The pursuit of vocal technique is often shrouded in terminology that can feel more mystical than scientific. Terms like “head voice” and “chest voice” are commonplace, but the concept of “mixed voice” remains particularly elusive for many singers. It’s a technique frequently sought after, yet often misunderstood, as a distinct vocal register rather than what it actually is: a carefully crafted illusion.
According to vocal coach Andy Follin, as detailed in resources on vocal skills, mixed voice isn’t a blending of registers, but a technique used to smooth the transition between them. It’s a way to make the shift between vocal mechanisms inaudible, an acoustic sleight of hand. Every vocal quality, Follin explains, is already a “mix” of structures contributing to the overall sound, but the term ‘mixed voice’ refers to something more specific – a technique to navigate the middle range of a singer’s voice.
This idea of a “middle” register isn’t new. The concept dates back to the earliest days of voice research, where singers intuitively felt a third way of vocalizing that didn’t quite align with the distinct sensations of chest or head voice. Before modern research provided a clearer understanding of vocal mechanisms, teachers and singers simply labeled this sensation as a “middle” or “mixed” voice, believing it to be a combination of the two primary registers.
Follin uses a color analogy to illustrate the concept. He describes the lower, stronger register as “red” and the higher, thinner register as “yellow.” Mixed voice, then, becomes “orange,” created by reducing the intensity of the red or increasing the intensity of the yellow. This isn’t about physically blending the two, but about manipulating the intensity of each to create a seamless transition.
The application of this technique is particularly relevant for tenors navigating their range. A discussion on Reddit’s r/singing forum highlights the question of whether a tenor hitting a C5 is “dragging up chest voice” or utilizing a mixed voice. The consensus is nuanced. There’s no one-size-fits-all answer, as the vocal capabilities vary significantly even within the tenor classification. Some tenors, particularly those with darker, more dramatic voices, may not even attempt a C5.
The forum discussion points to the idea that approaching a higher note “from the top” and reinforcing the voice can create a full sound, even if it doesn’t conform to a strict definition of mixed voice. The ability to reach a C5, or any note within a tenor’s range, depends on individual physiology and technique. It’s not simply a matter of extending chest voice upwards.
Understanding vocal range itself is crucial in this context. A vocal range chart provides a visual representation of the notes commonly sung by different voice types – bass, baritone, tenor, alto, mezzo-soprano, and soprano. These charts use scientific pitch notation (like C3-C5) and can also include frequency values in Hertz (Hz). Knowing one’s vocal range helps singers identify their voice type, understand their comfortable singing zone (tessitura), and track their vocal development.
The chart also highlights the importance of register transitions – the shifts between chest voice, mixed voice, head voice, and, for some singers, the whistle register. These transitions significantly impact where a singer can comfortably perform, even if their overall range is extensive. The goal isn’t necessarily to maximize range, but to navigate it smoothly and efficiently.
The concept of mixed voice, isn’t about creating a new sound, but about mastering the transitions between existing ones. It’s a technique that allows singers to move seamlessly through their range, avoiding noticeable breaks or shifts in vocal quality. It’s a tool for creating a more polished and professional sound, particularly in the middle of a singer’s range.
The vocal prowess of artists like David Bowie further illustrates the complexities of vocal range and technique. News reports highlighting an isolated vocal track from his song “Life On Mars” reveal the power and control of his tenor range. While the specifics of Bowie’s technique aren’t detailed in the available sources, his ability to navigate his range with such finesse underscores the importance of vocal control and technique.
the “right” way to approach mixed voice, or any vocal technique, is highly individual. As the Reddit discussion suggests, what works for one tenor may not work for another. The key is to find a technique that allows a singer to move through their range comfortably and expressively, creating a seamless and compelling vocal performance. The starting point for mixing, according to one Quora response, is “as low in your range as you possibly can, while still making it sound like a mix, and not like a weird low falsetto.”
