Has anybody used Phil's vocal course that he briefly mentions at the end? I've been looking up a couple and while he definitely sounds like he knows what he's talking about, it's the only one I can't find people's opinion on.
Definitely solid so far, man. I was actually going to go around to a bunch of your videos and ask about the program, but the next video I hit was one where you talked about bridging and how some people say "eventually that weak area will get stronger." And you said "It won't." And it was at that moment I thought "This guy gets it." And decided to give the program a chance. And I'm glad I did. I mean, it's only been a week so I won't suddenly be reaping all the benefits of long term practice at the moment. But it's definitely a lot more informative than other courses I've taken. Like, your explanations for the support section alone answered a lot of big questions right off the bat that I could never seem to find answers to. It's kind of like a lot of people who are teachers have either been good from birth or have been good so long that they just don't really know or remember what it took to get them there. But the fact that you, as you've said, had to build your voice from the ground up makes you a great source to attain vocal knowledge from since, not only are you proof that someone can learn to sing, but you've also been there before. On top of that the Facebook group's also a huge plus.
I think you are so right! the more "open" the throat gets, the more easily the notes will come out ,resonating through the cavities that exist in our upper part of the neck and at the back of our mouth!! respect Phil !!
Probably the best and clearest video on twang that I have seen yet, grats! Many people mistake it for some comical nasty sound, but this only happens when you twang on a really high larynx. Clarity is a really good general picture. And very well-explained that the main action is done with the back of the tongue. That resonance explanation always gets confusing because some people percieve it more in the pharynx ("pharyngeal") and some more in the mask/nose, when it actually can be both because that action helps to move the resonance from the pharynx into the head cavities (including the nose/mask) when going higher.
Cheers +arangor82 for watching! Yeah everyone is gonna feel it differently I just go by the sound if I hear it's in the right place then they can call it anything they want, bananas or batman :P
Phil, Your ability to explain the concepts in singing is first rate. I studied in Europe for many years and with some of the greatest teachers but your no nonsense, no ego and sincere ability to show the methods for a free voice is very rare. Are you in Australia? I'd love to talk sometime.
Thank you so much for this explanation! I've been doing SLS for a while now but I've never come across an explanation of the pharyngeal resonance as clear as yours!
+Phil Moufarrege Looking forward to it! I've been taught the "sing in chest, shift gears to mix, shift gears to head" method; now I see my voice as "one" and this video plus yours about the mix pointed me in the direction I've always wanted to go. I never thought support is so important, plus the sample skype exercises with the tongue placement to get the resonance higher without sounding nasal. Definitely doing a few skype lessons with you. I'm so glad I stumbled across your videos and discovered your channel!
This is one of the beest videos I ve ever seen. This is probably The most important thing in singing. And the way you explain it, your point over calling it clarity, sets so many things apart. Thank you so much bro. Really great video. Really encouraging and reaffirming. Validating. Haven't finished with it and the part of your student getting stuck in the throat is just sick. You are really hitting the bullseye Phil. Great great job bro. No muffled sound!
Hi +JorgeAndresCoppiano. thanks for the comments it's humbling and helps me create more content similar to this. I'm sure my next video will be equally as insightful. What's the number 1 thing that you would like to see demystified and explained similar to what I did here?
+Phil Moufarrege this is probably the best video on singing man. Not lying or bullshitting you. That's the main thing. You found a great way to say it. A simple one. On the num 1 thing, I was thinking about 2nd bridge, mixing the voice, I am having a lot of ideas right now. Could you meet on Skype to pass em to you?
+JorgeAndresCoppiano. 2nd bridge is a great idea, the approach around there is slightly different for sure and would make a good video. A lot of ground work prior has to be done before the 2nd bridge will work. My next video will show this.
For a while I believed that terminology should be universal through all vocal systems and coaches. But even though there are correct terms like "Twang", using the term "Clear Sound" is more descriptive. Great point. It may depend on who you are coaching too.
I would love to show more of that, it can just be tough sometimes to get a student willing to have them posted publicly in front of thousands showing them getting corrected - especially if they're a pro and have a career.
SLS never worked for me....until after doing open throat methods and learning sensation/coordination (due to singing sustained vowels) Now, I can feel what SLS is trying to do. I don't feel it's the best method for beginners. Seems to create bad habits and constriction instead of release.
Great stuff as always Phil.. its the way you explain things that sets you apart. I actually understand and can apply what you teach me. .Ill email you about setting up a lesson before Dec 30. Thanks man
You are truly the Ido Portal of singing. I can envision you getting even weirder with your singing philosophy as time goes on (in a good way of course). Thanks for the free content.
+Víctor Malheiros forget the covers check out my originals! (got another one coming this month) *update* here it is: th-cam.com/video/P0ksLya7Ptc/w-d-xo.html
Thank you man. I've felt that my singing was muffled ever since I started singing over 2 years ago. This has been the biggest help though. I can really hear a a nice clear tone now.
all of mind confuses are away now.. i am really shocked that how simply and essentially way you described..thanks a looooootttttttt.( sorry bout my english.)..greetings from istanbul...
+Martin Tallstrom you'll really need to focus on the sensation of crying/whining/holding the breath and getting the tone to bounce into the soft palate/roof of the mouth. It will take some time but that's one of the keys to getting out of the throat and getting "on top" of the notes.
Your wrong examples were exactly what I did when I first took singing seriously. In order to 'place the voice in the mask', I ended up singing every vowel in an ultra-bright, splat mode that was not only ugly-sounding but also unhealthy, e.g. an 'iiii' becomes a 'ayyy' etc. I kept wondering why I sounded extremely nasal and constricted when in reality brightness is all about letting the resonance work symphatetically - my tone only got brighter and clearer naturally without me having to make nasty sounds. :)
Yeah I don't want you to leave that nice buttery smooth tone you got bro, stick with what you're doing. You sent me your latest cover recently nice job man as usual. I wanted to also give a little tip if I may. On a lot of the higher notes you tend to reach up with your head a lot, this creates a very subtle tension in your larynx that makes the notes a bit harder to hit for you. Have you ever experimented with trying to keep the back of your neck elongated and straight? And then from there when you go to the high notes tilt the head slightly up while maintaining that elongated back of neck? It should help you find even more smoothness and ease in your high range.
Phil Moufarrege Hey thanks - definitely will keep it in mind! The video was recorded after the audio for this cover (it was a rushed video too - you can see that my camera let me down in a few parts as it was shaking :( :( lol), and admittedly I only noticed it afterwards. :) Just wondering though, is 2:38-2:40 yelling or not? I posted this question on Reddit too if you want to check it out. Haha :D
great info. I was having that mental problem of trying to assimilate all these different ideas about the voice into a coherent path forward. Like I had just started being able to get decent resonance control (i think by) using my tongue placement, along with the nasal resonance. Then I read about 'twang' which apparently originates at the top of the throat so i was like, i don't know where im supposed to be concentrating my effort physically. This video was quite informative and I do believe that getting it right will be a more relaxed, whole approach. Not duct-taping loads of mental and physical tricks together, but getting the sound out cleanly as you say. I do still struggle to know where I should be wanting the air to go exactly. One thing I'm not sure about is when they say 'support' the sound, I assume this is with air? Or what is support exactly?
Hi I really like your analysis of Freddy Mercurys voice. Can you please do one a Michael Jackson analysis. I’ve been watching your videos and they are all great..what I’ve noticed with singers like Michael Jackson and Freddy M singing is this. The starting position is as if your blowing a candle but do the reserve. You start the nite placement high in the mask or nasal area then then it’s like a strength in as your vocal chords thin. The difference between Michael and Freddy who ate great natural singers is that Freddie is very colourful and dynamic with his voice whereas Michael is very percussive. Although Michael can turn it on and sing as dynamic as Freddy, listen to You Are Not Alone.
hi phil, thanks for replying, found you via Reddit. My main problem with my singing is that I have a very strong head voice even in the lower notes (i can sing counter tenor repertoire) and a developed chest voice, however I'm a struggling to mix the two and produce powerful tenor notes
loved your video.....from what you have said, it's obvious that we should not be fearful on putting the vowel right on the vocal folds.....many grow up hearing, don't sing from the throat, and we know what was meant, but this steers us away from identifying the larynx as the sound maker. One of your other comments by viewers here spoke of getting the sound out of the throat. If what is meant by this is the woofy unclear sound you demonstrated on the video I agree, but certainly the person did not mean avoiding using the vocal folds as one should. If I had to sum up what you have said here, in one phrase, I would say, in the healthy way you have described, just use the vocal cords to produce the sound. Agree?
+NMBOKN Not quite. When I say don'T sing from the throat I mean don't get tight in the throat. That's it. Singing is way more than just vocal cords. There is an entire support structure - deep muscles in the abdomen that form a relationship with the larynx so that you can sing bigger, safer, stronger and more free. When I sing, I aim to bypass the throat entirely and not feel anything there.
+Phil Moufarrege I am aware of the bodily support system...I have been singing operatically for 30 years. Your last sentence could lead less experienced singers to avoid healthy vocal cord closure because they are not suppose to feel anything there...of course, the vocal cord vibration is subtle, but has to be there.....language often gets in the way of clear communication.....I understand it's hard to get to the heart of the matter commenting back and forth like this, but a clear explanation of the vocal cords as soundmaker is imperative.
How far does the pharygeal go in the voice. Also where does the sound go after that part in your voice. Physically where does it go? Can you please provide a diagram, is that why there is vowel modifications. .What happens if pull to much weight into the sound . I know its lot of questions but ive been trying to learn how to sing for years, and most people confuse me with their advice on other channels. Thanks for the tip, it helped alot. I liked the video a lot. Keep doing what you doing.
Hey there Jason, like I said twang/pharyngeal resonance is just about getting the sound CLEAR it isn't a separate "voice" it's just the brightness that comes as a result of getting good support/cord closure/vowel placement. If you get those things right you automatically get the ring/twang/pharyngeal resonance, you don't have to make strange nasal sounds or anything.
Right so the EEE when i plug my nose is stuck in the nose and i try to adjust it by making it come out the mouth a little more instead and its quite difficult
Ouuff i can get that resonance so many different ways, feel like i am singing inwards, pushing out, manipulating the pharynx and the soft palate in all the different ways, so annoying not to be able to have someone live correcting me so i know which one of the techniques i use are correct.. so much good info in these videoes, but i mever actually get anywhere, becase i can produce the "right" sound in so many different ways, but it never sounds perfect, so i am doing something wrong somewhere😂
I have a very concrete set of "standards" that help you know if you're doing the coordinations the right way, and I teach this in my program in a step-by-step way. Basically if the coordination is correct the voice will be able to do certain things, and if the sound coordination is wrong but "sounds like it" then the voice will behave differently. So it's not so much about trying to get a certain "tone" as it is a particular COORDINATION. If you chase the "sound" you'll get lost in a sea of 50 different sounds you can make but maybe they don't lead anywhere. What you are looking for is a coordination that offers STABILITY, reliability and allows the voice to GROW in terms of vocal range, volume flexibility (to go from soft to loud and back again) and if the coordination is wrong it won't lead to any of these things even if it "sounds cool".
I think you are oversimplifying a very complex issue. Forwardness or brighness can be achieved in very different ways. You could create a bright sound by adding nasal resonance, or by raising the larynx, by adding twang, by increasing the close quocient or by widening the mouth. You achieve it with using more twang the higher you go. It's a good aproach if you want to sing rock for example because it makes the high notes sound edgyer. But if someone wants to have a fuller and warmer sound it be interesting to add more nasal resonance and not that much twang (that can make your voice sound shrill), for example.
To me it isn't a complex issue at all. Yes forwardness and brightness can be achieved in different ways, I'm just talking about how to do it without straining or making the tone artificial. The shrillness comes from not singing deep enough and having tension in the larynx. The problem stems from the way the vowel is shaped itself. If you get the support and cords and larynx working right, and get the vowel working right you automatically get the ring in the sound without having to do things like artificially push the sound into the nose or tighten the larynx. This I believe is far superior to telling students to "aim it in the nose" or "make it brighter". Most people either go nasal or they raise their larynx to achieve these things. If instead you focus on tuning the vowel so that it rings by itself then you get a balanced sound. Visualizations only go so far, what a singer needs to know is HOW to create sound so that the placement HAPPENS BY ITSELF. Placement is the BYPRODUCT of getting the support, larynx, cords and vowel working right. The voice will balance itself that way. If you want it warmer and fuller, you address that in the vowel and support and larynx position and how the mouth shapes over the vowel, not by "adding twang" or "adding nasal resonance". These resonances are not separate things you "add" or "subtract" manually, they come in more or less based on how you pronounce each vowel. If you want an edgier twangier sound you use more EE EH and AA vowels, so the lyrics themselves modify closer to these positions. If you want a darker more round tone you shade everything to UH OH and OO but even these vowels will ring if they are tuned properly. You use the mouth and lips to help as well. You don't need to add anything you just get the vowel right and you'll have the ring/nasal resonance/mask placement automatically without having to create a tight brittle high larynx position or quack like a duck. I hope this clarifies my position better for you.
Phil Moufarrege having nasal resonance doesn't mean you "aim it on your nose". It all depends on the sound you are trying to create, and vowels are not the only thing you can change. I understand what you say but your explanation on the video doesn't clarify anything for those who are learning if talking about brightness as a whole, because there are very different way of adding brightness elements, some of them can be damadging and some others are just needed in particular styles.
Everyone defines things differently - when you post, you need to lay down how YOU define things, that's what tried to take time to do for you, otherwise I just roll with how most people define it. If you are defining nasal resonance as the bright ring/mask resonance/pharyngeal resonance and not "nasality" then I have already covered this extensively in my previous post and the video - I also didn't say vowels are the "only thing you change". If you still disagree with my posts and video then there's nothing more to really say - best of luck
Phil Moufarrege you are still mixing things up. Nasal resonance and twang are not the same. And being nasal is a different thing from nasal resonance and twang
@@philmoufarrege For me, if the top palate vibrates, then I know it's resonance, so always keeping it in check. Much better than tryna throw voice furthest as possible
The way I approach and teach the voice, I don't see consider "pharyngeal voice" or "mask" or any of that stuff. They are just DESCRIPTIONS not techniques. They DESCRIBE a sound colour that you will get from just getting the vocal cords to compress properly together. They aren't "techniques" to chase though. In regards to mixed voice, I don't see that as a "separate voice" or "separate technique", it's just the chest voice functioning well in the higher range.
Mr Phil I was wondering if I could get information on Skype lessons and whether I can just ask for assistance through Skype lessons or would I have to purchase the whole lesson pack as well
Keeping the sound clear helps grow the voice yes, because it means the vocal cords are coming together properly, but the point of the video is that the clear sound doesn't come from jamming hte sound into the nose in order to "target your pharyngeal resonance" it comes from the proper compression of the vocal cords and strengthening their ability to strongly close and create a clear sound. This must be done from a neutral or lower larynx position for it to grow anything. You can learn more here philmoufarrege.com
Walter Melo you’ll know when you’ve got it right because your voice will take off, you should feel no restriction in your throat or squeezing of muscles. The soft pallet will have to rise, the same way it does during a yawn, and you’ll feel the ringing in the front of your face, especially singing high notes.
Hi +GrandTheftSam this is one of the biggest things that will prevent you from singing higher and without strain. There can be several reasons, and in this video I covered how the tongue can play a large role. Why don't you sign up for my vocal assessment on my website so I can have a listen to what you're doing and give you more detailed feedback?
+Conker32192 you're just seeing a small glimpse of my insanity. I'm trying my hardest in these vids to not come across as a lunatic. Am I doing a good job? ;-)
So am I actually raising my tounge to get the clear sound and dropping my jaw? I've been told all this time to always keep my tounge flat. My voice tends to sound very shouty and less like singing.
![[#SHORTS CLIP] ใช้ของของตัวเองไปเลยสิคะ l ซานิเบาได้เบา l One Playground](http://i.ytimg.com/vi/Ea_mTywx2p4/mqdefault.jpg)
Has anybody used Phil's vocal course that he briefly mentions at the end? I've been looking up a couple and while he definitely sounds like he knows what he's talking about, it's the only one I can't find people's opinion on.
You're in the course now brother, what do you think of it?
Definitely solid so far, man. I was actually going to go around to a bunch of your videos and ask about the program, but the next video I hit was one where you talked about bridging and how some people say "eventually that weak area will get stronger." And you said "It won't." And it was at that moment I thought "This guy gets it." And decided to give the program a chance. And I'm glad I did. I mean, it's only been a week so I won't suddenly be reaping all the benefits of long term practice at the moment. But it's definitely a lot more informative than other courses I've taken. Like, your explanations for the support section alone answered a lot of big questions right off the bat that I could never seem to find answers to. It's kind of like a lot of people who are teachers have either been good from birth or have been good so long that they just don't really know or remember what it took to get them there. But the fact that you, as you've said, had to build your voice from the ground up makes you a great source to attain vocal knowledge from since, not only are you proof that someone can learn to sing, but you've also been there before. On top of that the Facebook group's also a huge plus.
So did you become a good singer after 7 years of practicing with Phil?
I think you are so right! the more "open" the throat gets, the more easily the notes will come out ,resonating through the cavities that exist in our upper part of the neck and at the back of our mouth!! respect Phil !!
Thanks +emmanouela daskalakou glad you enjoyed it!
Probably the best and clearest video on twang that I have seen yet, grats! Many people mistake it for some comical nasty sound, but this only happens when you twang on a really high larynx. Clarity is a really good general picture. And very well-explained that the main action is done with the back of the tongue. That resonance explanation always gets confusing because some people percieve it more in the pharynx ("pharyngeal") and some more in the mask/nose, when it actually can be both because that action helps to move the resonance from the pharynx into the head cavities (including the nose/mask) when going higher.
Cheers +arangor82 for watching! Yeah everyone is gonna feel it differently I just go by the sound if I hear it's in the right place then they can call it anything they want, bananas or batman :P
freaking awesome, you just do it in right way. there's alot of missconception about pharyngeal resonance!
clear tone and open throat!
Really nice work mate, really enjoyed your examples and ideas.
Hey +Carl Wehden that means a lot my friend thanks heaps. Looking forward to more songs you do.
Phil, Your ability to explain the concepts in singing is first rate. I studied in Europe for many years and with some of the greatest teachers but your no nonsense, no ego and sincere ability to show the methods for a free voice is very rare. Are you in Australia? I'd love to talk sometime.
Probably the best vocal coach on the internet.
you rock , best explanation of the mask I've ever heard.
you are very welcome
Thank you so much for this explanation! I've been doing SLS for a while now but I've never come across an explanation of the pharyngeal resonance as clear as yours!
Hey +HenryChenMusic thanks bro I'm glad you found this insightful. You're gonna love my next video for sure
+Phil Moufarrege Looking forward to it! I've been taught the "sing in chest, shift gears to mix, shift gears to head" method; now I see my voice as "one" and this video plus yours about the mix pointed me in the direction I've always wanted to go. I never thought support is so important, plus the sample skype exercises with the tongue placement to get the resonance higher without sounding nasal. Definitely doing a few skype lessons with you. I'm so glad I stumbled across your videos and discovered your channel!
Great video! All excellent points.
+Marnell Sample thanks man
This is one of the beest videos I ve ever seen. This is probably The most important thing in singing. And the way you explain it, your point over calling it clarity, sets so many things apart. Thank you so much bro. Really great video. Really encouraging and reaffirming. Validating. Haven't finished with it and the part of your student getting stuck in the throat is just sick. You are really hitting the bullseye Phil. Great great job bro. No muffled sound!
Hi +JorgeAndresCoppiano. thanks for the comments it's humbling and helps me create more content similar to this. I'm sure my next video will be equally as insightful. What's the number 1 thing that you would like to see demystified and explained similar to what I did here?
+Phil Moufarrege this is probably the best video on singing man. Not lying or bullshitting you. That's the main thing. You found a great way to say it. A simple one. On the num 1 thing, I was thinking about 2nd bridge, mixing the voice, I am having a lot of ideas right now. Could you meet on Skype to pass em to you?
+JorgeAndresCoppiano. 2nd bridge is a great idea, the approach around there is slightly different for sure and would make a good video. A lot of ground work prior has to be done before the 2nd bridge will work. My next video will show this.
For a while I believed that terminology should be universal through all vocal systems and coaches. But even though there are correct terms like "Twang", using the term "Clear Sound" is more descriptive. Great point. It may depend on who you are coaching too.
you solved all the complication... saying...clearity...you're Savior...god bless you...
Phil you are brilliant. Thanks for the tips and clarity. 😊
Hey +rocachick860 thanks! Are you a singer? I looked at your channel but didn't find any songs!
I started watching and was wishing people would show them teaching and then I saw you doing what I was wishing for. Thanks
I would love to show more of that, it can just be tough sometimes to get a student willing to have them posted publicly in front of thousands showing them getting corrected - especially if they're a pro and have a career.
SLS never worked for me....until after doing open throat methods and learning sensation/coordination (due to singing sustained vowels) Now, I can feel what SLS is trying to do. I don't feel it's the best method for beginners. Seems to create bad habits and constriction instead of release.
Great stuff as always Phil.. its the way you explain things that sets you apart. I actually understand and can apply what you teach me. .Ill email you about setting up a lesson before Dec 30. Thanks man
Hey +Josh White that's great to hear that bro, cheers
Very well explained. Thanks for clearing our doubts about proper placement and resonance. Good Job Sir.
You're most welcome
Thanks Phil! You explained everything very well and thank you for the tips. I am a beginner and this video really helped. Thanks a lot!
that's great. what would you like to see next?
The 'W' before EE helps to get the resonance to focus properly. Great !
You are truly the Ido Portal of singing. I can envision you getting even weirder with your singing philosophy as time goes on (in a good way of course). Thanks for the free content.
+Phillip Bluntsworth (BluntsworthTV) haha cheers Phillip
Phillip Bluntsworth I like Ido lol
man.........I may or may not have found it, thank you so much
keep at it 💪😎
thanks!
Best video on Twang, and I've looked at 'em all. Amazing! Thank you
Great vídeo its so clear and easy to understand !thank you
I look foward to seeing more of your covers on this channel :D
the one I watched was awesome btw
+Víctor Malheiros forget the covers check out my originals! (got another one coming this month) *update* here it is:
th-cam.com/video/P0ksLya7Ptc/w-d-xo.html
Thank you man. I've felt that my singing was muffled ever since I started singing over 2 years ago. This has been the biggest help though. I can really hear a a nice clear tone now.
fantastic, what would you like to see next?
YOU'RE THE BEST I LOVE YOUUU 😄 You saved my singing
all of mind confuses are away now.. i am really shocked that how simply and essentially way you described..thanks a looooootttttttt.( sorry bout my english.)..greetings from istanbul...
The whole tongue placement and where the resonance is really helped. I can finally sound good singing MJ songs and now sound like poop. Ty Phill
+Dakota Frazier dunno if "sounding like poop" is what you should be going for bro ;-) But glad you found the vid helpful
Man you're a crazy good teacher!
Thank you!
You are a great teacher 👨🏫 thank you 😊 darling
Very nice, great ideas, thank you! As it happens, this is one of my main struggles, getting out of the throat...
+Martin Tallstrom you'll really need to focus on the sensation of crying/whining/holding the breath and getting the tone to bounce into the soft palate/roof of the mouth. It will take some time but that's one of the keys to getting out of the throat and getting "on top" of the notes.
+Phil Moufarrege Thank you, I´ll keep working!
Your wrong examples were exactly what I did when I first took singing seriously. In order to 'place the voice in the mask', I ended up singing every vowel in an ultra-bright, splat mode that was not only ugly-sounding but also unhealthy, e.g. an 'iiii' becomes a 'ayyy' etc. I kept wondering why I sounded extremely nasal and constricted when in reality brightness is all about letting the resonance work symphatetically - my tone only got brighter and clearer naturally without me having to make nasty sounds. :)
Yeah I don't want you to leave that nice buttery smooth tone you got bro, stick with what you're doing. You sent me your latest cover recently nice job man as usual. I wanted to also give a little tip if I may. On a lot of the higher notes you tend to reach up with your head a lot, this creates a very subtle tension in your larynx that makes the notes a bit harder to hit for you. Have you ever experimented with trying to keep the back of your neck elongated and straight? And then from there when you go to the high notes tilt the head slightly up while maintaining that elongated back of neck? It should help you find even more smoothness and ease in your high range.
Phil Moufarrege Hey thanks - definitely will keep it in mind! The video was recorded after the audio for this cover (it was a rushed video too - you can see that my camera let me down in a few parts as it was shaking :( :( lol), and admittedly I only noticed it afterwards. :) Just wondering though, is 2:38-2:40 yelling or not? I posted this question on Reddit too if you want to check it out. Haha :D
great info. I was having that mental problem of trying to assimilate all these different ideas about the voice into a coherent path forward. Like I had just started being able to get decent resonance control (i think by) using my tongue placement, along with the nasal resonance. Then I read about 'twang' which apparently originates at the top of the throat so i was like, i don't know where im supposed to be concentrating my effort physically. This video was quite informative and I do believe that getting it right will be a more relaxed, whole approach. Not duct-taping loads of mental and physical tricks together, but getting the sound out cleanly as you say.
I do still struggle to know where I should be wanting the air to go exactly. One thing I'm not sure about is when they say 'support' the sound, I assume this is with air? Or what is support exactly?
I wrote my comment before i saw it all and i see you confirmed what i was saying about the tongue at least
Glad it helped man. I have a video on support here I hope it clarifies things for you
th-cam.com/video/aTACWZJdb3g/w-d-xo.html
U are best ty so muchhh i had this same problem with root of the tongue
Hi
I really like your analysis of Freddy Mercurys voice. Can you please do one a Michael Jackson analysis.
I’ve been watching your videos and they are all great..what I’ve noticed with singers like Michael Jackson and Freddy M singing is this. The starting position is as if your blowing a candle but do the reserve. You start the nite placement high in the mask or nasal area then then it’s like a strength in as your vocal chords thin.
The difference between Michael and Freddy who ate great natural singers is that Freddie is very colourful and dynamic with his voice whereas Michael is very percussive. Although Michael can turn it on and sing as dynamic as Freddy, listen to You Are Not Alone.
great video thank you very much Phil
You are very welcome! How did you find me and how can I help you?
hi phil, thanks for replying, found you via Reddit. My main problem with my singing is that I have a very strong head voice even in the lower notes (i can sing counter tenor repertoire) and a developed chest voice, however I'm a struggling to mix the two and produce powerful tenor notes
loved your video.....from what you have said, it's obvious that we should not be fearful on putting the vowel right on the vocal folds.....many grow up hearing, don't sing from the throat, and we know what was meant, but this steers us away from identifying the larynx as the sound maker.
One of your other comments by viewers here spoke of getting the sound out of the throat. If what is meant by this is the woofy unclear sound you demonstrated on the video I agree, but certainly the person did not mean avoiding using the vocal folds as one should.
If I had to sum up what you have said here, in one phrase, I would say, in the healthy way you have described, just use the vocal cords to produce the sound.
Agree?
+NMBOKN Not quite. When I say don'T sing from the throat I mean don't get tight in the throat. That's it. Singing is way more than just vocal cords. There is an entire support structure - deep muscles in the abdomen that form a relationship with the larynx so that you can sing bigger, safer, stronger and more free. When I sing, I aim to bypass the throat entirely and not feel anything there.
+Phil Moufarrege I am aware of the bodily support system...I have been singing operatically for 30 years. Your last sentence could lead less experienced singers to avoid healthy vocal cord closure because they are not suppose to feel anything there...of course, the vocal cord vibration is subtle, but has to be there.....language often gets in the way of clear communication.....I understand it's hard to get to the heart of the matter commenting back and forth like this, but a clear explanation of the vocal cords as soundmaker is imperative.
just like..all in one...sshhooorrttteeessstttly.
This is a big help, I tend to get stuck in my throat when I go high.
glad you found it helpful. what would you like to see next?
Probably more on support, or maybe breathing. My voice naturally wants to go high, but when I do it becomes breathy and, or, more quiet.
Btw, I like your no bs attitude.
awesome.. . . .. nice explaination
Mindset clarity is important
perfect, I coach singer and I perfectly agree
Great video! Thank you
you are very welcome
How far does the pharygeal go in the voice. Also where does the sound go after that part in your voice. Physically where does it go? Can you please provide a diagram, is that why there is vowel modifications. .What happens if pull to much weight into the sound . I know its lot of questions but ive been trying to learn how to sing for years, and most people confuse me with their advice on other channels. Thanks for the tip, it helped alot. I liked the video a lot. Keep doing what you doing.
Hey there Jason, like I said twang/pharyngeal resonance is just about getting the sound CLEAR it isn't a separate "voice" it's just the brightness that comes as a result of getting good support/cord closure/vowel placement. If you get those things right you automatically get the ring/twang/pharyngeal resonance, you don't have to make strange nasal sounds or anything.
@@philmoufarrege great answer...the answer is including your teachings.
Genius!
Right so the EEE when i plug my nose is stuck in the nose and i try to adjust it by making it come out the mouth a little more instead and its quite difficult
Ouuff i can get that resonance so many different ways, feel like i am singing inwards, pushing out, manipulating the pharynx and the soft palate in all the different ways, so annoying not to be able to have someone live correcting me so i know which one of the techniques i use are correct.. so much good info in these videoes, but i mever actually get anywhere, becase i can produce the "right" sound in so many different ways, but it never sounds perfect, so i am doing something wrong somewhere😂
I have a very concrete set of "standards" that help you know if you're doing the coordinations the right way, and I teach this in my program in a step-by-step way. Basically if the coordination is correct the voice will be able to do certain things, and if the sound coordination is wrong but "sounds like it" then the voice will behave differently. So it's not so much about trying to get a certain "tone" as it is a particular COORDINATION. If you chase the "sound" you'll get lost in a sea of 50 different sounds you can make but maybe they don't lead anywhere. What you are looking for is a coordination that offers STABILITY, reliability and allows the voice to GROW in terms of vocal range, volume flexibility (to go from soft to loud and back again) and if the coordination is wrong it won't lead to any of these things even if it "sounds cool".
I think you are oversimplifying a very complex issue. Forwardness or brighness can be achieved in very different ways. You could create a bright sound by adding nasal resonance, or by raising the larynx, by adding twang, by increasing the close quocient or by widening the mouth.
You achieve it with using more twang the higher you go. It's a good aproach if you want to sing rock for example because it makes the high notes sound edgyer. But if someone wants to have a fuller and warmer sound it be interesting to add more nasal resonance and not that much twang (that can make your voice sound shrill), for example.
To me it isn't a complex issue at all. Yes forwardness and brightness can be achieved in different ways, I'm just talking about how to do it without straining or making the tone artificial.
The shrillness comes from not singing deep enough and having tension in the larynx. The problem stems from the way the vowel is shaped itself. If you get the support and cords and larynx working right, and get the vowel working right you automatically get the ring in the sound without having to do things like artificially push the sound into the nose or tighten the larynx.
This I believe is far superior to telling students to "aim it in the nose" or "make it brighter". Most people either go nasal or they raise their larynx to achieve these things. If instead you focus on tuning the vowel so that it rings by itself then you get a balanced sound.
Visualizations only go so far, what a singer needs to know is HOW to create sound so that the placement HAPPENS BY ITSELF. Placement is the BYPRODUCT of getting the support, larynx, cords and vowel working right. The voice will balance itself that way.
If you want it warmer and fuller, you address that in the vowel and support and larynx position and how the mouth shapes over the vowel, not by "adding twang" or "adding nasal resonance". These resonances are not separate things you "add" or "subtract" manually, they come in more or less based on how you pronounce each vowel. If you want an edgier twangier sound you use more EE EH and AA vowels, so the lyrics themselves modify closer to these positions.
If you want a darker more round tone you shade everything to UH OH and OO but even these vowels will ring if they are tuned properly. You use the mouth and lips to help as well. You don't need to add anything you just get the vowel right and you'll have the ring/nasal resonance/mask placement automatically without having to create a tight brittle high larynx position or quack like a duck.
I hope this clarifies my position better for you.
Phil Moufarrege having nasal resonance doesn't mean you "aim it on your nose". It all depends on the sound you are trying to create, and vowels are not the only thing you can change. I understand what you say but your explanation on the video doesn't clarify anything for those who are learning if talking about brightness as a whole, because there are very different way of adding brightness elements, some of them can be damadging and some others are just needed in particular styles.
Everyone defines things differently - when you post, you need to lay
down how YOU define things, that's what tried to take time to do for
you, otherwise I just roll with how most people define it. If you are defining nasal resonance as the bright ring/mask
resonance/pharyngeal resonance and not "nasality" then I have already
covered this extensively in my previous post and the video - I also didn't say vowels are the "only thing you change". If you still disagree with my posts and video then there's nothing more to
really say - best of luck
Phil Moufarrege you are still mixing things up. Nasal resonance and twang are not the same. And being nasal is a different thing from nasal resonance and twang
I'm not mixing anything up nor did I say they were the same thing. I also didn't say being nasal was the same. Take care.
nice trick there, bout the tongue for better resonance. Phil, also imagining "throwing the voice forward as far as possible" helps too right?
visualizations work differently for different people so I don't teach through that.
@@philmoufarrege For me, if the top palate vibrates, then I know it's resonance, so always keeping it in check. Much better than tryna throw voice furthest as possible
Great info. As always.
Thanks +TheBrianhala what was the most surprising thing you learned from this video?
The fact of making my sound clear. It's something I have to work on.
+TheBrianhala best of luck
So... the most important question still wasn't answered.
Did you install windows 8.1?
no
I can't get out of pharyngeal sound , it has always been like this since I developed my mix... Is that possible..?
Idk man, this Pharyngeal voice thing sounds kinda similar to mixing the voice. Maybe both are the same thing?
The way I approach and teach the voice, I don't see consider "pharyngeal voice" or "mask" or any of that stuff. They are just DESCRIPTIONS not techniques. They DESCRIBE a sound colour that you will get from just getting the vocal cords to compress properly together. They aren't "techniques" to chase though. In regards to mixed voice, I don't see that as a "separate voice" or "separate technique", it's just the chest voice functioning well in the higher range.
@@philmoufarrege Man, I always learn something new from you! Thanks for clarifying! God Bless You!
you are very welcome
aye Phil i'm working on a mix and i need your help
Mr Phil I was wondering if I could get information on Skype lessons and whether I can just ask for assistance through Skype lessons or would I have to purchase the whole lesson pack as well
Hi William, what do you want to know? If you want a lesson you just buy one.
www.grow-the-voice.com/singing-voice-lessons.html
Is it true that this kind of resonance helps mix voice?
Keeping the sound clear helps grow the voice yes, because it means the vocal cords are coming together properly, but the point of the video is that the clear sound doesn't come from jamming hte sound into the nose in order to "target your pharyngeal resonance" it comes from the proper compression of the vocal cords and strengthening their ability to strongly close and create a clear sound. This must be done from a neutral or lower larynx position for it to grow anything. You can learn more here philmoufarrege.com
@@philmoufarrege thanks
if im bridging right and the resonance is right for the note then can i scream high notes like wilson pickett or james brown without hurting my voice?
I love some Wicked Pickett
yessssssss
why do evertime i try to do this sound is soooo hard to diferentiate if im using the mask or just screaming?
Walter Melo you’ll know when you’ve got it right because your voice will take off, you should feel no restriction in your throat or squeezing of muscles. The soft pallet will have to rise, the same way it does during a yawn, and you’ll feel the ringing in the front of your face, especially singing high notes.
One question though man, I feel like I get quite a bit of throatiness. How can I fix that?
Hi +GrandTheftSam this is one of the biggest things that will prevent you from singing higher and without strain. There can be several reasons, and in this video I covered how the tongue can play a large role. Why don't you sign up for my vocal assessment on my website so I can have a listen to what you're doing and give you more detailed feedback?
Whenever I plug my nose while singing it tends to vibrate .. Is that a good placement or is it nasal?? please help thank you
I would have to hear what you are doing to give you feedback.
@@philmoufarrege how can I send you a voice clip?
you make some hilarious faces lol
+Conker32192 you're just seeing a small glimpse of my insanity. I'm trying my hardest in these vids to not come across as a lunatic. Am I doing a good job? ;-)
So am I actually raising my tounge to get the clear sound and dropping my jaw? I've been told all this time to always keep my tounge flat. My voice tends to sound very shouty and less like singing.