voice or "mix" so that when you begin training you can go for the certain sound or style you are going for. It is all a "mix" i guess you could say because (as my teacher classifies them) "head voice" approach and "mix" voice approach would involve a blended (of resonance) sound that doesn't just flip into falsetto or a disconnected head voice (like how most singers demonstrate that hoooo hooty sound. This sounds very much like an owl and this is how I found my head voice). But as my teacher puts it, when that ooooo light disconnected voice has a seamless connection to chest voice it is a full voice sound. She might say this is a connected head voice. Many would call this a mixed voice. Some may call this a head-mix but it is really just a more "head dominant" sound. But this is still a "mix". I believe they are both the same "mix" just different way to shape the vowels or to sing with a more head dominant or chest dominant sound. But do get this though. The "head voice" approach involves neutral vowels, meaning you keep the same "uh" vowel in the back of your relaxed (and sometimes low-larynx operatic) open throat the entire time, but just change the sound of the vowels with your lips and tung but in your throat you keep a neutral vowel. You don't open your mouth wider to change the vowel it is all one same vowel the entire time in the huge space in your open throat. This gives a more ring warm operatic sound. For the "mix" or belt (which is an add on to mix) as my teacher describes it, you focus more on eh and ah (as on hat) vowels and you open the space in your mouth and pretty much this is more speech like to change the vowels as opposed to keeping a neutral vowel the entire time in that open space in the back of your throat, it is like a traffic cone. For head voice, the bottom of the cone starts in the back of your throat and goes out the mouth. You could sing with your mouth almost closed and still get an open full sound. For mix and belt the bottom of the traffic cone starts at the front of your mouth and tapers to the back of your throat (the top of the cone). This would involve dropping the jaw more and opening the mouth wider and this is more speech like. You see, it is all the same "mix" (the blended resonance sensations /coordination), but you can shape the vowels differently and bridge later or earlier, and get a more head dominant or chest dominant sound, and a more operatic or contemporary at that. It is all your one blended singing voice you can just adjust the sound and tone a little differently. This may be a lot but I like the way she terms the different approaches to train a certain sound or style and if I were a teacher I would probably describe things this way as well but at the same time, let my student know it is all the same "mix" just different approaches or ways to train to achieve a certain sound. If anyone disagrees with any of this, agrees and wants to comment go for it. I'm always willing to learn and understand the voice a little better and with a broader and larger perspective.
  5. To Ron, in my last comment I got your username wrong haha. I capitalized some of it and your username is all lowercase. No, I do not teach but might definitely look into it somewhere down the road. Who knows.
  6. RonWS, if you were referring to the links from youtube I posted above, those are not voice teachers giving examples or teaching people how to sing. Those are links to songs of singers singing with different styles and resonance coordinations. I never watch youtube videos to learn or get advice any more. The advice comes from my teacher. The only time I watched youtube videos for vocal instruction was many years ago when I first started out and was pulling chest and started to realize I might be forcing it.
  7. Here are some examples of just some songs with the difference between "chest-mix" "head-mix" and "head voice" (which uses middle voice, but my teacher just calls this "head voice", as my teacher classifies them). She means head voice isn't a mix between chest and head, it is just pure head voice developed to where it sounds like you are still in chest voice when you are in head. These are all just terms to help singers go by to get an idea of what idea the sound and tonal quality may be. Head Voice would be closer to operatic (though it doesn't have to be full-blown low-larynx legit opera, listen to the third link of Josh Groban's singing I posted below. This is the Empty Chairs at Empty Tables song.This is not opera, but it is 'head voice' with more open vowels and in a more commercial style I suppose). "Head-Mix" actually sounds some-what lighter than 'head voice' alone because head voice includes a lower larynx giving it that warm opera tone. Head-Mix: Chest-Mix: Head Voice/Middle Voice: On the higher notes starting at 1:48 (it has that somewhat operatic low larynx sound to it) with 3:19 being more head-mix, but that's only those couple notes from 3:19-3:21. Head Voice/Middle Voice: to whole thing and when he sings louder. A lot of it has that low larynx operatic-type sound. Head voice/Middle Voice: Some of this might be head mix but a lot of it is head voice and middle voice. His highest notes are definitely belt. Head Voice/Middle Voice: *Head voice uses a "middle-voice" on the middle notes which bridges earlier into head voice than mix. "Mix" would pull chest up to where middle voice is (in the "head Voice' technique/approach) and then start transitioning into head voice later in the scale. Head voice would be more on the lines of musical theater or opera but it doesn't have to be if you open the vowels and tweak them. 'Mix' would be more contemporary singing such as rock/pop/country/R&B. These are based on my singing teacher's terminology and many might have their own perspectives. I did not come up with these terminologies on my own. But when it comes down to it, I personally don't view them as being different voices. I believe it is all just one big singing voice, and these are just differences in how much chestier or head-like the sound is. Like a more chest dominant or head dominant sound.
  8. I agree with this as well as Lunte's description in the video. I believe 'mix' doesn't really exist as a third separate register, their is only one voice and "head voice" or that hooty sound on ooo is the same as that one voice and is inseparable from 'mix', it is just the lightest possible quality or sound you can sing in that one voice and contains the most miniscule amount of "chest" coordination that you can sing in the one voice. I believe "chest" (the lower part of your range) and "head" (such as the light disconnected hooty sound on ooo in the upper) and 'mix' are all the same voice, you can just control how light/soft (head quality) or heavy/meatier (chest quality) the sound is in that one voice. Meaning if you are singing in that light hooty ooo voice, it is not separate or a different voice than "chest voice", it just means you are singer lighter in that same once voice. "head mix" would mean you are singing with a heavier sound than that oooo voice alone, and if you are singing in "chest mix" or belting you are just singing with a heavier sound quality in the one voice. If your voice breaks or cracks between the two, it doesn't necessarily mean you are flipping into a different voice, your voice just isn't developed to it's full capacity and instead of thinking of it as flipping into a separate voice, I think of it as a voice that isn't balanced yet as far as light and dark qualities of the one same voice go. This is the best way I can describe the way I see the "mix" or "head" voice or "chest" voice. It is all one big same voice, these are just terms to describe the sensations you feel as you sing higher. When you are playing guitar, the higher you go you want to switch to a lighter string, it is the same guitar, the same instrument, you are just playing higher notes and a lighter sound. Carrying "chest" up or pulling it just means you lack balance in your voice, and the light and dark qualities aren't balanced out. "Switching" from chest into head with a break or a seamless transition doesn't mean you are transitioning into a different voice, it just means the sensations you feel are changing as you sing higher. They may be described as different registers but they are still the same voice. They are one.
  9. We actually determined that my mix is pretty much head voice with a stable larynx or twang making it sound like the same voice as chest voice. All these terms don't really describe it though, but to find the coordination I would just sing in a light head voice but make sure the larynx isn't classical low, but in a neutral speech-like position. and just lean on a very subtle twang sensation, which is automatic if it is speech-like. It sounds close to a shouty mix but has way more tonal clarity ands has more "ring". What I was doing in the lesson was a pushed mix with an excessive amount of chest. I guess that would still be a "mix" though, just not the end result of what I am going for which would contain more 'head voice' to balance the sound out. We are going to work on a light head voice mix and later on down the road once I can get that we will maybe work on a chestier mix or belt so it doesn't just break apart or sound squeezed as I ascend. We pretty much answered my question on this forum in our own time.
  10. I actually started out singing higher notes pretty much a yell pulled chest and with a forced grit every couple notes. It impressed some people but the technique for the grit involved kind of pushing air through the vocal chords. "Grit is done by relaxing more than you might think". That is interesting to me. Wayyyyy later down the road I might look into that. And post the links if you want. That is my favorite part of You are Not Alone though haha.
  11. Thanks for the replies. KillerKu, your first comment on this thread makes so much sense of all. I do have a teacher. She is teaching me how to bridge into head voice early in the scale and using 'middle voice' to switch from chest to head seamlessly. We are pretty much focusing on a more classical type approach right now (just with a more neutral larynx than full blown legit opera would entail) and once I can get this to where "head voice" sounds like the same voice as "chest voice" and middle voice, we are going to work on contemporary later on. She calls this "head voice" and switching into head voice later in the scale mix. We are pretty much working on "head voice" right now and working on "mix" later on. Yeah I guess our goal would be making head voice sound chestier, or indistinguishable from chest voice rather than it sounding like one completely different voice such as the hoooo sound.
  12. In the very last part of my last post I meant the last lines from You Are not Alone by Michael Jackson where he belts the hell out of it. It might be just stop being alone, but one lyric video had it that way. Could be wrong hahhaha. How does he get that grit?