Dude you’re a HERO! This is the first video EVER that shows clearly how to mix! You cleared out all the confusion that I’ve been having throughout my singing journey. After spending thousands of dollars for vocal lessons, this mix series of yours covered everything I ever wanted to know. Bless you! ❤️❤️❤️
he's the best when it comes to teaching mix/chest(which is 80% of singing technique) and I'm expert at searching google/youtube, he's straight to the point, actually sings everything to you and lets the sound/tone speak for itself.
absolutely KEY rule. most people "sacrifice their larynx" for brightness. the key is being able to get the clarity and vocal cord closure without having to "lose" the stable position of the larynx.
This is very, very helpful: the clarity in speaking voice and taking that same clarity higher as opposed to squeeze chest voice and huskiness. I struggle with that husky high voice, lots of tension. Very helpful!
I also want to point out that when I stumbled upon Phil's channel years before, I thought he was wrong about everything. I was a total SLS (Speech Level Singing) guy. Now years later, everything this guy says makes all the sense :D
his teaching complements SLS very well, SLS is perfect for singing convincingly for long and without injuries or strain, it taught me to control the larynx however I like it and eliminate all tensions at all time, but I think it misses a focus on that expert level high&thick mix/chest voice in the bridge area, in my understanding.
Most of the people or vocal coaches misunderstanding "resonance in head register" as falsetto, the correct explanation is using your "real voice", maintain it from chest resonance(lower notes) to head resonance(high notes).
This is the GOLDEN video I was looking for. It's EXACTLY what I feel: I feel like I've worked on my vocal break, but in the end when I sing I always get to that "weak" sound. The answer was obvious, but I didn't see it for all this time: that powerful mixed voice is just a well coordinated and free chest voice. Now I can train differently and correctly, THANK YOU!
yes it is essentially just a very well built chest voice. People just call it a different name because they assume that chest voice has an "end" and that anything past that "end" has to be something else. being able to strengthen it and coordinate it the right way though is tricky and took me many years to learn how to do as well as teach. if you need more assistance, check out my website philmoufarrege.com I have a program and do skype lessons
Your videos really helped me answer all these questions in my mind. I now understand the concept on how to do it. Now, I'll just have to apply it to my singing. I hope I can do it. Haha Thanks for making this video. Looking forward to part 3. 😁
Dear Phil! Im a classical singing student and even though your videos are primarily adressed to contemporary singers I have to say, what you explain in your videos is sooo right and helps me so damn much in my classical singing! You are adressing my exact problems, because Im often straining and/or flipping in a disconected sound. Thank you so much for your content! There is only one way of right effortless singing no matter if you are singing classical or contemporary... The only difference is the colour and timbre of your voice. Sorry for my wall of text but I kind of feel enlightened right know! I have never sung anything above A4. Two minutes ago I've just sung my first fully connected High C ever!
If you find your voice sounds breathy and muffled when trying to go deeper then sometimes that squeezed bright sound is a necessary preliminary stage you need to go through to first build the strength in the voice and the cord closure. As the voice gets stronger it doesn't need to hold on so rigidly and thus allows the throat to open better automatically granting you access to more depth without lose of brightness.
Read the full article here: www.philmoufarrege.com/blog/how-to-get-rid-of-vocal-break-part-2 The real SECRET to learning how to get rid of the vocal break is to STAY IN CHEST VOICE. I'll explain what this means and how to do it... Be sure to check out PART 1 of this video here: th-cam.com/play/PLSby01DiMpeWh46U0aNntdw1keIR-gFyF.html For Skype Lessons click here: www.philmoufarrege.com/p/skype-lessons What are your biggest questions and what would you like to see next?
Hey thanks for this really helped, I really love Steve Marriott, Robert plant and Paul rogers, just wondering if they use this technique for high notes?
@Phil Moufarrenge Something I'm noticing is that if you start off talking and then slip into singing end up feeling like it's the same thing, but I'm just adding a tone to the connected voice of my speaking one. Essentially if you're not able to sing properly it may also be cause you're talking in a way that's putting excess strain on muscles you want to utilize whilst at the same time neglecting the ones you do same as when you're talking. You're amazing. You know the whole saying where it's too good to be true then it probably is, I was cautious, but you're definitely the real deal. Even from just practicing the techniques, as someone who has nodules I immediately left improvement in not only my singing depth, but also feeling the tension come gradually away from my larynx. I think it says a lot about your integrity that you don't just lock all your knowledge behind a course/training product, but also still by the wayside provide variations of techniques in your You Tube videos.
this is a very common problem. I have specific exercises to target this issue. You have to learn to sing EE and OO with the jaw COMPLETELY open and only using the tongue to form the vowel, and then learn to ROLL the "weight" of your chest voice UP higher.
8:15 I noticed that trying to make that sound or tone requires a lot of correct breath support, even if its not high and its that tone that trains the voice to stay chesty and strong as you sing higher. I also call this tone the loud child's voice or the Edge voice because it feels like singing on the edge of the vocal folds by narrowing the larynx, its automaticaly louder and very bright but not nasal, then the breath airflow has to be perfectly calibrated to produce that tone which explains the belly/side/back Core effort, of course this is the theory and not the approach, the approach is just try to get the tone correctly. It's impossible to get this tone with a relaxed stomach, I'd use that if I ever wanted to teach someone what breath support is. I feel its very important to know about this. I'd like to thank you and some other great coaches I've found on youtube like Marnell Sample who touched on this.
Today I guess I discovered my mixed using a syllable "Ma". I think I lacked brightness in the voice and it's easy to climb up now but in the break area I start to squeak, you know that pharyngeal sound. Is it fine on the early stages of mixed?
As a classically trained singer who has done various types of singing, and for many years now, including the standard musical run of 8 shows per week for one year (here in Hamburg Germany) and who is now teaching a lot, I feel one big component is missing. I have learned, especially when dealing with chest and „mixed“ voice, one of the most important aspects is supporting the sound with your body. This is something I have noticed a lot on various channels here on TH-cam. I don’t hear many non-classical singing coaches talk about support. I have learned that the physical support of the singing voice lies in the lower body - the diaphragm and lower stomach muscles, as well as the lower back muscles and „flank“ muscles. Posture is also very important. Why does it seem so few address these all important issues?
Hi Karen I can only speak for myself not other coaches: I actually do teach this extensively, but what you've gotta realize is these are youtube tips, it doesn't showcase my complete system of how I teach and it isn't an exhaustive video covering everything that I am aware of. This is why I don't recommend people to try and learn from youtube, there are many things that I am not showing and many things that may not be relevant to your situation. The way I teach support and body connection is it isn't so much of something you "do" as it is something that either "happens" or "doesn't happen" based on a few variables: If you don't take the inhale the right way, then the larynx won't descend properly, if the larynx doesn't descend on the inhale properly then the throat can lock up as soon as you sing and that instantly disconnects you from the support mechanism. Another thing is, if the vowel or volume is wrong that also will disconnect you from the support mechanism. if you hit consonants too rigidly that too can cause the throat to lock up and disconnect you from the support mechanism. If you don't allow the vowels to modify as you ascend to a very specific shade that too can cause the throat to lock up and disconnect you from the support mechanism. If you use too much air or not enough air that can also cause a disconnection from the support. Too much compression or not enough compression too. When you have these things working right then you'll "have support" automatically. It will kick in and you'll feel you can press into the sound from the belly while the throat stays open. So the way I teach support is that it is interconnected to how you do your sound, take your breath, use your tongue, jaw, volume, everything can affect it. You can see a before and after of how I approach this here: www.philmoufarrege.com/blog/singing-transformation-before-and-after-dane-maxwell
Helpful tips, Phil. Could you elaborate more on a point you made in a recent reaction video to that guy who you said was approaching his lower notes with a bright sound and was surprised to see when he went up to the high stuff he opened up more and had the correct approach for it. I think a tendency I have is to keep my mouth wide and spread and overdo the bright stuff and when I try to sing A4's like Justin Bieber, they always fall short and I crack and strain a bit. Is there a way to open the throat instead of keeping everything overly bright and narrow but still maintain the easiness and bright ping in sound up there on those A4's like Justin does it? I would love a video on this because I think a lot of singers assume the only way to get up there is to imitate popular singers and overdo the closed mouth overly bright twangy thing and end up straining and cutting themselves short of that upper range.
The difference between a connected and an unconnected sound is simply decided by the rising of uvula. If your uvula rises as you go higher (giving that crying or yawning sound), you're essentially connected.. in your full voice, in your mixed voice or whatever you wanna call it. Remember this sensation and you will be able to do the exercises really light too without flipping into falsetto.
It is important for the uvula to raise, however it's not true that just raising the uvula is the sole guarantee that you are now in full voice vs falsetto. I can raise my uvula without making any sound, so that instantly disproves it. I can also raise the uvula while being in falsetto or chest voice. I can also be in chest voice or falsetto WITHOUT raising the uvula. so what does raising the uvula actually do? Raising the uvula prevents the sound from becoming NASAL. why is this important? because you cannot sing loudly with freedom while being nasal, the larynx will excessively raise and the throat will begin to constrict. the only way to get more volume then is to blast air which will damage the voice. Singing isn't about "one thing" it's a number of things working together, and most people who were just missing that one thing then assume it's JUST that one thing and start telling it to others. I have had to build voices from scratch countless times...people who couldn't even sing above A#3 (not kidding) there is a ton of work that goes into building a voice like that compared to people starting at step 80 and just needing the next 20 steps to get to 100 so to speak. If all it took was "get your uvula up" I could then turn someone from 0 to 100 in 5 minutes lol. If you want to find out more about the steps check out my free guide on my website PHILMOUFARREGE.COM
I really want the next one :D. This voice has to become head voice at some point anyway so I wanna know some approaches to do that - how to approach it with different intensities, how to keep cord closure, different options for colouring it (mask it). Still this was a very good video and I appreciate it. Thank you!
Can you sing don't stop me now by Queen? It is a very hard song to sing coz of the dynamics...would you kindly demonstrate on how we can go about it as an example
Yup chest mix freaking hard to do, but these are some helpful tips... but for me the challenge is to coordinate my chest mix to a balanced mix or head mix or something, basically my 2nd break
I really wanted to sing so much for 25 years of Frustration but all I can sing Is passenger by Iggy Pop I cant sing in headvoice it breaks and Sounds weak ist horrible😭😭😭
Would you make a kind of video, where you show how you use this kind of basis for a really narrow vowels (A4-A4sharp)? Cause sometimes something happening to that area and it starts to transition easily into my "already found" configuration for narrow vowel at B4. I can scream A4 climbing from chest or come down from a higher chesty mix for A4 sharp, but it loses strength. The strange thing is that I sing all other vowels and diphthongs e t c easily, staying in that refined chest, you mentioned. It works for 80% songs, but sometimes I need to be able to pull spot on Oo or Ee at A4(or even more rare A#4), and I have to imitate it via closing on the end, that is not suitable for every situation. Example: Animals "the house of rising sun", sometimes I have to scream on a phrase "She sued (my blue jeans)", But sometimes something clicks in and it just floating, even though the vowel is really closed. This happens in a different songs sometimes, I thought I would eventually find out what I'm doing, but I did not. Help me out, with your example, please. So I(or anyone) could build up narrow vowels from the scratch and analyse what is different or wrong in their technique. I saw videos on narrow vowels, but I liked the way you showed it in this video.
I think I know what you're talking about but would you be able to post a recording of this so I can hear exactly what you mean? either publicly here (vocaroo link or something) or email to me. If you want my email sign up to my mailing list on my website
Thank you, I hope I will be able to be alone today, so I can sing)) Also I hope you will think about video too) Because anyone would be able to see how to approach narrow vowels and for me it already started clicking in. :)
Larynx needs to WANT to anchor lower in order to keep a thicker chest voice up there. I teach how to do this extensively in my program (the heavy dio coordination). Check it out on my website.
Hi Justin, there are likely tensions that are cutting off the depth of your resonance. Learning how to create pressure in the body so that the throat doesn't overly constrict is a big part of this, and then also learning how to coordinate it with the vowels. There is likely some issues with how you perceive the vowels - the vowels need to work a specific way in different parts of your range. I recommend studying with me through Skype, being guided by a teacher who understands the sounds and how to correct you through it is the best way to do this. www.philmoufarrege.com/p/skype-lessons
So I have a question. I have mix but I have to thin out a bit and lower the volume to transition to my mix and I definitely feel like I am transitioning to some place, I’m kind of leaving chest voice and going into mix. But when you do it it’s like you go into mix but still drag chest. How can I learn to do that? I have been practicing with mix and I think it just sounds thinner than what I want it to sound. It’s like I’m just using a mixed sound but you are straight up belting with mix. Idk if I’m doing something wrong
You have to work the voice in separate chunks, spend some time working just a pure chesty belty kind of sound isolated. Take it up as high as you can safely. Work on getting it up to at least the F#4. Over time you can get it to go further up. This will help you begin to thin later into your range. The second thing is you need to have a strong and clear OO vowel as high as possible without it getting airy or weak or too thin. Because if you want to sing heavy and chesty into your mix, it all stems from the OO vowel. Ideally you want to get to the point where you start mixing as high as possible, becuase this also gives you the strength to then back off and mix earlier too. Here's an old video I did that talks a bit about this: th-cam.com/video/tap_1LlB5So/w-d-xo.html Also, I have a free guide on my website that will explain what I mean by all of this - head to my website PHILMOUFARREGE.COM
Phil Moufarrege thanks, makes a lot of sense. Essentially I am heading toward the Broadway belt. So like that balanced but still quite chesty mix kind of sound. I am being classically trained but yeah she tells me I need to cover and stuff
Phil Moufarrege I personally can chest up to G4 pretty comfortably, the highest I have chested with a neutral larynx or I guess without straining is that G#4/A4 área the problem is that now that I am mixing because I am being classically trained I don’t chest higher than an F4 now and I don’t know if mixing that early on that F4 will give me the Broadway belt
Phil even when I do the childish voice I can do it up to f4# comfortable but my voice still breaks in falsetto. Is this because lack of compression instead of strain,?
Ink King - falsetto is an open chord coordination where as chest/head are closed chord coordinations. If you are trying to flip between the two, the break you are hearing is your voice changing from a closed coordination to an open coordination. Basically going from tight control of your vocal chords to completely loose control. It's hard to do, must be practiced, and carefully considered. Your falsetto will never blend into your chest/head voice because they are totally different chord coordinations. Like he said at the beginning, the only way to cleanly 'blend' falsetto is to hide the transition.
From the clips you've sent to me, the way you approach the notes below your F#4 isn't right and if you were taking lessons with me I would be retraining your entire approach.
yes you will need to be somewhere you can be loud. it can be tricky to figure out a suitable place to train sometimes. If you have a car it can be good to do it there, park in an empty place and practice. Or if you have a large closet with lots of clothes in it you can stand in there and the clothes will tend to dampen the sound nicely.
@@philmoufarrege thanks a lot for the fast answer, I only got good things to say about your lessons, right, I need to find a solution, bought long thick acoustic curtains, got a closet too, I will experiment and definitely find a solution
Does this still work if your tonsils got taken out. Ever since I got my tonsils taken out, can hit high notes anymore. Try to do a head voice and all you hear now is just a gasp of wind lol
6 ปีที่แล้ว
NEW Michael Pangilinan - the scientist (coldplay cover) th-cam.com/video/g75ufkD996Y/w-d-xo.html
vocal break depends on development. for example when I first started singing my vocal break was f4, but I've trained many tenors who came to me and couldn't get above C4! I had one student who couldnt even get above A#3 initially!!! Vocal break doesn't determine what voice type you are, how strongly your voice is developed does. as your voice gets stronger the break moves up higher and higher and then goes away.
The brightness is caused by good cord closure, good cord closure is caused by the muscles being strong enough to squeeze the cords together without unwanted muscles getting involved - proper tongue activation is also part of it, meaning, the muscles in the back of the tongue must be active on all vowels. All of this needs to be balanced and coordinated with the breath. When you do this right you will get a bright clear sound without the larynx wanting to excessively raise, which is important because we need the larynx to be stable and flexible and rest in a comfortably low position instead of stiff and constricted. The way I diagnose problems with these things is through the vowels. When this is all balanced the sound will come out full, robust and have a clear ring to it. If you sound tight and squeezed to get the brightness then that's an issue. I talk a bit about this here in this video: th-cam.com/video/FHeoHGEIQlE/w-d-xo.html
I would recommend getting your preferences out of the way of technique development. Your preconceived ideas of how you want to sound can totally sabotage and interfere with developing your technique. Your voice may be louder and bigger than someone else's naturally, and in your mind you're like "NO! I HAVE TO BE LIGHTER!!!" it will screw with your devleopment. It happened with me. At first you may be surprised at how loud you are. Just let it be what it is. Focus on controlling and building freedom in the voice. After the strength is built up you can learn how to get a bit thinner on the sound. You do this by really making use of that "crying" sound I talk about or as Tony calls it in that video "the tilt" (referring to the laryngeal tilt). Once it is properly developed you can come back later and learn to sing in a thinner coordination. I show this process a bit more in the third video here: th-cam.com/video/gaIMFFOylCs/w-d-xo.html&list=PLSby01DiMpeWh46U0aNntdw1keIR-gFyF
I can sing under and above my vocal break in fullvoice and pretty powerfull, but at G#4 and A4, my Break i suppose, i just lack the stamina, i have practicesed alot, but still, it breaks apart fairly fast Compared to the Rest of my Voice, or atleast it’s far more demanding.
![เจอประจำ ตอน เปิดเทอมวันแรก [EP.29]](http://i.ytimg.com/vi/eFK-B836i60/mqdefault.jpg)
Dude you’re a HERO! This is the first video EVER that shows clearly how to mix! You cleared out all the confusion that I’ve been having throughout my singing journey. After spending thousands of dollars for vocal lessons, this mix series of yours covered everything I ever wanted to know. Bless you! ❤️❤️❤️
Hi Gary, I'm glad you found it useful.
he's the best when it comes to teaching mix/chest(which is 80% of singing technique) and I'm expert at searching google/youtube, he's straight to the point, actually sings everything to you and lets the sound/tone speak for itself.
“Do not lose your depth to gain clarity”, I LOVE thisss, perfect explanation!
absolutely KEY rule. most people "sacrifice their larynx" for brightness. the key is being able to get the clarity and vocal cord closure without having to "lose" the stable position of the larynx.
How do you do that?
Perfect is the enemy of done.
Just keep 'em coming Phil! I love the demonstrations. It's very helpful.
This is very, very helpful: the clarity in speaking voice and taking that same clarity higher as opposed to squeeze chest voice and huskiness. I struggle with that husky high voice, lots of tension. Very helpful!
I also want to point out that when I stumbled upon Phil's channel years before, I thought he was wrong about everything. I was a total SLS (Speech Level Singing) guy. Now years later, everything this guy says makes all the sense :D
I like SLS as taught by SETH RIGGS, I don't like how most other SLS people teach though.
@@philmoufarrege good on you,
his teaching complements SLS very well, SLS is perfect for singing convincingly for long and without injuries or strain, it taught me to control the larynx however I like it and eliminate all tensions at all time, but I think it misses a focus on that expert level high&thick mix/chest voice in the bridge area, in my understanding.
Most of the people or vocal coaches misunderstanding "resonance in head register" as falsetto, the correct explanation is using your "real voice", maintain it from chest resonance(lower notes) to head resonance(high notes).
Amazing content Phil! I have followed your content for years and have taken a few Skype lessons back around 2016!
What a life-changer!!! After searching TH-cam I've finally found a real teacher. Thank you!
ikr, almost all of them are so basic and never cross total beginner levels.
Indeed so helpful coach
Ahhhh, thank you so much for continuing this!!! I appreciate it so much man.
you are very welcome, thank you
This is the GOLDEN video I was looking for. It's EXACTLY what I feel: I feel like I've worked on my vocal break, but in the end when I sing I always get to that "weak" sound. The answer was obvious, but I didn't see it for all this time: that powerful mixed voice is just a well coordinated and free chest voice. Now I can train differently and correctly, THANK YOU!
yes it is essentially just a very well built chest voice. People just call it a different name because they assume that chest voice has an "end" and that anything past that "end" has to be something else. being able to strengthen it and coordinate it the right way though is tricky and took me many years to learn how to do as well as teach. if you need more assistance, check out my website philmoufarrege.com I have a program and do skype lessons
@@philmoufarrege again, thank you so much!
you are most welcome
Thanks a lot Phil!
Thanks, very helpful
At last we have the part two. Cheers
Your videos really helped me answer all these questions in my mind. I now understand the concept on how to do it. Now, I'll just have to apply it to my singing. I hope I can do it. Haha Thanks for making this video. Looking forward to part 3. 😁
That's great I wish you luck!!
You're the best, thank you so much for this valuable advice!
you are very welcome. if you need more help visit my website philmoufarrege.com
Dear Phil! Im a classical singing student and even though your videos are primarily adressed to contemporary singers I have to say, what you explain in your videos is sooo right and helps me so damn much in my classical singing! You are adressing my exact problems, because Im often straining and/or flipping in a disconected sound. Thank you so much for your content!
There is only one way of right effortless singing no matter if you are singing classical or contemporary... The only difference is the colour and timbre of your voice. Sorry for my wall of text but I kind of feel enlightened right know! I have never sung anything above A4. Two minutes ago I've just sung my first fully connected High C ever!
With how I teach, the underlying technique is the same whether you are an opera singer or a pop/rock singer.
THANK YOU !! it helped me so much
You're very welcome
Good explaniation!
Very helpful, thank you!
thank you. check out my website for more information PHILMOUFARREGE.COM
Great video again.
I have a question with having to swallow my saliva frequently. It is difficult with faster wordy songs. Any solutions?
some people miss a quality of sound, good job coach... inspired content...🤘👍👍
i love ur style.
Thank you for the lesson
you are most welcome
I really needed this video
I'm glad you found it useful, thank you!
Thanks for the clear explanation... Brightness is a challenge for me. I lose depth
If you find your voice sounds breathy and muffled when trying to go deeper then sometimes that squeezed bright sound is a necessary preliminary stage you need to go through to first build the strength in the voice and the cord closure. As the voice gets stronger it doesn't need to hold on so rigidly and thus allows the throat to open better automatically granting you access to more depth without lose of brightness.
Read the full article here:
www.philmoufarrege.com/blog/how-to-get-rid-of-vocal-break-part-2
The real SECRET to learning how to get rid of the vocal break is to STAY IN CHEST VOICE. I'll explain what this means and how to do it...
Be sure to check out PART 1 of this video here: th-cam.com/play/PLSby01DiMpeWh46U0aNntdw1keIR-gFyF.html
For Skype Lessons click here: www.philmoufarrege.com/p/skype-lessons
What are your biggest questions and what would you like to see next?
Watching from Bangladesh 😍😍Thank you so much
you are very welcome!
Great video, thanks! Also Analysis Paralysis would be a great band name.
Hey thanks for this really helped, I really love Steve Marriott, Robert plant and Paul rogers, just wondering if they use this technique for high notes?
@Phil Moufarrenge Something I'm noticing is that if you start off talking and then slip into singing end up feeling like it's the same thing, but I'm just adding a tone to the connected voice of my speaking one. Essentially if you're not able to sing properly it may also be cause you're talking in a way that's putting excess strain on muscles you want to utilize whilst at the same time neglecting the ones you do same as when you're talking. You're amazing. You know the whole saying where it's too good to be true then it probably is, I was cautious, but you're definitely the real deal. Even from just practicing the techniques, as someone who has nodules I immediately left improvement in not only my singing depth, but also feeling the tension come gradually away from my larynx. I think it says a lot about your integrity that you don't just lock all your knowledge behind a course/training product, but also still by the wayside provide variations of techniques in your You Tube videos.
awesome! thanks for sharing
This answered a lot of questions I have but I’m just not sure how to practice this now. “This” being the singing through my break.
Check out my latest video I just posted yesterday. It will give you a better idea of where to start.
Brother Pil. I want to know how to sing this song She's Gone by Steel Heart
My main problems are vowels “ee” and “u”. I feel like they bridge earlier to the strong falsetto sound
this is a very common problem. I have specific exercises to target this issue. You have to learn to sing EE and OO with the jaw COMPLETELY open and only using the tongue to form the vowel, and then learn to ROLL the "weight" of your chest voice UP higher.
8:15 I noticed that trying to make that sound or tone requires a lot of correct breath support, even if its not high and its that tone that trains the voice to stay chesty and strong as you sing higher. I also call this tone the loud child's voice or the Edge voice because it feels like singing on the edge of the vocal folds by narrowing the larynx, its automaticaly louder and very bright but not nasal, then the breath airflow has to be perfectly calibrated to produce that tone which explains the belly/side/back Core effort, of course this is the theory and not the approach, the approach is just try to get the tone correctly. It's impossible to get this tone with a relaxed stomach, I'd use that if I ever wanted to teach someone what breath support is. I feel its very important to know about this. I'd like to thank you and some other great coaches I've found on youtube like Marnell Sample who touched on this.
Thank you David!
Today I guess I discovered my mixed using a syllable "Ma". I think I lacked brightness in the voice and it's easy to climb up now but in the break area I start to squeak, you know that pharyngeal sound. Is it fine on the early stages of mixed?
As a classically trained singer who has done various types of singing, and for many years now, including the standard musical run of 8 shows per week for one year (here in Hamburg Germany) and who is now teaching a lot, I feel one big component is missing. I have learned, especially when dealing with chest and „mixed“ voice, one of the most important aspects is supporting the sound with your body. This is something I have noticed a lot on various channels here on TH-cam. I don’t hear many non-classical singing coaches talk about support. I have learned that the physical support of the singing voice lies in the lower body - the diaphragm and lower stomach muscles, as well as the lower back muscles and „flank“ muscles. Posture is also very important. Why does it seem so few address these all important issues?
Hi Karen I can only speak for myself not other coaches: I actually do teach this extensively, but what you've gotta realize is these are youtube tips, it doesn't showcase my complete system of how I teach and it isn't an exhaustive video covering everything that I am aware of. This is why I don't recommend people to try and learn from youtube, there are many things that I am not showing and many things that may not be relevant to your situation.
The way I teach support and body connection is it isn't so much of something you "do" as it is something that either "happens" or "doesn't happen" based on a few variables: If you don't take the inhale the right way, then the larynx won't descend properly, if the larynx doesn't descend on the inhale properly then the throat can lock up as soon as you sing and that instantly disconnects you from the support mechanism. Another thing is, if the vowel or volume is wrong that also will disconnect you from the support mechanism. if you hit consonants too rigidly that too can cause the throat to lock up and disconnect you from the support mechanism. If you don't allow the vowels to modify as you ascend to a very specific shade that too can cause the throat to lock up and disconnect you from the support mechanism. If you use too much air or not enough air that can also cause a disconnection from the support. Too much compression or not enough compression too. When you have these things working right then you'll "have support" automatically. It will kick in and you'll feel you can press into the sound from the belly while the throat stays open.
So the way I teach support is that it is interconnected to how you do your sound, take your breath, use your tongue, jaw, volume, everything can affect it. You can see a before and after of how I approach this here: www.philmoufarrege.com/blog/singing-transformation-before-and-after-dane-maxwell
Helpful tips, Phil. Could you elaborate more on a point you made in a recent reaction video to that guy who you said was approaching his lower notes with a bright sound and was surprised to see when he went up to the high stuff he opened up more and had the correct approach for it. I think a tendency I have is to keep my mouth wide and spread and overdo the bright stuff and when I try to sing A4's like Justin Bieber, they always fall short and I crack and strain a bit. Is there a way to open the throat instead of keeping everything overly bright and narrow but still maintain the easiness and bright ping in sound up there on those A4's like Justin does it? I would love a video on this because I think a lot of singers assume the only way to get up there is to imitate popular singers and overdo the closed mouth overly bright twangy thing and end up straining and cutting themselves short of that upper range.
next video might be useful for you in regards to this. Stay tuned for it, it'll be up by tomorrow
Hello coach.. please to Daryl Ong and Morisette singing Your the Reason Cover.. thank you
The difference between a connected and an unconnected sound is simply decided by the rising of uvula. If your uvula rises as you go higher (giving that crying or yawning sound), you're essentially connected.. in your full voice, in your mixed voice or whatever you wanna call it. Remember this sensation and you will be able to do the exercises really light too without flipping into falsetto.
It is important for the uvula to raise, however it's not true that just raising the uvula is the sole guarantee that you are now in full voice vs falsetto. I can raise my uvula without making any sound, so that instantly disproves it. I can also raise the uvula while being in falsetto or chest voice. I can also be in chest voice or falsetto WITHOUT raising the uvula.
so what does raising the uvula actually do?
Raising the uvula prevents the sound from becoming NASAL. why is this important? because you cannot sing loudly with freedom while being nasal, the larynx will excessively raise and the throat will begin to constrict. the only way to get more volume then is to blast air which will damage the voice.
Singing isn't about "one thing" it's a number of things working together, and most people who were just missing that one thing then assume it's JUST that one thing and start telling it to others. I have had to build voices from scratch countless times...people who couldn't even sing above A#3 (not kidding) there is a ton of work that goes into building a voice like that compared to people starting at step 80 and just needing the next 20 steps to get to 100 so to speak. If all it took was "get your uvula up" I could then turn someone from 0 to 100 in 5 minutes lol.
If you want to find out more about the steps check out my free guide on my website PHILMOUFARREGE.COM
one of the challenge i encounter is my voice brightens as i hit higher notes but it happens when i sing on a choir XD
I really want the next one :D. This voice has to become head voice at some point anyway so I wanna know some approaches to do that - how to approach it with different intensities, how to keep cord closure, different options for colouring it (mask it). Still this was a very good video and I appreciate it. Thank you!
That’s the secret I need to uncover to finally be able to sing power metal tunes :)
I think you'll like the next one, it talks more about headvoice.
Can you sing don't stop me now by Queen? It is a very hard song to sing coz of the dynamics...would you kindly demonstrate on how we can go about it as an example
I will keep this in mind for future content, thank you.
Vocal break is amazing if intentional like morissette but if its not you really should get rid of it cuz it sounds like pyuk.
Yup chest mix freaking hard to do, but these are some helpful tips... but for me the challenge is to coordinate my chest mix to a balanced mix or head mix or something, basically my 2nd break
yeah, check this one out you might find it interesting
th-cam.com/video/7X-CFTg7F7A/w-d-xo.html&lc=UgzZbnBb8OQI-z5KWLh4AaABAg
I really wanted to sing so much for 25 years of Frustration but all I can sing
Is passenger by Iggy Pop
I cant sing in headvoice it breaks and
Sounds weak ist horrible😭😭😭
Would you make a kind of video, where you show how you use this kind of basis for a really narrow vowels (A4-A4sharp)?
Cause sometimes something happening to that area and it starts to transition easily into my "already found" configuration for narrow vowel at B4. I can scream A4 climbing from chest or come down from a higher chesty mix for A4 sharp, but it loses strength. The strange thing is that I sing all other vowels and diphthongs e t c easily, staying in that refined chest, you mentioned.
It works for 80% songs, but sometimes I need to be able to pull spot on Oo or Ee at A4(or even more rare A#4), and I have to imitate it via closing on the end, that is not suitable for every situation.
Example: Animals "the house of rising sun", sometimes I have to scream on a phrase "She sued (my blue jeans)", But sometimes something clicks in and it just floating, even though the vowel is really closed. This happens in a different songs sometimes, I thought I would eventually find out what I'm doing, but I did not.
Help me out, with your example, please. So I(or anyone) could build up narrow vowels from the scratch and analyse what is different or wrong in their technique. I saw videos on narrow vowels, but I liked the way you showed it in this video.
I think I know what you're talking about but would you be able to post a recording of this so I can hear exactly what you mean? either publicly here (vocaroo link or something) or email to me. If you want my email sign up to my mailing list on my website
Thank you, I hope I will be able to be alone today, so I can sing))
Also I hope you will think about video too) Because anyone would be able to see how to approach narrow vowels and for me it already started clicking in. :)
By staying in chest voice you mean being in full voice don't you x) ? Thanks for the super videos dude
yes
Chest voice not strong enough, not enough compression, sometimes letting too much air out
It's great ,but How to make James Dio sound thick and heavy at B4 or C5 , if we keep thinner and thinner when we go higher
Larynx needs to WANT to anchor lower in order to keep a thicker chest voice up there. I teach how to do this extensively in my program (the heavy dio coordination). Check it out on my website.
do you have any video on the specifics of vowel modifications?
yes, if you sing up for my free email course I talk about something I call the "oo position" which is essentially what vowel modifications are.
@@philmoufarrege thanks!!
Is your mixed voice what some folks call pharyngeal voice?
pharyngeal voice is simply a word the describes the very CLEAR sound you can hear in my voice. That bright clear sound is "pharyngeal voice".
mr phil. my mix voice is bright and thin. any tips on how to strengthen it. like a chesty sound
Hi Justin, there are likely tensions that are cutting off the depth of your resonance. Learning how to create pressure in the body so that the throat doesn't overly constrict is a big part of this, and then also learning how to coordinate it with the vowels. There is likely some issues with how you perceive the vowels - the vowels need to work a specific way in different parts of your range. I recommend studying with me through Skype, being guided by a teacher who understands the sounds and how to correct you through it is the best way to do this. www.philmoufarrege.com/p/skype-lessons
So I have a question. I have mix but I have to thin out a bit and lower the volume to transition to my mix and I definitely feel like I am transitioning to some place, I’m kind of leaving chest voice and going into mix. But when you do it it’s like you go into mix but still drag chest. How can I learn to do that? I have been practicing with mix and I think it just sounds thinner than what I want it to sound. It’s like I’m just using a mixed sound but you are straight up belting with mix. Idk if I’m doing something wrong
You have to work the voice in separate chunks, spend some time working just a pure chesty belty kind of sound isolated. Take it up as high as you can safely. Work on getting it up to at least the F#4. Over time you can get it to go further up. This will help you begin to thin later into your range. The second thing is you need to have a strong and clear OO vowel as high as possible without it getting airy or weak or too thin. Because if you want to sing heavy and chesty into your mix, it all stems from the OO vowel. Ideally you want to get to the point where you start mixing as high as possible, becuase this also gives you the strength to then back off and mix earlier too.
Here's an old video I did that talks a bit about this:
th-cam.com/video/tap_1LlB5So/w-d-xo.html
Also, I have a free guide on my website that will explain what I mean by all of this - head to my website PHILMOUFARREGE.COM
Phil Moufarrege thanks, makes a lot of sense. Essentially I am heading toward the Broadway belt. So like that balanced but still quite chesty mix kind of sound. I am being classically trained but yeah she tells me I need to cover and stuff
Phil Moufarrege I personally can chest up to G4 pretty comfortably, the highest I have chested with a neutral larynx or I guess without straining is that G#4/A4 área the problem is that now that I am mixing because I am being classically trained I don’t chest higher than an F4 now and I don’t know if mixing that early on that F4 will give me the Broadway belt
8:50 i kind of get it when he use crying for example😅
Phil even when I do the childish voice I can do it up to f4# comfortable but my voice still breaks in falsetto. Is this because lack of compression instead of strain,?
Ink King - falsetto is an open chord coordination where as chest/head are closed chord coordinations. If you are trying to flip between the two, the break you are hearing is your voice changing from a closed coordination to an open coordination. Basically going from tight control of your vocal chords to completely loose control. It's hard to do, must be practiced, and carefully considered. Your falsetto will never blend into your chest/head voice because they are totally different chord coordinations. Like he said at the beginning, the only way to cleanly 'blend' falsetto is to hide the transition.
DB 007 So how do I get above the break? My voice breaks at f4# and always flips into falsetto. How do I sing above it and stay in full voice?
DB 007 Sorry, I meant my voice flips into head voice-falsetto kinda sound instead of stayin in full voice
From the clips you've sent to me, the way you approach the notes below your F#4 isn't right and if you were taking lessons with me I would be retraining your entire approach.
so its impossible for me to train it without bothering the appartment neighbors? how do I do this?
yes you will need to be somewhere you can be loud. it can be tricky to figure out a suitable place to train sometimes. If you have a car it can be good to do it there, park in an empty place and practice. Or if you have a large closet with lots of clothes in it you can stand in there and the clothes will tend to dampen the sound nicely.
@@philmoufarrege thanks a lot for the fast answer, I only got good things to say about your lessons, right, I need to find a solution, bought long thick acoustic curtains, got a closet too, I will experiment and definitely find a solution
best of luck
Does this still work if your tonsils got taken out. Ever since I got my tonsils taken out, can hit high notes anymore. Try to do a head voice and all you hear now is just a gasp of wind lol
NEW Michael Pangilinan - the scientist (coldplay cover) th-cam.com/video/g75ufkD996Y/w-d-xo.html
Can ask smthin , what is the vocal break for a tenor
And of a baritone
vocal break depends on development. for example when I first started singing my vocal break was f4, but I've trained many tenors who came to me and couldn't get above C4! I had one student who couldnt even get above A#3 initially!!! Vocal break doesn't determine what voice type you are, how strongly your voice is developed does. as your voice gets stronger the break moves up higher and higher and then goes away.
Thank u very much , my chest voice can go up to F#4 and am 15 , my lowest note is C3 but can push to A2, again thank u for ur tym lol 🙏🙏🙏
my highest note used to be F4 similar to you, with the right training you can extend that much much higher.
Does it mean i might be a baritone or tenor
do you mean adding a little twang?
no
@@philmoufarrege then how to keep brightness in the voice without twang?
The brightness is caused by good cord closure, good cord closure is caused by the muscles being strong enough to squeeze the cords together without unwanted muscles getting involved - proper tongue activation is also part of it, meaning, the muscles in the back of the tongue must be active on all vowels. All of this needs to be balanced and coordinated with the breath. When you do this right you will get a bright clear sound without the larynx wanting to excessively raise, which is important because we need the larynx to be stable and flexible and rest in a comfortably low position instead of stiff and constricted. The way I diagnose problems with these things is through the vowels. When this is all balanced the sound will come out full, robust and have a clear ring to it. If you sound tight and squeezed to get the brightness then that's an issue. I talk a bit about this here in this video: th-cam.com/video/FHeoHGEIQlE/w-d-xo.html
excellent! but how can we do it at low volume?
I agree with you bro, but how can it be possible?--> th-cam.com/video/VEclKmYlknc/w-d-xo.html sound really effortless :s
I would recommend getting your preferences out of the way of technique development. Your preconceived ideas of how you want to sound can totally sabotage and interfere with developing your technique. Your voice may be louder and bigger than someone else's naturally, and in your mind you're like "NO! I HAVE TO BE LIGHTER!!!" it will screw with your devleopment. It happened with me.
At first you may be surprised at how loud you are. Just let it be what it is. Focus on controlling and building freedom in the voice. After the strength is built up you can learn how to get a bit thinner on the sound. You do this by really making use of that "crying" sound I talk about or as Tony calls it in that video "the tilt" (referring to the laryngeal tilt). Once it is properly developed you can come back later and learn to sing in a thinner coordination. I show this process a bit more in the third video here:
th-cam.com/video/gaIMFFOylCs/w-d-xo.html&list=PLSby01DiMpeWh46U0aNntdw1keIR-gFyF
I can sing under and above my vocal break in fullvoice and pretty powerfull, but at G#4 and A4, my Break i suppose, i just lack the stamina, i have practicesed alot, but still, it breaks apart fairly fast Compared to the Rest of my Voice, or atleast it’s far more demanding.
I specialize in helping people with this exact issue, including singers who do it for a living and need to sing night after night.
I have weak chest voice not strong what i feel. i have very smooth connection in light voice g2 to g6 and aslo in falsetto but not strong and chesty.
Sing the song by aerosmith, crying.
Am I the only classical singer here?
nope :)
No!