Hahaha, we can have this debate over and over and it's fine to see it the way you want. The exercises I've chosen to use are to make one voice bottom to top. If it makes you feel better to use the terminology of chest bridging to head, that is fine. But, what I've seen from the hundreds of not thousands of singers I've trained since 1996 is that the "bridge" seems to go away. Then, they don't care about "chest" or "head", they just sing and know they suddenly have higher and lower notes. This is the same as when Jim Gillette had me doing Vocal Power scales. He never said, "okay, here comes the bridge, time to blend" or "Okay, let's switch from chest to head" he just said, "shut up and do the exercises and your voice will get higher and higher." Still, I have no big problem with your definitions, but I do not tell my students that it's time to mix the sound. For me, that "mix" is half way between the transcending tone exercise. I know where you're coming from with the chest and head resonance thing and you re correct, but again, I just do not approach it that way. Why? because when I hear Brett or Roger demonstrate a scale into the upper register it does have a nice, pleasing blended tone, but I generally take it beyond that blended tone on Sirens, so I know it's not the same mixed or middle voice sound I hear from SLS teachers. And, for the record, I have no problem with SLS. I don't know enough about it, but I have heard some amazing singers who use that approach. In the end, who really cares. If you help your student and they sound wonderful, that's all that matters;)

PS- Force, yes please use whatever terms help you. For me, if you look in the book and see the picture where I show falsetto through mix into full on a scale of 1-10, that's how I approach it. But, you must use what terms/visualizations/explanations that help you grow as a singer, regardless of the terms, exercises, teacher, etc. Phil has some great thoughts, and I am not arguing with him at all, as we're friends:) But, I just needed to clarify how I personally approach it. Does it make it correct? Not for everyone, which is why there are thousands of vocal coaches, guitar teachers, etc, to help different people learn in different ways. I am one of those coaches who just isn't into bashing every other methodology because different people respond better to different training. My friend Myles Kennedy studied Bel Canto with Ron Anderson and he has an amazing voice. Would I try to change his approach because I don't teach Bel Canto? Absolutely not, Myles is doing amazing! So, in the end, use what works for you:)

Again going back to the importance of creating that space for the larynx to pull the vocal cords and tilt back and forth according to pitch. If you don't have the required space created by a relaxed open throat, you will feel the bridge because the constrictors in the larynx pulling the cords gets stuck. When the larynx has room to move the resonance mixes itself up naturally between what you refer to as chest voice and the clear break where head starts to become ONE voice as Jaime describes it. Effortless singing starts :)