Mix (Voce Chiusa, Close Timbre): What It Is And Effective Ways To Induce It
Thursday 16th June 2022, 5:00 PM - 7:00 PM (London Time)
Close timbre or voce chiusa is equivalent to what is referred to in CCM styles as mix.
These terms all refer to the acoustic register in which the sung pitch is less than one octave below the first resonance of the vowel being sung.
Vowels have about an octave of close timbre before arriving in whoop timbre, the point at which the sung pitch matches the first resonance of the vowel being sung.
Mastering mix or close timbre is essential to the smooth negotiation of range.
The cause, sounds (auditory targets) and sensations (somatosense) of mix or voce chiusa will be described, and effective strategies offered for its training, independent of genre.
Ken Bozeman
Kenneth Bozeman, BM, MM,Professor Emeritus of Music, taught at Lawrence University for 42 years where he chaired the voice department and from...
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We have plenty of upcoming short courses coming soon. See details of some of them below or look at the full list of short courses.
Thursday 11th December 2025
8:00 AM - 10:00 AM
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Dr Calvin Baker
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Thursday 11th December 2025
5:00 PM - 7:00 PM
(London Time)
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Dr Justin John Moniz
Vibrato is more than just a shimmer in the sound—it’s one of the voice’s most powerful tools for artistry and expression. In this dynamic course, Justin John Moniz—Associate Director of Vocal Performance and Coordinator of Vocal Pedagogy at NYU Steinhardt, and Associate Editor of the Journal of Singing—pulls back the curtain on vibrato, blending history, science, and studio know-how into an engaging exploration for singers and teachers alike.
Tuesday 16th December 2025
2:00 PM - 4:00 PM
(London Time)
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Professor Helena Daffern
In this session, Professor Helena Daffern will explore the fascinating science behind choral sound, offering choir singers and directors valuable insights into achieving a cohesive and expressive ensemble, no matter what their standard. The concept of choral blend will be examined —what it is, how it can be cultivated, and the roles of intonation and vibrato will be analysed. The decisions that have to be made around intonation when tuning thirds or dealing with modulations over the course of an a cappella piece will be explained in the context of existing research and different singing styles such as barbershop singing and solo voice ensembles.