oh yeah man just doing scales hoping the scales will make the mechanical changes for you is absolute madness! the way we do things over here is we make the mechanical changes first, then use the scales as "difficulty modifiers" to build up to singing.
This is so interesting, this light chest voice you talk about, it seems my placement wants to change when its found. It feels like head voice placement, but in a chest voice quality. I take it that is the aim here.
As much as I’ve surfed through probably hundreds of UA-cam videos, I’ve literally never come across any other vocal coaches like Phil Moufarrege and Marnell Sample, his friend (Phil being active to-date), who understand a singer’s voice for where it actually is; who know the real struggle that most vocal coaches are interestingly not aware that they are not aware of, hence may often not offer an effective solution to some of the most struggling singers. Thank you, Phil. You are rare and your impact is rare, and you are a God-sent. Given the chance, I wouldn’t work with any other vocal coach.
Wow! So good! Thanks for showing this Phil. That strengthening eludes me. This is what I’ve been struggling with. My break is so apparent. My middle voice needs strengthening too. Would this same idea apply?
For the stuff we are doing here to work properly I first got his vocal range up to high C in chest voice loudly and strongly, and working that in songs before the softer more relaxed stuff we are doing here is able to show up in the voice the right way. If you try to soften things too soon the larynx and vocal cords won't maintain stability when softening. It's a particular order I have found very useful.
@@philmoufarregeThanks for the explanation and purpose of your method here! That makes sense and really lays foundation for parts of the voice. I’m a female with a high soprano C/D and can chest belt fairly high, to a Bflat 4…Perhaps I’ll try to apply what you and your student have done also for a female range.
I didn't know what to make of you at first Phil but now I'm starting to think you're possibly the only vocal coach on UA-cam who isn't a complete grifter. Or is it that all these other vocal coaches and singing teachers just ASSUME that the student already has a strong, high voice, and so the techniques they teach just happen to work?
I don't understand any of this. You keep saying there is no mix voice, only chest voice, etc. Then you talk about this "other chest voice" that you "break into and out of". This is very confusing. Why call everything "just chest voice" if these are completely different registers you break into and out of? It's like calling all animals a "pig". What is this "other chest voice"? What is the difference between that and falsetto? How you get there? Etc.
@@philmoufarrege I'm asking for sure! I like your content but the whole "it's all just chest voice" thing seems to make things really hard to follow, in a literal/practical sense. Like, in this video you talk about "the other chest voice". Ok... So I wanted to check if you had other videos about "the other chest voice" but since all of your videos are about "chest voice", that would be impossible to find. Btw, I understand that with this you mean something like "M1", and this is good advice in general. But maybe the reason people classify things and give them all the silly names is so that you can at least "index" the different approaches to singing. Because just referring to things as "the chest voice" and "these n approaches to refined chest voice" and "this other kind of chest voice", etc, makes it so you can't know what is happening. One thing is that, when people are recording with microphones, on our side we have no clue what is the actual volume the person is singing in the video. So in this particular video here, I listened a few times and I have nooo clue what the guy is doing or trying to do. Also it seems to me from my own practice that pharyngeal voice and actual mixing of M1 and M2, together with messa di voce exercices (which are literally impossible above the passaggio if you can't mix actual M1 and M2) are huge secrets to good singing. You seem to go with a different approach, so it is pretty surprising and a kind of wtf moment to see you doing this kind of "yodelling" between "two kinds of chest voice", it threw me off balance on my understanding of things a little bit. Of course I do want to hear from you and I don't mean any of this as a criticism but only to expose the confusion!
that's a big wall of text! as I said I'm happy to share...there must be some reason why I label things the way I do 😎...do you have a specific question?
@@philmoufarrege My question is what is the "other chest voice". If we don't want to give it a name, that's fine, but what is it physiologically, what is happening at the vocal chord level or vocal tract level? Are the pharynx muscles involved, do we need quack/twang, do we open or close the soft palate, etc? I have discovered something that seems to be extremely similar to what you are describing here, which is an incredibly powerful and flexible voice the likes of which I never experimented before, throughout the entire range, both of pitch and of volume. It initially suffers from the same "dullness" you describe on the video, but it can be brightened by any sort of resonance or twang. The thing is, this new voice I found can absolutely be easily lowered smoothly into falsetto, or raised in volume into fully belted chest voice, anywhere in the range. I discovered it by using similar muscles to those I have been developing for "pharyngeal voice", but finding out I didn't need the pharyngeal twang to activate those muscles around the larynx, and that they worked with any combination of resonances and twang. So physiologically that would seem to be best described as a "true mix", i.e., a mix between M1 and M2 modes, in the literal sense: you are able to continuously go from one into the other throughout the range (messa di voce). That goes against your idea that it is "just chest voice", or that it "breaks", hence my confusion. So, again, my questions are right in the beginning ("what is the other chest voice?", etc), and the rest of what I'm writing is optional additional context.
Such a good & clear teaching for building vocal strength without hoping scales eventually land you there magically by repetition 🙌
oh yeah man just doing scales hoping the scales will make the mechanical changes for you is absolute madness! the way we do things over here is we make the mechanical changes first, then use the scales as "difficulty modifiers" to build up to singing.
The king is back!!!
Dude! Msg me we gotta catch up bro
Suchhhh a great idea showing an actual lesson !!
I’ll be sharing more of what’s going on with the singers I hang out with!
This is so interesting, this light chest voice you talk about, it seems my placement wants to change when its found. It feels like head voice placement, but in a chest voice quality. I take it that is the aim here.
Good to see you're still alive and well, Nigerian. -Stan
Phil I've missed you bru. Good to see you again.
Thanks brother
As much as I’ve surfed through probably hundreds of UA-cam videos, I’ve literally never come across any other vocal coaches like Phil Moufarrege and Marnell Sample, his friend (Phil being active to-date), who understand a singer’s voice for where it actually is; who know the real struggle that most vocal coaches are interestingly not aware that they are not aware of, hence may often not offer an effective solution to some of the most struggling singers. Thank you, Phil. You are rare and your impact is rare, and you are a God-sent. Given the chance, I wouldn’t work with any other vocal coach.
Very humbling
13:33-.. He sounds like Ed Sheeran.
It makes me want to hear him singing "Perfect" and "Castle On The Hill".
His voice is so sweet even on medium notes.
Excellent video, @Phil Moufarrege
It's great to see new video on your channel.
cheers 🍻
The king has returned!!
Wow! So good! Thanks for showing this Phil. That strengthening eludes me. This is what I’ve been struggling with. My break is so apparent. My middle voice needs strengthening too. Would this same idea apply?
For the stuff we are doing here to work properly I first got his vocal range up to high C in chest voice loudly and strongly, and working that in songs before the softer more relaxed stuff we are doing here is able to show up in the voice the right way. If you try to soften things too soon the larynx and vocal cords won't maintain stability when softening. It's a particular order I have found very useful.
@@philmoufarregeThanks for the explanation and purpose of your method here! That makes sense and really lays foundation for parts of the voice. I’m a female with a high soprano C/D and can chest belt fairly high, to a Bflat 4…Perhaps I’ll try to apply what you and your student have done also for a female range.
@@ElyWillfor females you’d want to get your strong chest voice up to around at least E5 before doing the softening stuff I show here. Hope this helps!
@@philmoufarregeWhew!😂 Good to know. Got lots to work on then. Thanks!
This worked for me! so now I just have to keep practicing this exageration and it will naturally become clearer?
I MISSED YOU PHIL, THE ONLY VOCAL COACH THAT IS WILLING TO ACTUALLY TEACH YOU AND NOT CONFUSE YOU WITH VAGE TERMS
Because he’s been there and done that. 👏🏼
Does tilting his head back help with finding this particular coordination?
yes - provided you are in the same coordination I show here. if not, then tilting the head back will make it harder and not be helpful.
I didn't know what to make of you at first Phil but now I'm starting to think you're possibly the only vocal coach on UA-cam who isn't a complete grifter. Or is it that all these other vocal coaches and singing teachers just ASSUME that the student already has a strong, high voice, and so the techniques they teach just happen to work?
Hope you find something here beneficial for you
@@philmoufarrege thanks Phil. Just a query - do you still offer the Pro Singer's Vault? Or have you moved exclusively to the workshop model above?
I don't understand any of this. You keep saying there is no mix voice, only chest voice, etc. Then you talk about this "other chest voice" that you "break into and out of". This is very confusing. Why call everything "just chest voice" if these are completely different registers you break into and out of? It's like calling all animals a "pig". What is this "other chest voice"? What is the difference between that and falsetto? How you get there? Etc.
Happy to share on this and I have a lot to say on this, but I’m not clear if you’re genuinely asking me something or just being snarky and angry.
@@philmoufarrege I'm asking for sure! I like your content but the whole "it's all just chest voice" thing seems to make things really hard to follow, in a literal/practical sense. Like, in this video you talk about "the other chest voice". Ok... So I wanted to check if you had other videos about "the other chest voice" but since all of your videos are about "chest voice", that would be impossible to find. Btw, I understand that with this you mean something like "M1", and this is good advice in general. But maybe the reason people classify things and give them all the silly names is so that you can at least "index" the different approaches to singing. Because just referring to things as "the chest voice" and "these n approaches to refined chest voice" and "this other kind of chest voice", etc, makes it so you can't know what is happening. One thing is that, when people are recording with microphones, on our side we have no clue what is the actual volume the person is singing in the video. So in this particular video here, I listened a few times and I have nooo clue what the guy is doing or trying to do. Also it seems to me from my own practice that pharyngeal voice and actual mixing of M1 and M2, together with messa di voce exercices (which are literally impossible above the passaggio if you can't mix actual M1 and M2) are huge secrets to good singing. You seem to go with a different approach, so it is pretty surprising and a kind of wtf moment to see you doing this kind of "yodelling" between "two kinds of chest voice", it threw me off balance on my understanding of things a little bit. Of course I do want to hear from you and I don't mean any of this as a criticism but only to expose the confusion!
@@philmoufarrege Actually in this video it sounds like he's just opening and closing the soft palate.
that's a big wall of text! as I said I'm happy to share...there must be some reason why I label things the way I do 😎...do you have a specific question?
@@philmoufarrege My question is what is the "other chest voice".
If we don't want to give it a name, that's fine, but what is it physiologically, what is happening at the vocal chord level or vocal tract level? Are the pharynx muscles involved, do we need quack/twang, do we open or close the soft palate, etc?
I have discovered something that seems to be extremely similar to what you are describing here, which is an incredibly powerful and flexible voice the likes of which I never experimented before, throughout the entire range, both of pitch and of volume. It initially suffers from the same "dullness" you describe on the video, but it can be brightened by any sort of resonance or twang.
The thing is, this new voice I found can absolutely be easily lowered smoothly into falsetto, or raised in volume into fully belted chest voice, anywhere in the range.
I discovered it by using similar muscles to those I have been developing for "pharyngeal voice", but finding out I didn't need the pharyngeal twang to activate those muscles around the larynx, and that they worked with any combination of resonances and twang.
So physiologically that would seem to be best described as a "true mix", i.e., a mix between M1 and M2 modes, in the literal sense: you are able to continuously go from one into the other throughout the range (messa di voce).
That goes against your idea that it is "just chest voice", or that it "breaks", hence my confusion.
So, again, my questions are right in the beginning ("what is the other chest voice?", etc), and the rest of what I'm writing is optional additional context.