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You're welcome. Thanks for watching.

Well said! What the heck would directors know about acting? -Kidding of course. Thanks for watching again.

I wish you well with your show. I hope you have fun with the process.

I appreciate your enthusiasm, and yes, the eyes are a crucial part of a performer's craft. Yes, I will be doing more videos about stagecraft. I cannot say whether they will exclusively focus on eyes, but if you found this idea intriguing, look up my STAGECRAFT playlist - you might find my Three Point Technique (directing eyes and attention in specific places) and Judy Technique (coordinating gesture and dialogue) useful for boosting stage presence.

I just responded to your comment about mime, in mime . . . sure, you couldn't see it, but can you imagine what I might have said? Thanks for your wonderful comment.

The story of The Rocky Horror Picture Show makes very little sense, and you see more overt sexuality in the average modern music video, but it remains deliciously subversive, outrageous, and a fun, fun, ride. It is more enjoyable than it has any right to be, in great part due to the execution (direction and performances), and the charm of the actors. Whilst it is a product of its time, it still feels fresh, and makes me smile. Along with The Sound Of Music, which has its flaws, The Rocky Horror Picture Show should be compulsory viewing for any fan of musicals. Thanks for your question.

Thank you. So lovely that you're exploring some older vids. I appreciate it.

Glad you enjoyed another vid. I should do a whole video on bloopers some day - by now, there are so many!

You are very welcome. Glad you enjoyed it.

Thanks for subscribing. Your comment has really made my day - your kind words mean a lot to me, and it is support like yours that keeps me going. I hadn't realised I was giving ASMR vibes, but if that's how it comes across, and it works for you, I am here for it!

Thanks for being here and watching.

I love that attitude - "learn something every day." I shall make it my mantra. Thanks for watching.

Thanks. I hope these building blocks prove useful.

I remember seeing Bedknobs And Broomsticks as a kid, and thinking it was a little bit scary, but fun and exciting too. I must watch it again. Thanks for the suggestion.

Your reply about Linda Ronstadt gave me a chuckle. I hope you track down the movie.

As the film version of Hamilton was a “pro shoot” of the stage production, I did not include it in my short list of movie musicals but it is, of course, a modern classic. Good suggestion.

Chitty and Oz are perhaps not quite as "showy" as other, more Broadway-oriented musicals that draw more attention to the songs, but as portions of the story are told and progressed through song, they perhaps earn their place more than my other suggestion, A Star Is Born, which I might strictly call a film with songs rather than a musical. Thanks for your input.

Just quietly, I DO still still watch Singin' In The Rain from time to time because there is so much to admire - I frequently watch Donald O'Connor's Make Em Laugh when I need a pick-me-up. Yes, those Rogers/Astaire musicals are brilliant, and Cabaret definitely deserves a mention - it was certainly on my shortlist. Thanks for your thoughts.

I always find it useful to explore the voice from new perspectives, so hopefully this is one that others find useful too.

Thanks. I hope you find it useful.

Wonderful to hear it was useful for you. Thanks.

Thanks for taking the time to let me know you find it useful. I appreciate it.

Bawdy is the perfect word, and I want to crunch it up against the innocence and simplicity of the pantomime style . . . although the comic roles in English pantomime can be pretty bawdy at times. I will share more as the show develops.

Good question. Whilst that glottal sound might be used sparingly for effect or expression, ideally, the air pressure should be behind the vocal folds where it supports their vibration. The problem with that glottal expulsion (sudden release of air through a closed epiglottis/back of tongue) is that it does not innately engage the vocal folds, and if the vocal folds ARE engaged, the suddenness of the air can cause them to vibrate in an uncoordinated way, causing strain. So yes, ideally, the back of the throat - epiglottis/back of tongue - should be as open as when we breathe, BEFORE making a sound. In fact it is worth practicing to keep that area open unless swallowing. I hope that answers your question.

Glad you found this useful. Keep in mind there is no one perfect vocal sound - it varies from person to person and between styles. But if, as you say, you find the tone but it vanishes, focus on whichever vowel shape makes the tone most obvious for you (in chest voice it might be an "ooh" or an "oh" with the jaw long, and lips forward enough to contain the sound in the mouth to some degree. You might also check that you have some air coming through the nose to enliven that frontal face plate), and make an exercise of that vowel until the "placement of tone is consistent. Then, adjust the mouth shape to introduce other vowels while maintaining that placement. They may feel different, but as long as you maintain that placement - that "drone" - your tone will be more consistent. But yes, I will bring more videos to build on this subject.

Thanks! I will definetly watch more videos! @@ScottCameronInsideMusicals

I once heard a woman at a vocal showcase singing the title song from the musical Cabaret, and she pronounced it cabooray. No maters how it is spelt or spoken however, it is an exciting genre of theatre. Thanks for your comment.

Yes, you’re right. So much of showbiz is a mystery until you find yourself in the situation. I hope this was illuminating.

You're right. It takes some confidence to undertake your own show, but it builds confidence at the same time. As for the footage, thank goodness for bootleg videos! And yes, BMC rocks! -It is something I look back on fondly.

Thanks for your vote of confidence. Let's hope the gods of the algorithm hear your words!

And yes that was harsh....😜

It's the little things that make a big difference. Glad it was helpful!

A LITTLE harsh, but I am sure YOU would never raise my ire and see that side of me . . . you're better than that! :)

@@ScottCameronInsideMusicals 😂😂😂😂😂

I am glad you found it useful. Thanks for sharing your enthusiastic response.

And I love your comments. You always pick up on some great details, and I appreciate it. And yes, lots of little gems from Cory. I am rewatching the video myself, to make sure it sinks in.

Thank you for your wonderful response. I am glad it made sense to you. You point out a great dilemma for singers: how do we adapt our vowels for greatest musicality, while remaining intelligible? The solution is largely up to personal taste, but the key to clarity is enunciation and strength of consonants - clear, crisp voiceless consonants (e.g. T, K, S etc.), and full, rich, resonant consonants (e.g. M, N, R, Z etc). The clearer our consonants, the more the listener can comprehend the words, and the more leeway they allow for "adjusted" vowels. I hope you enjoy the other videos.

Thank you. Glad you found it useful. Every actor builds an arsenal of skills - I hope this is one you can add to your "toolbox".

Aw, thanks! Appreciate ya 🙂

I agree. Cory's chat has me thinking about things in new ways. I hope you love the next instalment.

Great information for anyone creating content. This channel is criminally underrated and would love to see the community grow.

Thank you. What is a video without a montage? -I should do more of them.

He, ha! I love those movies.

Yes, to some degree, I am using that shouting energy in this experiment - I was focused on strengthening first, and finessing later. I find that top-down exercises work for me in head voice/falsetto, where I can achieve a lighter tone and lower volume, but not so for the top part of full voice/chest voice when I am trying to extend my range, and a lighter touch may result in strain until those notes are consolidated. But if you have a specific exercise in mind, and are happy to describe it here, I am open to suggestions and will try it. Thanks for taking the time to comment.

Lots of really good questions in your comment. Perhaps I should do a video to address yours and other great viewer questions in detail? These days, because I can confidently identify the technical aspects of my own voice, I rarely do a discreet warm-up. I start with less demanding songs in an easy part of my range, and if a particular phrase or section is difficult, I repeat it, and turn it into an exercise. Other than my "benchmark" songs which I sang most days of this experiment, I sang each song only once in each hour of practice, but I might have made more progress had I focused on building each song to performance level. And yes, if you want to develop a specific area of technique, it is worth focusing on that until it fells fluent, and then add the next element of technique. Hoarseness might indicate that your vocal tone is overly breathy or husky, where the vocal folds are either not meeting efficiently, and that you are using more volume and air pressure to compensate. In this case, the solution is to emphasise a brighter, more focused vocal tone to ease the effort in the vocal folds. Each voice is different, and this is where a great voice teacher proves their value in giving that outside feedback, and identifying those sounds unique to your voice. I hope this helps.

@@ScottCameronInsideMusicals Thank you so much for taking the time to answer! I appreciate it :) I will try to implement these tips and try it out. I would love a video like that and I´m sure others would as well, you seem to have a very well spoken and straight forward way of explaining things that is easy to understand so it would definitely be helpful.

I appreciate that. As I develop my musical, I will share some table readings or workshop excerpts, and if it ever gets a staged production, I will let you know . . . I will let EVERYONE know. In fact, you probably won't get me to shut up about it. Thanks for your support.

Shh! -Our little secret. Thanks for watching.

Range is only an issue if it limits the material you can sing, but if it's working for you, then there's no need to force it. And with 3-5 gigs a week, glad to hear you rest your voice.

@@ScottCameronInsideMusicals it does limit a lot of material I feel I can do justice on. But for the volume of singing I’m doing I’m lowering most songs at least a key or two. If I could get a consistent G up top it would open up a lot of material but yeah range isn’t everything for sure

You are very welcome. It is enthusiasm like yours that keeps me going a the channel grows.

I appreciate your support. Rehearsal is not always pretty, but I hope it is worth sharing.

You are very welcome. I hope you feel valued in everything you do.

Ooh, I see what you did there with your word play. Well done, you - clever clogs! And yes, I am thinking up shenanigans as we speak.

Yes, your voice is not broken. Whilst is is useful to extend our range to its potential, no one voice type is innately better than another. You could for example sing a tenor song transposed down a few keys to match the equivalent register in your voice. It won't sound exactly the same, as the timbre of a tenor and baritone is distinctly different, but you can make it your own with the brilliance of your own sound.

@@ScottCameronInsideMusicals thanks for the reply Scott. Hope you have some more singing content in the future. Cheers

Ooh, I can tell you've been watching to the end! Thanks for your support.

Thanks. I hope you found it useful.