Yes, but more specifically it is what CVT calls Overdrive in Reduced Density with a restrained character. The contained character that is also sometimes found in CVT Overdrive would be what I call sob register. Also, since metal is not a defining characteristic of any of the registers in my system, it could also be Overdrive-like Neutral in Reduced Density - a somewhat cumbersome term to use. The divisions in my system are not quite the same as in CVT. This is because CVT is mostly based on laryngeal mechanics whereas my system is mostly based on acoustics.

@@VoiceStudioEast What are the drawbacks to base the model mostly on acoustics? Would the advantage be that it's easier to teach and/or it has less harder-to-grasp details?

@@egaga- It's harder to grasp and has more subtle details, but it captures more accurately how the voice works, since register bifurcation is mostly caused by acoustics. On account of this, it allows me to teach more advanced registration skills and how to sing with a much wider tessitura than eg. CVT allows in practice. Here is a video where I explain the difference at greater length: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-GVj4N4yASlI.html

It is in part a compensation for the fact that I still have a somewhat inadequate control of what I call middle twang, so I'm supplementing it with low twang, which tends to go together with an elevated and broadened tongue, and this in turn is encouraged by slightly closing the mouth. I suspect it will be superfluous once a sufficient control over middle twang is achieved.

The collapse accomplishes three main things: - initially, it overpowers the restraint, much like the CVT instruction to add more movement - secondly, it creates a slouch that releases tension in the core musculature, thus decreasing expiratory effort - finally, it provides a kind of concretisation of unrestrained singing by matching it with unrestrained movements

It is actually possible to keep that clarity and freedom even with a softer and brighter sound. The key is to raise the larynx without adding excessive pharyngeal narrowing or restraint to the voice. It will sound like a lighter, younger version of that sonorous quality you speak of.

@@VoiceStudioEast sorry if i mislead you. I want the deep and dark quality, not the young and bright. Also it is not as of a technical issue as a psychological one. Either way i found a solution to this problem anyway. But thank you for replying

CVT just uses the Complete Vocal Technique book / app for its courses. The main book I'd recommend though is Principles of Voice Production by Ingo Titze.

@@VoiceStudioEast Thank you very much 😊. I allready have the CVT app so I will definitely get the Principles of voice production book.

Curbing implies that metal needs to be present whereas in Cornelius's system, Mixed Voice doesn't need to have metal to be Mixed Voice (I think).

@SaiChooMusic In the video, there was quite clearly a half-metallic sound in his mix, hence Curbing. Staying within CVT land, the non-metallic mix that you are referring to would simply be Neutral. What I am struggling with is understanding what Cornelius' terminology addresses that CVT doesn't and how essentially these two methodologies may co-exist.

I show mixed voice at loud volumes (hence the metal) because I consider it best for singers to learn the loud variety before experimenting with softer volumes. At such softer volumes, the metal will fall away, and the coordination will be classified as Neutral in CVT but still mixed voice in my system. My conception of mixed voice thus includes not only curbing, but also neutral in reduced density, and even overdrive and edge in reduced density, provided these have a restrained character rather than a contained character (the latter would be cry register) My terminology is more useful when dealing with soft volumes (where CVT would classify everything as a single mode), for developing darker belting with mord versatile vowels, and giving more specific instructions about how to navigate between registers and avoid voice cracks. A lot of these differences are explained in my video about registers vs modes.

I will stop offering them when my schedule starts to fill up. Not quite sure when that will be, but probably sometime during fall this year.

That is basically what I teach people to do to make mixed voice practically useful :)

I think Cornelius separates Twang into Upper, Middle, Lower and "narrowing the pharynx" is Upper Twang.

Both upper and middle twang narrow the pharynx and are largely interchangeable when it comes to technique, but middle twang generally sounds better than upper twang, especially when mixing. Low twang on the other hand does not feature much narrowing of the oropharynx.

​​​can you tell me more about upper, middle and low twang?? Coz what I know about applying twang is that it is specifically the narrowing of the aryepiglotic sphincters in your vocal tract.

Probably Edge when it's loud and Neutral when it's quieter

@@SaiChooMusic that’s what i thought but wasn’t sure, thank you

No, the difference in my model is about acoustics. You can do falsetto with stiff folds or thin folds, or something in between, and same with head register.

I am currently in the process of learning distortion so I can do just that, and I'm making a lot of progress, so I'm sure it will happen :)

How so?

@@VoiceStudioEast Thanks for your reply-your videos have helped me a lot. Idk, I just feel like this timbre on my voice is a little “hooty” and melodramatic. As a baritone, I have a hang up about singing “low and heavy”. I know you can go into your head voice (above C5) with this mode but from middle C down it feels overly macho to me.

I don't think the M1 vs M2 distinction applies to falsetto mix / pharyngeal voice. it erases the boundary, and these categories can only be cogently defined with respect to that boundary.

@@VoiceStudioEast A lot of vocal coaches on yt do say there is this "Mode 1.5" which is the mixed register and I think it just confuses the majority of people since it's not technically, scientifically correct. Cause, im not sure if what im doing is correct. when i belt within my upper range by narrowing my oropharynx, i get this whiny, fronted sound - - which feels like falsetto but it has more power to it.

​@@FaitoBringer I do not say there is an M1.5*, which would imply that some discontinuity is encountered whether going to M1 or going to M2 What I am saying, rather, is that M1 and M2 cannot be coherently defined purely by vibrational patterns, as the discontinuity between them is a result of nonlinear source-filter interactions, so that the laryngeal vibratory mechanisms are not actually vibratory mechanisms at all but a kind of registration model using voice cracks to delineate registers. I am saying also that, since pharyngeal voice routes "around" the voice crack, it cannot cogently be classified as being either M1 or M2, as the distinction between them simply fails to apply to it. The idea that the distinction is absolute and sees no exceptions; ie. that all forms of mixed voice can be clearly classified as Mx1 or Mx2, stems from a series of studies by Castellengo and Chuberre, who studied operatic singers. However, only leggero tenors actually make use of pharyngeal voice, and no leggero tenors were included in the study, nor were any contemporary singers. Besides, even among professional singers, it is much fewer than one in ten that are proficient with the technique, so there is no particular reason a sample size of 7 should be thought sufficient. I grant you that the authors *do* conclude that voix mixte can categorically be classified as Mx1 or Mx2, but their research simply does not support this conclusion. In general, I would caution you against being overly eager to take scientists at their word when they make statements about what conclusions are supported by the results of their investigations. The derivation of practical conclusions from scientific data relies on deductive reasoning, and most scientists have been thoroughly indoctrinated to be outright contemptuous of deductive reasoning, even though it was in fact the formalisation of deductive reasoning that got science started in the first place. *though arguably mixed voice could be classified as M1.3 or so, since it reduces the discontinuity with falsetto but creates a slight discontinuity with chest voice).

It would be hard to say without hearing the mixed voice in question.

Decidedly not - it's in between head register and whistle notes rather.

Really anything that mostly stays in the third octave will do. A lot of Elvis Presley, Nat King Cole, Frank Sinatra, etc.

not as far as I can tell

@@VoiceStudioEast It was actually terribly out of sync for me, but it’s somehow not anymore… Weird. Mighta been a bug of some sort, I suppose.

thanks, fixed :)

Curbing, Neutral in Reduced Density, and also Edge and Overdrive in Reduced Density, but only when their character is restrained rather than contained.

@@VoiceStudioEast Thanks!

It does feature pressed phonation, but you can also do pressed phonation without being in mixed voice.

No. The registers are determined more by the relationship between pitch and vocal tract shaping than by intrinsic laryngeal muscles, and the chest/head distinction does not correspond to the TA vs CT antagonism. In fact, chest voice (whether chest register or call register) generally features stronger activation of both the TAs and the CTs than is found in falsetto at the same pitch. More concretely: - even a very thick, very loud chest register will still feature CT activity except for the very lowest pitches. - call register does not require higher intensity than chest register. In fact, these two registers have approximately the same dynamic range, both being able to range all the way from pianissimo to fortissimo. - the combination of TA and CT muscle activity does not by itself result in a crying quality, and this combination may be found in any register, including chest register and falsetto. - the defining features of mixed voice have more to do with LCA activation and a reduction in the acoustic coupling between the vocal folds and vocal tract than it has to do with the TA/CT antagonism, and the idea of "balanced engagement of TA and CT muscles" is not particularly meaningful. - The whole vocal tract (and of course the vocal folds themselves) acts as a resonator in pharyngeal voice. The "pharyngeal" in "pharyngeal voice" simply refers to the narrowing of the pharynx, also known as "pharyngealisation". If the resonance mostly occurs in the pharynx, ie. if the pharynx is largely decoupled from your oral cavity, then you are probably in chest register. - Falsetto can be thickened by activating the TA muscles, as is often done in classical. - Head register does not necessarily sound fuller than falsetto. Both can be made to sound very full. They are simply different registers, occupying different ranges.

@@VoiceStudioEast Awesome!!! Thanks for the clarification!!!☺

​@@VoiceStudioEast falsetto can be thickened, does this have more to do with the approach of male singers than female singers in classical? As far as I know what classical female singers sing is often considered a soft/thin to full head voice rather than falsetto. Sure, I've heard a head voice that sounds thin many times, mostly in relation to contemporary pop singers but I wonder what you say about the different ranges. I've heard some female singers can use their head voice in the Bb4-C5 range and I've also heard some singers use falsetto in the 6th octave, or do you mean the lower range because it has more to do with the falsetto register than what can be in the head register?

@@renny6046 Female classical singers use head register for the notes above the secondo passaggio, and use falsetto (aka. middle voice) for the range between the primo passaggio and the secondo passaggio. Female operatic singers might sometimes carry their head registers down to C5 or even Bb4, but only for soft volumes, since head register is not as powerful as a strong falsetto in this range. Male classical singers generally do not use falsetto very much, unless they are countertenors. The voce faringea used by leggeros could be called a strengthened falsetto, since you can develop it by adding twang to falsetto, but in doing so, it ceases to be falsetto. Other male operatic singers, including other tenor Fächer, use a full blown chest voice for their high notes.

@@VoiceStudioEast thank you.