When I currently practice the Falsetto Slide, my "break" from falsetto to full voice seems to be about an octave. So, if I start from, say, C5 in my falsetto, and slide down, I break at B3. Then, I come into full voice on the Bb one octave lower- B2. So, the interval between the note I break on coming from falsetto and the note I come into in full voice is an octave. Now, since you said to practice this SLOWLY if I crack, I've done so, but have come to no result. No matter how slow I slide down, the "break" remains one octave. Am I doing something wrong, or is this normal after one week of practice?

Another thing that intrigues me is the fact that the break point is not always at the same place. Usually it will be around B3/B2, but sometimes it can be lower or higher. Why does this happen? Also, is there a certain point where the break must occur for a seamless transition to work?

Thanks in advance.

You aren't going to completely break for that octave; it's going to be at the areas where the two registers meet. You want to work on teaching your muscles to relax at those points rather than strain. So if you break at B3, make sure your transition from middle C to B3 is controlled and flawless going up and down, and likewise at B2 and the notes surrounding it.

The things about breaks is that they CAN be completely eliminated, at least in my opinion. Yes, the break will move in both falsetto and full voice depending on how much "force" you are using behind the note. I don't mention this in the book, becqause it will only confuse singers more, so i stick with the typical break point. Don't think of the break point as a certain spot that must occur, but more so as a speed bump that needs to be smoothed out. Concerning the octave jump-you are just one of those singers who is going to have to work very hard, maybe for even several months, to make that connection and smoothless gear shift from a low falsetto to your low natural voice. Keep practicing and DON"T give up!!! ;)

JV

welcome. when i first started i had the same
problem as you. just work and you'll get it.
is the EXACT thing that you talked about. i talked
with jaime about this too.
I am now working in D# and E too.. lets work

oops.. the last thing is about the transcending tone
exercise.

AHA!!

First of all, thanks for the replies. James, you said that "there's going to be an area where the registers meet". That got me thinking. I know that I've eliminated my break between full voice and mixed voice. My full voice range goes about up to F#4, and then it seamlessly goes into mixed voice. Then, I can go about up until G5 with mixed voice. From that point, I cannot go any higher with mixed voice. ...WITH MIXED VOICE. What about falsetto??

I knew I could go up to about a C6 with falsetto, so the next logical step became clear to me: I need to go from mixed voice into falsetto. So I tried that. And did it work? YES IT DID! With a little practice, I soon found that I could slide up to F#4 in full voice, transcend to mixed voice at the F#4 and slide up to G5 in mixed voice, and THEN transcend to falsetto at the G5 and slide all the way up to the C6 in falsetto WITHOUT ANY BREAKS.

To illustrate this more clearly:

|FULL VOICE................................................................|MIXED VOICE.....................|FALSETTO|
|D2-E2-F2-G2-A2-B2-C3-D3-E3-F3-G3-A3-B3-C4-D4-E4-F4-G4-A4-B4-C5-D5-E5-F5-G5-A5-B5-C6|

As you have probably noticed, I'm really excited about my little "discovery", but does this really count as a legitimate Falsetto Slide? Basically, I have a certain area of my range covered with mixed voice between my full voice and falsetto ranges, but does that really matter? Also, won't I get the same results with the Transcending Tone exercise if I start in mixed voice instead of falsetto?

Please tell me what you think.

Well those breaks have very little to do with mixed or full voice, Legato. The changes in tonal characteristics you hear as you go up, at F4 then at G5 are changes in registration, in the primary resonance cavity, they're also indicative of the vocal cords zipping up. Many things. So when you reach a certain note before F4, if you've eliminated your break between the lower and higher registers, gotten your cords to zip up seamlessly and fluidly, you're going to begin mixing the upper register in. So, it is probable that at D4 you begin mixing your head voice, your upper register and at around G4, you're in your head entirely, then it continues up to a higher register, just shorter more zipped up vocal cords (NOT necessarily more tension though!), at around an octave higher for you a G5.

You should post an audio example of what these different areas of your voice sound like. Because when it comes to 'falsetto' or 'full voice', even a 'mix', you are talking about how full the folds are coming together. Falsetto involves very little pressure, the folds are pretty much in the same configuration as when you are singing really low notes; they almost flap around. Full voice is when they are pressed together firmly. Just the same as when you apply proper pressure to the head of a drum at the right area you get a better (or just different) tone, so you get the with the vocal folds. Hopefully Jaime will correct me if I've said anything that is fundamentally wrong.

Oh, and the whole purpose of my explanation of the difference between cord tension and registration was that no, technically, if it isn't falsetto, it's not a falsetto slide, BUT the reason you USE the falsetto slide is to coordinate the vocal cord adduction without hurting yourself. You have to walk before you run and falsetto is just walking with training wheels. If you keep yourself relaxed and don't push to much breath through, you won't hurt yourself, no matter how high you go. Full voice however requires strength you may not have. I can go all the way up to a C7 in whistle voice but I certainly can't hit anything above a C#5 in a full voice reliably. I hope I helped.

WOW, that explanation was awesome. He's very correct. There is nothing at all wrong with your approach. It's a stylistic choice. If you are singing pop, or light rock like Train of Matchbox 20, then that is the route you should go. But, if you are wanting to sing harder stuff, such as Shinedown, or Aerosmith, you'll have to keep working. You see, the Transcending Tone exercise will take you from falsetto, through mixed, and into full voice. Think of falsetto as open cords, mixed as half closed cords, and full as cords that are firmly pressed together. It is just different coordinations for different tonalities and styles. i would prefer that you keep working until you can do all of your notes up to at least an F or G above Tenor C (higher if you want) in all coordinations-falsetto, mixed, full-so that you have the choice to choose and not have vocal limitations:)

JV

Thanks for the explanations guys, but I think I've already understood the difference between vocal cord tension and registration. My only question is, can I use my mixed voice to gain high notes in full voice as well?

Most definitely. That's why we do Transcending Tones. You can also approach the Siren in mixed and slowly add more weight as you get used to hitting those high notes. You can even try falsetto Sirens to gain range in full voice. You are simple teaching the cords what position they must adjust to to hit the notes, and then you are adding volume, vocal cords tension, resonance, etc...

JV

OK, thanks alot!