excellent, go for it!

check out this video you'll see the sound is kind of airy and not super clear, and then the clear sound is developed THROUGH that: kzfaq.infoRfB-JJu4hUI here's the longer full vid: kzfaq.info/get/bejne/bb5ddqmFzJ2qZ3U.html&lc=UgwyRXT6C7j-twfrYhJ4AaABAg so it's a progression of development. so with steven tyler he's kinda in that in-between stage where he can sing really well and high with freedom but it's not developed to the point where it's really clear. Michael Bolton and michael mcdonald are both in a similar state too. great singers.

@@philmoufarrege yeah, it looks like you caught my point. This singing tecnique is rarely used and even more rare is to find a decent lesson about it. In rock singing it is common to power-belt throuh high notes, often with distortion-like over-compression. But this, on the other hand, is someting completely different technically. It may sound the same for untrained listener, but if you struggling learning how to sing high without a strain, you would eventually feel the difference. I think this type of singing should draw much more attention, than it does atm.

that's very humbling! would love to connect with you and learn more about your goals.

yeah I could totally help you get a usable F5 for sure

yeah I consider being able to sing in the high range without having to be super loud a more advanced skill for sure. here's a video where I go over some of what's involved in achieving that: kzfaq.info/get/bejne/bb5ddqmFzJ2qZ3U.html&lc=UgztVzDTss6JwBKnx6Z4AaABAg

yeah this is a common problem and something I used to struggle with for years! this all comes down to larynx stability, compression and volume control. check out the way I approach this michael mcdonald song, lots of hanging up in the high range and lots of c5's kzfaq.info/get/bejne/qZqogLZnp8vHXZ8.html&lc=UgxVvEdPUAec8kWf87x4AaABAg

my brother! drop me a message!

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.

He’s one of my fave too. Gonna do more covers of his soon

thanks! 😎

it's all way up there isn't it ha ha

the right kind of training haha

what did you find helpful about it? would love to connect deeper with you !

@@philmoufarrege the part that explainsthat mixed voice is actually a kind of chest voice, that clears up alot of things :)

thanks for sharing!

there is definitely a phase of strong muscle engagement and strengthening, which means effort level may be quite high initially. effortlessness comes later.

💪😎

haha why do you bring that up? 😎

i mentor singers in a deeper way now! philmoufarrege.com for more info

have a look at this, see if this helps! kzfaq.info/get/bejne/gL2alceerdPFaKc.html&lc=Ugzq3H9IrdAmWw7Ehrd4AaABAg

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?

you are most welcome. what was valuable for you with this video?

💪😎

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.

without hearing you I can only guess at the problem! A good place to start might be to do a plank and get used to speaking and singing while in that position first.

Same issue man. Doing planks while singing seems like a good start, I'll do it haha

what have you been doing to address this?

dude this is fucking badass!

​@@philmoufarregecrazy how certain things engage support

Yes!!! Great eye!!! 💪💪💪

Rare exercise, especially the singing version. 😂

@@jesses.9843😎 so cool u guys are into this this niche stuff lol

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sorry are you asking something ? didn't quite understand what you're saying

this video will be important for you kzfaq.info/get/bejne/gL2alceerdPFaKc.html&lc=Ugzq3H9IradAmWw7Ehrd4AaABAg best of luck and if you want to go deeper and work with me don't hesitate to reach out

okay 🤣

awesome, what did you think about it?

kzfaq.info/get/bejne/bb5ddqmFzJ2qZ3U.htmlsi=-b08VE0q1GFVx-mv

@@philmoufarrege Thanks my man!