The Mix:  What is it and why do we like it?

The "F Words" That Saved My Voice

I’ve been singing since I was two years old—and from the very beginning, my voice came with a twist. A literal one. I was born with a growth on my vocal cord, which meant I could never sing a full melody without belting the high notes. Sweet, soaring A4s? Forget it—unless you liked them loud and panicked.

So I became the Queen of Harmonies. If a song crept past that danger zone, I’d duck under it, wrap it in thirds and fifths, and keep the music going without ever letting on that I was dodging the melody. I didn’t want to stop singing, so I adapted. But deep down, I was scared. Scared that someday, someone in a studio would say, “Can you just sing that note up there?” and I’d freeze. I was afraid of my own voice.

Then I met Seth Riggs, and everything changed. With one lip bubble exercise and a five-tone scale, I floated up to a G6—without strain, without fear, and with tears in my eyes. That moment didn’t just give me notes—it gave me freedom.

This book is about that freedom. And it’s about the surprising "F words" that helped me—and now, help my students—find it. We’re talking about Fearlessness. Flow. Focus. Flawlessness. Forward. Follow-through. Freedom. Feedback. Ferocity. Fun. Faith. Flying. All big ideas, all anchored in real vocal mechanics.

If you’ve ever wondered what’s really happening inside your voice—or if you’ve been stuck in your head, your throat, or your fears—this book is for you. I’ll walk you through the physical, mental, and emotional sides of singing, using language that makes sense, stories that bring it to life, and exercises that work.

Singing is supposed to feel good. Let's bring the joy back—and maybe throw in a few more F words while we're at it.

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So come back regularly to my site and journey with this book:  F Words and vocal mechanics

 

Chapter One is next!!!

 

 

 

Here's a bit of science and history for you:

(Everything you need to know about Mix.)

 

For any stringed instrument to function efficiently, (i.e. piano, volin, the human voice, etc.), two elements must be present:  1- the vibration of the string creating the pitch, and 2 - the resonance of the instrument.  Say it again:  1- the vibration of the string creating the pitch (vocal cords) and 2- the resonance of the instrument (your body).  Now think about that for a moment.

 

Both of these elements (vibration and resonance), were given equal importance in the original and pure bel canto singing methodology.   However, in the late 19th century there was a split within the bel canto world.

 

One group continued on as bel canto, focusing more on the resonant portion of the technique and the feeling of the resonance behind the soft palate.  (operatic stylings)

 

The other group focused more on the vibration portion of the technique, calling itself “forward singing.” (broadway/pop/rock "belt")

 

By mixing the chest and head voice you receive the full benefits of “both voices”:  

• the natural and powerful sound of the chest voice (belt) 

• and the beauty and range of the head voice. (bel canto)

 

Learning to balance the air and muscle required to make sound will allow you to experience this mix.

       

No “breaks” in the voice.

 

The “break” also known as "passagio" (passage) is a common complaint among vocalists.

 

When you MIX, you eliminate the break in your voice.  

 

In fact, when you mix, you are experiencing:

• a sound that is natural and unaffected.....

• a sound which soars through the entire vocal range, connected, from the deep to the sublime.....

• a sound that can be used in ANY STYLE of singing......

• absolute bliss.....