What is Mix Voice? - A Quick Tip

[@sdecario5736]

It’s never been explained to me in such understandable way.

[@peterrobannsobrepena6029]

Very simple but Precise discussion of the vocal chords workings on different ranges. On my first self study, i need to know the in depth workings on our vocal folds in different ranges that i scanned for videos that shows the vocal lips through a camera inserted unto the larynx while singing. There understand what i was trying to achieve and then on focus on the movement of my vocal lips.

[@richardealm]

Excellent Jeff. Been difficult to figure where my chest and mixed voice are.. Blended so well now I could not tell. Thank you for this!!

[@neverbeenfrustrated]

Omg this guy.. did you just go over the secondo passaggio like it was nothing?! as always amazing, Jeff...

[@neverbeenfrustrated]

you didn't even change the volume

[@JeffRolka]

I do my best! Thank you for your kind words. It is my hope that if that is one of your goals you can achieve it using the here! Best! Jeff

[@sdecario5736]

Excellent description!!!! Thank you.

[@jamesanderson3902]

Could you make a countertenor warm-up and technique video? I can't find one anywhere. I've been using the tenor extended range and the alto and mezzo soprano warm-up videos but I'd really like something targeted specifically for countertenors. Thanks!

[@kotosqoposrly]

I'm also a countertenor and I take ages warming up. I understand your pain. Especially when you also happen to be able to sustain very low notes.

[@daniellefernandes8744]

Excellent explanation! It's a very difficult issue to discuss. Nice video! All best, Danielle

[@JeffRolka]

Thank you Danielle! Yes, this topic is contentious and challenging to discuss, hence the rubber band teaching tool! Thanks for watching! Jeff

[@400Mishka]

Hi Jeff, the mix voice is very difficult to explain. As a student of voice, one often hears it mentioned in contemporary and pop singing. Nice of you to use the correct terminology for the anatomy and the Italian definitions in your explanation. 😃

[@JeffRolka]

Thank you so much for that. I really appreciate it. It has been made overly confusing I fear made worse by terms like mix voice, head voice, falsetto, being used interchangeably depending on the background of the singing teacher. I reverted to using the anatomical descriptions to attempt to avoid confusion. Thanks so much! Jeff

[@LilaYogini]

Cool! Thank you for what you are doing! And for your consistancy!)

[@JeffRolka]

You're welcome! Thanks for watching! Jeff

[@Johndoe-mu5de]

Hello Jeff, ángel here , Great to know that all is good with you Please stay safe , What wld we do without you ,, So , from my experience I've always been told that the only way vocalizing works is by using an acoustic piano regular piano any type but you know Not electric, But I've seen you use an acoustic guitar and electric keyboard Could you please help me out So I can understand ? If any or how it wld or wldnt affect the voice results ?? Thanks Highly appreciate all you do for the Little man ,, 💪

[@TadeusOfficial]

Any exercise for this? Balancing the muscles

[@JeffRolka]

Yes! Just need to get my piano tuned! Jeff

[@into.the.wood.chipper.]

This is a great video, Jeff! I have a question about vocal imbalance in mixed voice. We know that an overly light voice with a high range but no power lacks TA strength, and an overly heavy voice with too much power and no high range lacks CT. But if the zona di passaggio has a thin, gritty tone and the notes above and below it are fine, what is out of balance? In this scenario, it feels like a tube of toothpaste that has been squeezed in the middle and the volume has to be severely backed off into a heady sound because the only other option is shouting (which often cracks). Trying to sing at a medium volume in this situation sounds like a radio between stations, but it is not really clear what is happening here.

[@JeffRolka]

Thank you! Thank you for watching! Awesome analogy! If it's getting squeezy and gritty then you're relying more on vocal fold engagement than the balance of engagement and airflow. If you haven't yet, it may be time to start working on scalar descending and then moving on to ascending patterns working towards keeping the vocal folds adducted. May be a little on the hooty side at first, but record yourself to see how much of a difference there is between your internal experience and external experience. Often times, that can be quite great. I am also about to release a new course specifically on this subject over at jeffrolka.com. If you get on the newsletter you'll hear about it. Best, Jeff

[@into.the.wood.chipper.]

Jeff Rolka Cool! I was wondering if the squeezy thing could have been caused by trying to drag the lower register up too high (chest). Also curious if it would be possible to work on the head voice by itself by raising the larynx as high as it will go and gently descending on OO and EE. If that is not actually head voice and in fact chest, then that may be what I'm missing because just doing that for a few minutes every day is making the connection stronger whereas if I do the same exercise with a low larynx it may be too low and could be making the sound breathy (hence the crack when the voice reaches the pictures where it has been taught to lose connection).

[@UzairKhan-qd3xu]

@@into.the.wood.chipper. omg on every videos your issues are so close to mine its like we're the same do you also have ringing upper voice warm lows but unstable zona di passaggio for me that region is Eb4 -A4

[@benediktusandanaharis5380]

very helpful

[@kotosqoposrly]

Hol'up! Mixed voice for tenors is Fa4? I thought Fa4 was mixed voice for Mezzos. That's news to me. I have a whole lot to learn.

[@soulbrotha4u]

Love your videos. They have helped me understand the functionality of our voice and production of sound which has in fact helped my voice. Do you offer FaceTime or Skype lessons? How much and are you available this weekend? Thanks again for the wealth of knowledge

[@JeffRolka]

Hello! Thanks for your message and your kind words! I do lessons on Skype or Zoom. Best to contact me through my website: www.jeffrolka.com/connect-2/ Best! Jeff

[@saningepchannel]

Nice i like your video

[@JeffRolka]

Thank you so much 😀

[@saningepchannel]

Yeah you welcome we are friends

[@spartyutube2020]

Hi Jeff, thank you for all your wonderful videos. I have learned a great deal from you. I have so many questions, but I'll start with a very specific one. The song Why God Why from Miss Saigon for example, according to what you said is basically all in the passaggio area. I can sing almost the whole song in a more head dominant mix and it sound just fine, but the big money note at the end is a g and then f#. (And the word is "her" which is an h sound! gah!) And it's the climax of the song. So...how do I make that last note sound even more intense and I guess "louder" than the rest and it's almost all in my head voice range? And that leads me to the question - are some songs just not meant to be for singers in their original key - meaning- I should either lower the key, or just not even attempt this song lol :)

[@JeffRolka]

You're welcome! This is a really great question, so I'd like to address it tomorrow during my live event. If you can't watch in real time, you can always have a listen afterwards. I'll demonstrate some things to consider in practicing for that song, those notes. Here's a link: kzbin.info/www/bejne/eJmvfmCdbpakb5Y Thanks for a great question! Jeff

[@Pedroftx]

Hi, Jeff! Thank you for all these videos. Im finding trouble singing the notes between C#3 and G3. I feel like I cant aim the air in the right place. From G2 to C3 and from B4 to E4 there is no problem. Any tips on that? Thank you

[@JeffRolka]

Hard to say without hearing you. That *should* be the most comfortable part of a male vocalist's range (if you're a male vocalist!) I would start by addressing vowel alignment and airflow. That will either fix the problem or reveal what needs addressing! Best, Jeff

[@Pedroftx]

Jeff Rolka thank you for your attention, Jeff! I'll try these things.

[@halimcharbek]

any remarks or advice or excercises on subharmonic register and vocal fry for bass singers? I'm a baritone-bass, I go (lightly) to C#2, I'd like to be able to go lower

[@JeffRolka]

Aside from staying light and focusing on increasing breath energy while reducing vocal fold engagement (in order to get the separation required for the fry to occur) I would high recommend that you stay practiced in vocalizing in your regular range. Strohbass technique requires imprecise tonal onsets and as such can detrimentally affect your technique elsewhere. Best! Jeff

[@halimcharbek]

Thank you very much. I highly appreciate your opinion and advice

[@AngelShadowsongWarren]

I trusted your Technique last year and have improved my Mixed a LOT. However my mixed voice is breaking when I pronounce the word 'Thing' which has the soft delicate H sound and a long EE vowel. Had the same problem with the word 'fulfill' if fill lands on the passagio. On the other hand I noticed that the word 'will' became easy on the passagio after your technique. I guess different consonants have different techniques. Another is when I enunciate the plossive P and bilavial B and V sound. I notice the loss of balance on my chords especially when the P/B/V is combined with the vowel O. I used your balancing scale and modified it a bit to add consonant practices. Instead of WEE, I sing it as BWEE... Im starting to feel it got stronger but Im I doing it right? Thanks and more love and power from the Philippines.

[@JeffRolka]

Yes! You are absolutely right! Well done! 'Thing' would be challenging in the zona di passaggio or above. Nicely done! Jeff

[@Brassmouth]

Does practicing the trade-off between full voice and Falsetto help with this process? I.e. Smoothing out the break?

[@kipponi]

I do that it is like yodel if you mean chest voice to falsetto ? But let Jeff answers.

[@JeffRolka]

If you mean thyroarytenoid dominant singing and cricothyroid dominant singing then yes. Full voice above the secondo passaggio being cricothyroid dominant singing (voce piena in testa) Smoothing out the break is about managing the balance of airflow, muscle engagement and vowel alignment. I hope that helps! Jeff

[@zake64]

I can't seem to complete the scale at 6:55 without an obvious break into head voice (occurs on the third note)

[@JeffRolka]

Those cracks will get better with practice. That's what my channel is all about! Jeff

[@jayl4883]

I'm still a little bit confused. How do I use the mixed voice and which muscles do I have to use to reach the mixed voice?

[@JeffRolka]

We use the cricothyroid muscles to rotate the hyoid cartilage which elongates the vocal fold while keeping it adducted (closed - for lack of a better way of putting it.) That elongation means that the thyroarytenoid muscles (chest voice muscles) are still involved and this maintains consistent tone across the secondo passaggio. If you like, come by Office Hours and I'll do a demo! Best! Jeff

[@jayl4883]

Jeff Rolka thanks so much for your attention!

[@nedpangan5530]

My mix is so weak It's sounded like head voice but it's connected to my chest voice pls help Why is my mix voice weak

[@jean-pierredevent970]

It takes a lot of patience is my own impression, even learning to sing soft like the singer of "Bread" is already so difficult.

[@JeffRolka]

Well said! Consistency takes time and patience as well as correct practice. Jeff

[@thiagovilla970]

I'm confused

[@JeffRolka]

Okay, what's up? Best, Jeff

[@thiagovilla970]

Jeff Rolka Correct me if I'm mistaken: In chest voice (sorry can't spell that big word you say), my cords are very close together, and those muscles at the edges aren't engaged much. Then in head voice the edge muscles stretch the cords, and they vibrate at a higher pitch, hence higher notes. This requires a low or neutral larynx, right? The catch then is to go through the break gradually handing over the dominance to that stretching muscles?