How to Sing / Mixed Voice for Singing Beginners / Rock the Stage

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Do you know where the resonances in the voice happen?
Do you know how many resonance blends there are in singing?

In this video, vocal coach Kevin Richards gives a primer on mixed voice, what it is, how to achieve it and how we use it for singing songs.

Kevin Richards is a world renowned vocal coach teaching in New York City and to singers all over the world via Skype.


Vocal Warm Ups:
Performance Tips:
Fixing Vocal Breaks:
Bridging to Head Voice:
Breath Support:
Head Voice Techniques:
Advanced Vocal Technique:

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45 thoughts on “How to Sing / Mixed Voice for Singing Beginners / Rock the Stage

  1. when I hit “NG” vowal to pretty high.I felt that I was sing by a half of
    chest and a half of head.The power of high “NG” sound may be supported by
    chest voice and I could hit high by head voice.Was that mixed.

  2. Kevin Richards Rock the Stage NYC says:

    first – “NG” is not a vowel sound. You were probably mixing if it felt not
    like chest or like head voice but a combination of both.

  3. Kevin Richards Rock the Stage NYC says:

    BTC is NOT for beginners. It is meant for people with some singing
    experience. NO at-home vocal course should require you to have a keyboard
    or instrument.

  4. When I hit D4, or E4 without stretch my neck muscle.I felt that contained a
    little head and a little chest voice.Was I singing mixed voice.If I was,
    how to develop mixed one.

  5. Kevin Richards Rock the Stage NYC says:

    D4 and E4 are a little low to be in head resonance in any sort of
    meaningful way. But of you want to know more about mixed and head
    resonances go to my main channel page and look at my playlists – the videos
    are arranged by topic. Look at the mixed and head voice playlists.

  6. if I try to hit higher than E4 without pushing.It is only head voice, not
    chest voice.If I practice regularly, can I hit higher without pushing in
    chest voice or mix??

  7. Chi Bao Dang says:

    Where should I be bridging? I have to get into head register at G4 and
    anything above that.

  8. Kevin Richards Rock the Stage NYC says:

    Blending is all subjective but first get out of the idea of “bridging”
    anything and don’t think about the notes like G4 – its about the sound NOT
    the notes. If you can blend higher than G4, by all means do so, if you have
    to blend lower, then do that. There is no definitive note in range where
    one must be to start blending.

  9. Kevin Richards Rock the Stage NYC says:

    well if you want to sing higher than E4 and not use pure head voice, you
    will have to use a mix of chest & head. There is no other way.

  10. Chi Bao Dang says:

    I feel you, I definitely agree. Only thing that worries me is whether or
    not blending chest with head will compromise that “chesty” quality that
    most singers would want, especially from G4 – C5.

  11. Kevin Richards Rock the Stage NYC says:

    Its all about how you blend chest & head resonances – it what amounts. Some
    lighter singers bring more head resonance down into their chest, other
    blend more chest farther into their head resonance. Its all a matter of
    what sound you want but you should be able to do both “blends”.

  12. porschemaniak says:

    Now I finally got the secret from Bruce Dickinson. Must only practice.
    Thanks a lot!

  13. waihong low says:

    I always stuck inside my chest voice…dunno how as it causes straining..

  14. Kevin Richards Rock the Stage NYC says:

    “way hung low”? pretty funny… see my video here: /watch?v=ByBWE_rJ1ac for
    your answer as to why you strain.

  15. waihong low says:

    haha! yeah..asian name! xD from Malaysia. I just kept searching for
    answer…thanks for replying!

  16. Chris Lee says:

    How can some singers get into a key perfectly without a hint at the
    beginning of a song?

  17. Kevin Richards Rock the Stage NYC says:

    One has to possess a good sense of pitch to be able to hear the song in
    their head – in the right key. If they can they can sing without a
    reference pitch. It’s a form of imitation – you hear a dog bark and you
    imitate it. For a split second you heard that bark in your head and then
    made that sound come out of your mouth. Singers who can sing in key without
    a reference pitch can hear their first notes in their heads. They can
    “think” the notes.

  18. Chris Lee says:

    So what should I do to obtain this technique?

  19. Kevin Richards Rock the Stage NYC says:

    it’s not a “technique” it’s an ability. You either have it or you don’t. If
    you are nowhere near the starting pitch of the song, your brain simply
    wasn’t built with the ability to hear pitch and reproduce it correctly.
    There is a “disconnect” between mind and muscle.

  20. Xavier Roberson says:

    Excellent teaching. Tips on exercises to make my voice even from top to

  21. Kevin Richards Rock the Stage NYC says:

    Look at my playlists listed on the main channel page.

  22. Артур Пирожков says:

    Great lessons, do you have skype lessons?

  23. Kevin Richards Rock the Stage NYC says:

    Yes but on a very limited basis. With my in-person teaching schedule here
    in NYC I don’t have much time for Skype lessons. Email me and I can tell
    you what my availability is.

  24. Diminished 7th Live Studio says:

    Hey thanks for the clip, I think i do consider a begainner, i do know about
    vocal register and had the abilty to mix them, well not as much as you do
    and as a begainer i think what you taught here are fabulous but far too
    complicated for newbies.. if i came across this 2 years ago as a learning
    platform, i would not understand a single thing in it and thinks that
    singing is somthing incredibly extremely differcult. again this is just my
    personal humble opinion and you r super talented

  25. Axel D. Rodriguez says:

    Hi im a guy and i can belt up to a sligh G#5 um and i want too belt higher
    um do u think its gonna be harder for me since i can already belt up that

  26. Kevin Richards Rock the Stage NYC says:

    I would have to hear how you are belting a G#5 to really answer that
    question accurately. I’d say you could probably go higher if you worked at

  27. Chi Bao Dang says:

    I have a pretty light and heady mix from around C4 and up. People always
    tell me the key to a chesty and edgy sound is cord closure, but I have no
    idea how to narrow my vocal cords. Any ideas?

  28. Kevin Richards Rock the Stage NYC says:

    well it’s not “narrowing the vocal cords” is getting them to close more
    tightly. Start here with my playlist on mixed voice:

  29. Chi Bao Dang says:

    Really appreciate the reply, thanks I’ll check that out.

  30. Justin Chew says:

    Kevin, but what if you mixed voice is nasal and cartoony? I want to sing
    Bohemian Rhapsody and the ballad section has multiple belted G4s and F4s. I
    can belt them out but they sound really annoying and nasal. How do i
    balance this out by adding more chest resonance. Everyone says that but not
    one explains how. 

  31. 竜虎風森 says:

    What is the relationship between primo/secondo passaggi and these 3
    resonance locations?

  32. Tequila Mockingbird says:

    Kevin, i can’t sing anything above A4 without grit rasp or heavy metal fry
    to accompany it. is that head voice or mixed or just pushed chest?

  33. Kevin Richards Rock the Stage NYC says:

    @Tequila Mockingbird – no way to really say without hearing you but most
    likely you are probably pushing chest or don’t have enough compression to
    get a clean tone. How loud are you at A4? Normal volume or are you getting
    louder as you approach A4?

  34. Kevin Richards Rock the Stage NYC says:

    +Jay Radiant – if you’re E5 is weak, nasally and heady you are not
    “belting” but singing a very weak head tone.

    For more on belting watch this: 

  35. Michael A. says:

    I want to really expend my horizons. I have looked as much as I could into
    your Breaking The Chains method. I have mostly studied SLS and the Singing
    Success methods. Which have brought great results. I just feel that I have
    limited myself from another way of singing and of another maybe more
    powerful more “open” more rounded vowel-sounding way of singing of which I
    also love hearing and would love to be able to correctly do. My question
    really is: Can your course give me that and can it be used alongside
    another more closed technique? BTW love your videos. You seem to know what
    you’re talking about. 

  36. Hi dear
    Are you a Bartion or Tenor?
    is it possible to create lighter voice on mix voice ? i mean chesty but
    lighter and softer. for example your G4# sounds a little scream ( not bad
    it was clean ) but the volume was to high . want to know how we can create
    lighter mix voice with lower volume . is it more diaphragmatic control
    needed in this situation or something else ?

    Thank you

  37. Great job, Kevin. I really enjoy ur videos. U can teach it and u can
    demonstrate it. Great quality and tone. Thanks for sharing ur insights
    into good vocal technique.

  38. What is your opinion of bridging early (e.g. at F4 instead of G#4/A4)? I
    know a vocal coach who seems to be against it, but my vocal coach and
    others do not see anything wrong in it – to them it is just preference.

  39. Mikhail Popov says:

    Thank you for the tip, Kevin! I have a question: how to mix softly? How to
    bring the head resonance down to the passagio area to sound soft? For
    instance, for baritones between mid C and F – how to sing those notes
    softly but with resonance so that they don’t sound weak and unsupported? In
    my case, I can sing in that area softly one for a few minutes when I’m not
    warmed up, and 5 minutes later, when my voice gets warmed up I lose it.
    That area between mid C and F gets very weak, unsupported and falsettoish.
    Whitney in her “I believe in you and me” sings in that area in the line
    “and like the river finds the SEA (“sea” is sung in that passagio in a very
    soft manner). How to preserve the tone and mix it with the
    chest resonance in such a manner that those notes sound soft, resonant,
    supported and clear (not powerful and chesty, but softly)? Every single
    teacher seems to be talking about mixing “different voices” to
    sound powerful, but there is actually no one on youtube who talked about
    singing in the passagio softly.

  40. is the theory behind ‘lifting the soft palate’ coming back into fashion
    again with singing? i’m sure i read a long time ago that raising the soft
    palate was encouraged by some teachers to avoid nasality (which doesn’t
    make sense) but recently there seems to be focus on it again, as a way to
    increase the vertical space.

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