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!