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Acting in Plays, Singing/Vocal Range and Consistency

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Expert: - 4/24/2008


Question
 I am 19 and in college with a voice proficiency in music ministries. I travel with an ensemble tour group in between semesters, singing and ministering at different churches, and each semester the songs get higher. The Lord has blessed so far and I cannot wait until this summer tour. It is a mixed group (guys and girls), therefore I am singing 2nd Tenor. During this semester I have become comfortable with singing higher parts (up to around F or even G sometimes), but lately it seems like my voice went down a little and it has become harder to hit that. I wonder if I am over singing or I'm not practicing to keep it consistent enough. I know that this is not ridiculously high or anything, but would like to know the true technique in increasing your vocal range. I would also like to know how to keep the consistency on a day to day basis with higher notes. The college I attend teaches great technique, but I was told if I wanted to increase my range it is something that I would have to accomplish on my own. I would like to know proper technique on training myself. I searched for the answer on some past answers you have given, but could not find it. Thank you for your time, and have a wonderful day.

Answer
Hello, Jeremy –

Thank you for a great letter.  I appreciate all the information.

Throughout my entire career as a professional singer a great portion of my regular income was as a church soloist.  That means every weekend, every Holy Day, every Feast Day, Christmas Mass at midnight, etc.  It also included being hired privately to sing at weddings and early morning funerals.  I'm sure you will appreciate the spirit of my saying that I made more money from the "Ave Maria" and "Danny Boy" than any other material I ever performed.  Because?  I could knock out those high notes at any hour of the day, any day of the week.

You cannot become a properly trained musician on your own.  Nor is there enough room on this Internet bulletin board to cover all the ramifications of being a particular voice-type, i.e., tenor, baritone, etc.  In any event, as a professional vocal coach and singing teacher I have to hear you in order to properly identify your vocal category and then assess what's working right now and what needs to change.

I was a bit younger than you when I went to my first vocal coach.  I had heard this person's clients in performance and realized they were demonstrating exactly what I needed to learn.  I was a Theatre Arts major at the time, a trained pianist, an experienced actor, and well-versed in a wide range of Classical, Sacred, and popular repertoire including Broadway and Hollywood.  In other words, I brought a great deal to my first lesson.  Within six months I made my concert debut.  The learning process never stopped.

All my tenors exercise to at least a fully-voiced and balanced High C, most go higher.  All my baritones exercise to at least a fully-voiced and balanced High A-flat, most go higher.  Obviously, both voice types have to deal with High F, F#, and G.  Side by side, singing the same notes, the trained ear can tell who is who.

You are mistaken in believing that your college teaches "great technique" while simultaneously advising that you will have to increase your range on your own.  End of discussion.

Last night I attended the San Francisco Symphony's production of Haydn's "Mass In Time of War".  It was superb.  Each of the singers and every member of the orchestra is highly trained and holds a degree from a respected university or musical conservatory.  Here in San Francisco we are very fortunate to have a world class conservatory.  The professors in the vocal department know how to train every vocal category and to enable the students to compete in the Classical world – which includes a huge variety of sacred literature.

Ultimately, your concerns have brought you to me.  If what you want to do is to brighten the world with the sound of your voice, then you will do everything you can to get into the best conservatory.  That includes applying for scholarship money.  In order to achieve that – you are going to have to audition with your best material and with the vocal chops you now possess.

I am a professional singing teacher and vocal coach in San Francisco.  When you are in the Bay Area, contact me through Craig's List –
http://sfbay.craigslist.org/sfc/lss/639441046.html

Take a look at my You Tubes:
Lorena Feijóo - A Look at "Giselle" with Seán Martinfield
http://www.youtube.com/watch?v=33-a6Oa-0j4

SAMSON & DELILAH – Meet Seán Martinfield
http://www.youtube.com/results?search_query=Sean+Martinfield&search=Search

I am also the fine arts critc for the San Francisco Sentinel.  Below are some links to recent articles and reviews:

BERNARD LABADIE & HAYDN – This Week At the San Francisco Symphony
http://www.sanfranciscosentinel.com/?cat=10

VETERAN SERVICE PROVIDER PATTI CARLISE WED AT EPICENTER OF SAN FRANCISCO’S HEART
http://www.sanfranciscosentinel.com/?p=12044

HIGH SCHOOL MUSICAL – At the Orpheum, San Francisco
http://www.sanfranciscosentinel.com/?p=11906

TANGO EVOLUTION – At the Palace of Fine Arts Theater, April 19th – 22nd
http://www.sanfranciscosentinel.com/?p=11970

SAN FRANCISCO SYMPHONY – Clarinetist Carey Bell Featured in Mozart’s Concerto in A major, April 16th – 18th
http://www.sanfranciscosentinel.com/?p=11911

CHERYL BURKE DANCE – Dancing with Gavin and Jennifer
http://www.sanfranciscosentinel.com/?p=11873

CHERYL BURKE RESCUES THE METRONOME BALLROOM
http://www.sanfranciscosentinel.com/?p=11150

SAN FRANCISCO INTERNATIONAL FILM FESTIVAL, 2008
http://www.sanfranciscosentinel.com/?p=11727

SAN FRANCISCO BALLET – Program 6 – An International Salute
http://www.sanfranciscosentinel.com/?p=11592

DALE CHIHULY – Lighting-Up At The de Young
http://www.sanfranciscosentinel.com/?p=11432

THE GOVERNMENT INSPECTOR – Inspecting A.C.T. until May 20th
http://www.sanfranciscosentinel.com/?cat=10

At the Asian Art Museum – DRAMA AND DESIRE
http://www.sanfranciscosentinel.com/?cat=10

SAN FRANCISCO SYMPHONY – 14th Season with Michael Tilson Thomas
http://www.sanfranciscosentinel.com/?p=11074

MELISSA MANCHESTER – A Conversation with Seán Martinfield
http://www.sanfranciscosentinel.com/?p=10419

SAN FRANCISCO OPERA – ON SCREEN AT THE CASTRO THEATRE
http://www.sanfranciscosentinel.com/?p=10898

ANNIE LEIBOVITZ – On her show at the Legion of Honor
http://www.sanfranciscosentinel.com/?p=10764

LORENA FEIJÓO – A Conversation with Seán Martinfield
http://www.sanfranciscosentinel.com/index.php?s=Lorena

SWEENEY TODD – PRIME CUTS FROM DIRECTOR TIM BURTON
http://www.sanfranciscosentinel.com/?p=8434

ANITA COCKTAIL and LEANNE BORGHESI – A 3-Way Dialogue
http://www.sanfranciscosentinel.com/?p=8007

NORMA SHEARER in “MARIE ANTOINETTE” – At the Legion of Honor
http://www.sanfranciscosentinel.com/?p=8783

JENNIFER SIEBEL – A Conversation with Seán Martinfield
http://www.sanfranciscosentinel.com/?p=6361

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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