https://youtu.be/86ve6G2VsyM

Monologue your song, then speak the song in the basic shape of the rhythm, then speak the song in the basic shape of the rhythm and the melody of the song. This acts like a Shakespeare Scansion for the music, words, and vocal connection.

Singing is playing an instrument, what works best to play that instrument, optimally, efficiently, engaged but not taxed. Prepare the instrument with lift of soft palate, drop of larynx, filling the body with breath, cord closure, placement, and resonance bolstered with support and control. That is singing, the melody must be sung like a sigh but (usually) crisply with notes, words, musicality, and artistry. Train, prepare, play, connect, support, and give - that is singing.

In your mid range, sing on an NG, and open to an A (the vowel of May) vowel - like Sing-A, Sing-A, Sing-A, on one note starting at F4 or F3 go up to around a D5 or D4, and then switch to Sing-OO, Sing-OO, Sing-OO and go up to around A5 or A4, and then go back to F4 or F3 and work down with Sing-Ah, Sing-Ah, Sing-Ah. This amazing exercise I have created will center and engage the breath and breath control, find the placement and cord closure before opening up to bloom the reso

Pay your fee for great acting: PHEE = Personality, Humanity, Empathy, and Equality...what do each of these mean to the character, and story, how are these four aspects applied? Is there balance or is one stronger than the next? It is an ever changing equation, but these four points will focus a tremendous amount! GO!

Words, Music, Voice - These are three shapers of your sung monologue. They are always together but the primary shifts and often. The melody/music might need to be brought out, and the words secondary and the voice, or the voice might be primary with the music and the words are a little less - this trinity will find the need and importance of your sung story!

Find the preparation of the instrument, and then when approaching a high note, use the connection of cords with a sob, to then find the placement, before you bloom into the resonance. Often, singers rush this process, and you will squeak. Often, between the preceding note and the consonant and vowel of the word with the high note much must be considered. If not rushed, and using the consonant or vowel to connect to the process and approach of the high note, you will have grea