Acting in Plays, Singing/Advice

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Expert: - 10/22/2008


Question
Hi Sean,
After finding a post of your randomly on the internet, I became very interested in your knowledge.  I live in the bay area, and am a young man intent on studying musical theatre in college. I have scheduled auditions for all of my musical theatre BFA's, and am searching very hard for the perfect fit.  While I do have a vocal coach, I feel that other consultation could be very beneficial.  I'm still unsure of my voice type, some say tenor, other bari-tenor, but after reading your posts, it seems that there isn't a voice that can be categorized as a bari-tenor.  Warmed up, I can sing to a G( but my range fluctuates), vocalize to a B Flat above middle C, and sing in my Falsetto to a F above High C.  All in all I have a three octave range.  So, with that being said, if you can think of any great 16 bar selections for a guy with that range, that would be suitable for an audition, I would greatly appreciate it.  I am looking for both Up-Tempo's and Ballad's, so any ideas would be great.  Thank you very much, and I look forward to hearing from you.

Sincerely,
Ari

Answer
Hello, Ari –

Thank you for the question and all the surrounding information.

I believe every singer should get second opinions from qualified coaches.  As a professional singer and vocal coach – it is also fair to observe that you are paying someone to coach you who is not meeting your most fundamental needs.  You must be confident about your vocal category.  You must train accordingly. Standing behind a screen – put a legitimate baritone next to a legitimate tenor with the same song in the same key and we will all know who is who.  Simple.

Just to be sure we're on the same page –
You state your vocal range as being from Low G to High B-flat, i.e., two octaves plus a minor third.  If I'm on your audition panel, I'm going to ask you to demonstrate a series of scales to prove your claim of a High B-flat.  It can't be in relationship to your good days or when you're in the mood.  It's either performance ready or it isn't.  The B-flat must be balanced with the rest of your upper register and with your entire register.  The same is true with your Low G.  What you sing has to be heard out to the last row in a standard-size theater or concert hall without a microphone.

Even if we take off a whole step at either end – allowing for nerves and the obvious need to develop better vocal skills – then a solid Low A to High A-flat suggests you are some variety of baritone. Whatever you do with your falsetto has no bearing on your legitimate vocal category.  All my tenors sing to at least a fully balanced High C.

My experience is that not every singing teacher knows how to develop the upper range.  Until I hear what you are doing with what you've got – I cannot pronounce you a baritone.  Perhaps you are a tenor who needs better coaching in the upper register.  Do you have something on-line I can listen to?

The next point is about choosing repertoire.  In a competitive situation, you must choose material that suits your personality and image along with showing off your vocal range.  If you are a baritone, then I want you to get the anthologies listed below.  Click on the link or insert the URL into your browser to purchase or view these materials on-line:

The Singer's Musical Theatre Anthology - Volume 1 Revised - Baritone/Bass
http://www.sheetmusicplus.com/store/smp_detail.html?sku=HL.361074&cart=912014064...

The Singer's Musical Theatre Anthology - Volume 2 -Baritone/Bass
http://www.sheetmusicplus.com/store/smp_detail.html?sku=HL.747033&cart=912014064...

The Singer's Musical Theatre Anthology - Volume 3 - Baritone/Bass
http://www.sheetmusicplus.com/store/smp_detail.html?sku=HL.740125&cart=912014064...

The Singer's Musical Theatre Anthology, Baritone/Bass, Volume 4
http://www.sheetmusicplus.com/store/smp_detail.html?cart=91201406412&item=671826...

The songs contained within are published in the same key as the original score.  The characters who sing them may have other numbers and ensembles in which they participate.  Again, the song must be suited to your temperament and personal preferences.  Otherwise, too much is left to chance.

For general purposes, consider these ballads and up-tempos:

"Do I Love You Because You're Beautiful?" – CINDERELLA
"All I Care About" –
"Bye Bye Baby" – GENTLEMEN PREFER BLONDES
"You Should Be Loved" – SIDE SHOW

I am a professional singing teacher and vocal coach in San Francisco.  To book an appointment, contact me through Craig's List – http://sfbay.craigslist.org/sfc/lss/892673120.html
I am also the fine arts critc for SanFranciscoSentinel.com.  All my articles and interviews provide a link to my personal e-mail.

Take a look at my You Tubes:

Lorena Feijóo - A Look at "Giselle" with Seán Martinfield
SAMSON & DELILAH – Meet Seán Martinfield
CA ACADEMY OF SCIENCES – A Preview Look with Seán Martinfield

Below are links to recent articles and reviews:

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http://www.sanfranciscosentinel.com/?p=17012

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Best regards,
Seán Martinfield

Acting in Plays, Singing

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Sean Martinfield

Expertise

I am a professional vocal coach in San Francisco. In addition to answers from a previous web site (Askme.com - where my "tag" was "VocalCoach") I have published over 2000 responses related to vocal training - particularly as it relates to Musical Theatre and Opera. I have 24 years of experience as Personal Trainer to singers and actors in the San Francisco Bay Area. I sang professionally for 20 years and know what it means to live the life of a musician. I can determine your voice category, i.e., Tenor, Baritone, Bass, Soprano, Mezzo-Soprano, Alto, Alto Belter, etc., and how to broaden and strengthen your range. Need an audition song for a Broadway Musical? I will give you suggestions that are appropriate to your vocal category and to requirements specified in the audition notice. I have also created a vocal methodology, "The Belter`s Method". It will enable those in Musical Theatre to practice more efficiently because it focuses on the demands of professional performers as well as to those auditioning for school and community productions, and as University and Conservatory performing arts majors. If what you want is a better voice and more control over your career moves and choices, contact me. Also, as the Editor of SanFranciscoSentinel.com, it is my privilege to review productions at the San Francisco Opera, Ballet and Symphony, as well as Broadway National Tours booked into San Francisco's Orpheum, Golden Gate and Curran Theatres. I also review works by A.C.T (the American Conservatory Theatre) and Magic Theatre. I cover select films, tributes and retrospects, and various international film festivals – particulary those booked into The City's opulent Castro Theatre – including the LGBT Frameline Festival, International Film Festival, Silent Film Festival, Jewish Film Festival, etc. For private vocal instruction, I can be contacted through SanFranciscoSentinel.com. Look under: Seán Martinfield, Sentinel Editor and Publisher.

Experience

As a vocal coach, I work primarily with singers and actors throughout the San Francisco Bay Area. My students range from absolute beginners to working professionals, from pre-schoolers to senior citizens. The vast majority of my clients come to me through recommendation. I know how to identify any singer's vocal category, i.e., soprano, tenor, alto, baritone, etc. I know how to muscle-up every singer's vocal range and to expand it beyond conventional definitions. I have developed a vocal methodology for those who want to know how to belt, THE BELTER'S METHOD. As a singer who spent half of his career doing Bel Canto, I know that classical or Italian methodologies do not work in Standard American music. Bel Canto cannot be "adapted" to meet the needs of contemporary American music, including the demands of the Musical Theatre. There are a number of major components to my work as a vocal coach. The first is to identify the client's vocal category and to strengthen and maximize the vocal range accordingly. Then it's about teaching a reliable vocal workout that will enable the client to gain better control of their musicianship. That includes scale work to expand the vocal range and to improve placement, breath control, and diction. Then we work on material for the audition portfolio, the immediate job or assignment, a recording session, etc. My task to is to better equip singers and actors who are hoping to or relying upon their performance skills and vocal endurance to maintain a career in the Performing Arts. My clients regularly appear in cabarets and musical productions throughout the San Francisco Bay Area. Some have worked in New York and gone on National Tours. For more information, Contact me at: Broadwaybelters@yahoo.com

Education/Credentials
San Francisco State University – BA in Theatre Arts; graduate work in Theatre, Philosophy, and Comparative Reiligion. Pacific School of Religion, Berkeley – Graduate work in Ethics

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