Another great tip I found is strengthening your chest voice by being able to hmm scream higher in you chest voice and then opening your voice without strain or pain and learning to control and master that higher chest range.
Totally agree. This is what I started doing and streched my chest voice up to about a G4 / A4 before switching into more of a mixed placement. Have to be careful when doing it though as its easy to be too loud by accident though!
Around Bb4, I learned to really "dig" into my support muscles. It takes the squeeze off of my throat and the sound is definitely beefier. This is where I feel like singers are doing themselves a disservice by not having some basic understanding of classical technique/appoggio.
thanks for sharing. for me, using the muscles in the torso to dig in and push to support never really helped until I learned how to actually get the vocal cords to compress in a lower larynx position. Then it's like it all connected together. I find in teaching people it's also that same thing that they are missing. I've trained a lot of opera singers too and they also had the same issue. I find what people are mostly missing is how to really connect the support from down low to the larynx and vocal cord compression and get it "connected" together.
@@philmoufarrege Phil do you have a video where you show how to get the vocal cords to compress in a lower larynx position and what you actually mean by that?
I am assuming you mean "head resonance"? If so yes absolutely dude. If however when you say "headvoice" you are referring to basically a non-breathy falsetto then no I'm not mixing anything with THAT kind of head voice. people define head voice in a few different ways so it's important to clarify which one you are referring to. This video of mine may clarify how I view these kinds of terms: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-y6hQ4rVMmOA.html&lc=UgyUReyq0Vx9goObOgd4AaABAg
I top out around an A4 comfortably but MANY songs have the “belted” B4 and C5 By doing what you’ve said in this video I’ve had WAY more success than “strengthen my head voice”
Ive literally just learned how to do a tenor high c in chest and although it will take some work to be really good I feel great about the fact it feels easy to do
The other problem is when the highest note has to be sung (quite) softly, not by screaming, like in the songs by Chicago : 1. Song For You 2. If You Leave Me Now 3. You Are The Inspiration 4. Hard To Say I'm Sorry I am impressed with Peter Cetera's voice in those songs. I have tried to sing those songs, but cannot execute the highest note (C5) smoothly like him.
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: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7X-CFTg7F7A.html&lc=UgztVzDTss6JwBKnx6Z4AaABAg
Damn, even tho I am just starting to sing after 6 years again, i know Already i am More of a head voice, Like literally you sound like A rock Singer, for me i can already i am more in pop or at best in very light rock.
Or learn to engage the mix section of your voice. Takes time and balance between the stretch muscles and the muscles that hold the cords closed. . I found this by accident.
I don’t see it as “or”, for me I was never able to mix until I first developed a strong chest voice up high. Then by refining that and making it less heavy and more relaxed I found I was “already mixing” without realizing it. So I see it as just the continued development and refinement of the chest voice. People who find their mix already have a strong chest voice in place and perhaps take it for granted or don’t realize it. Then when they teach others because they never built it from scratch they leave out most of the necessary preparatory steps and just say things that only work when you’re at step 90 out of 100 😂
@@philmoufarrege yeahhh..I agree with you..most of the people who found their mix by accident already have a strong decent chest voice to begin with.. I had a friend..and he said the same thing..found his mix by accident..but the truth is, he is a tenor who already can sing high from the beginning.. While me, I'm a baritone..and even struggle to hit G4 in a full chest voice to begin with..there's no other way for me except to strengthening my chest voice first..
When you truly a mixed coordination you can sing higher than you ever imagined . So to me it's not a strong chest voice. It's a separate coordination in my throat or vocal cords are doing something different. Like is a fry or whine feeling I can also sing high in chest but its a different feel to mixing . .
If the high note part doesn't constantly occur on a song, I can execute with chest voice, even if it reaches C5. But if that part occur quite repeatedly and in quick rythm, I will struggle and tend to give up, like in the songs : 1. Man In The Mirror by Michael Jackson. The chorus in the overtune is constantly high (the highest reaches C5). 2. Over You by Chris Daughtry. The chorus is constantly high in quick rythm, although still around A#4. I will get exhausted when singing the chorus of this song and cannot continue.
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 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-s4xMS6Bec-k.html&lc=UgxVvEdPUAec8kWf87x4AaABAg
I'm a baritone, but I can sing the full bass and tenor ranges (D2 to A4) roughly. All of this is in my chest voice. I'm trying to sing Dream Theater, but cant quite hit B4 or C4. Any tips?
How? By strong breath control? I tried practicing singing She's gone using my chest voice. But my only concern is.. neighbors getting annoyed because they feel irritated everytime I they heared me screaming
There's a lot more involved than just breath control. I have 3 videos that are a good place to start and will give you an overview of some of the core elements needed in the process: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-MQw5ydp3GAM.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-JWjbdmHma8s.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SapvqgoGF88.html
So if I strengthen my chest voice I can belt up to an F5? Im at an inconsistent D5 rn. Im a mezzo and musical theater is impossible without this haha💔💔💔💔
definitely not stuck. I build the mix through chest voice development and refining the chest voice. first expanding range loudly, then learning to access softer volumes of it.
I understand why you're saying what you say. But I don't think YOU understand why I say things the way I say them. When most people say "head" they're basically referring to a non-breathy falsetto. If that is what you are referring to then no I am NOT mixing with that. Most struggling singers think if they keep bridging from chest voice to "headvoice" (what they're really doing is falsetto even if they say it isn't) that they'll get a "mixed voice". While it is possible to add compression and chest voice and mix it with falsetto, what you'll end up with is what I call a high larynxed unstable mixed voice - it will be excessively thin in the high range and won't be very stable. What I am doing here is NOT that. I have achieved what I do strictly through the development of the chest voice If you are referring to "head" as in the more classical sense (which is basically chest voice above the first bridge with more of a tilted larynx) then yes I am doing that - however the key thing here is that the actual way I've achieved this outcome is by developing the chest voice and working purely with that coordination, not mixing with falsetto/reinforced falsetto.
@@philmoufarrege you are misleading singers. You are using mixed and head voice while screaming. Not chest voice alone. Pulling chest is really bad for vocal cords. I know many singers who are not able to sing anymore because of pulling chest. Don't call what you do "chest voice", it's mixed voice
what you call mixed voice is something I develop purely through chest voice training. The way I approach building chest voice and successfully teach it automatically leads to mixed voice/head resonance development. Then, when the voice is coordinated correctly all I think about is literally staying in my chest voice, and all the adjustments (laryngeal tilt, compression, resonance shifting etc) all happen automatically. This is why I refer to it as chest voice because I build it that way and also the way I "get into it" is through chest voice without using a "different voice". You can see a bit more how I define terminology here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-y6hQ4rVMmOA.html I'm wondering why you weren't more curious as to WHY I define things the way I do. Usually when people seek to understand one another, they ask questions to get the full picture. Happy to go into more detail as to WHY I define things this way if you are here for an actual discussion
