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Acting in Plays, Singing/classically/musical theatre(belting) trained!

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Expert: - 11/30/2008


Question
Dear Sean,

I am 16 years old and an avid vocalist. I began training vocally at the age of eight classically, but I've always had a strong interest in musical theatre! Until last year, I always did musical theatre as kind of a side hobby, but now, it has pretty much taken over my life. I attended a camp last summer where I began the beginning of my belting training, and have continued since with a professor at my town's university. (A university known for it's belters)The problem I'm having now is switching between belting and classical voice. In choir, I of course need to have the airy and blended voice style, and in musical theatre class and my voice lessons I have to belt, call, have twang, and keep the noise in the front of my nasal cavities. In my musical theatre voice lessons, I've learned how to properly open the false folds, but in choir and other such classical singing situations, I find that my false folds are squeezed shut, and my voice tiers more quickly. Can you help me with some techniques that I can use when I'm bouncing between classical and belting tones on an hour to hour bases and how I can make sure they are two totally different voice styles?

Thanks so much for your help!

Answer
Hey, Dylan –

Thank you for the question.

Dylan, my friend – you are all over the map with your descriptions and vocabulary.  Sixteen is way too young for you to be so confounded by the separate demands of choirs and ensembles and everything related to your development as a Soloist in the pop world, musical theatre, and every variety of Classical literature including opera, oratorio, arts songs, symphonic material, etc.  Having separate advisors for all of the above is obviously not helping you.

The first clue?  You never mention your vocal category.  No matter what genre of music you hope to succeed in, professional training begins with knowing your vocal category, i.e., tenor, baritone, bass, etc.  And if you are keeping your "noise" in front of your "nasal cavities" then you are producing that irritating nasal crap that sounds like the Little Mermaid.  Such production methods will not only ruin the fullness of your upper register – again, according to your vocal category – you will spend a ton of money learning how to correct all that nonsense.

Your "belting training" – ?  I have no idea what you mean by that.  All my clients are able to distinguish the difference between "belting" and "forte" (loud).  The discussion starts with the material you need to present  at a specific audition or competition.

Can you link me to anything you may have recorded and posted on-line?  If so, I will be happy to listen to it and give you some feedback.

I am a professional singing teacher and vocal coach in San Francisco.  When you can come to the Bay Area and want to book an appointment, contact me through Craig's List – http://sfbay.craigslist.org/sfc/lss/937687538.html
I am also the fine arts critc for SanFranciscoSentinel.com.  All my articles and interviews provide a link to my personal e-mail.

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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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