AboutSean 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 Fine Arts Critic for 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 both the San Francisco International and Silent Film Festivals. For private vocal instruction, I can be contacted through craigslist.com. Look under Musicians, then keyword: Martinfield.
Experience Distinctive celebrity voices and how they are used and promoted by the Entertainment Industry have always fascinated me. Drawing from all eras of film and animation, television, radio, Broadway plays and musicals, opera and a few politicians ? a huge bounty of actors and singers have had a profound effect upon my life, influencing all the choices I made with respect to my education and my dual careers as a professional singer and vocal coach. I am curious about what is promoted and, consequently, the competitive aspects of the Performing Arts.
I am a Theatre Arts Graduate from San Francisco State University. During the years of my attendance, the school enjoyed the reputation for having the best Theatre Department on the West Coast. My academic training equipped me as an actor, enabling me to prepare for professional auditions and to compete successfully. I learned how to take direction and to apply my skills during the rehearsal process. Along the way I learned to identify my assets as a performer, to market my particular abilities and to find the audiences interested in my particular product.
During my freshman year, I also began studying opera. For the next eight years, I trained as a baritone, learning the classical vocal methodology known as "Bel Canto" with well-respected coaches including Mr. James Schwabacher, then head of the San Francisco Opera's Marla Training Program. Because mastering the technique of Bel Canto is absolutely dependent upon its application to Italian opera and, consequently, perfect pronunciation of the language, I studied Italian as well as French and German with private coaches. I have performed the roles of ?Guglielmo" (COSI FAN TUTTE), "Marcello" (LA BOHEME), "Valentin" (FAUST), "Enrico" (LUCIA DI LAMMERMOOR), "Dr. Miracle", (THE TALES OF HOFFMANN), "Top" (THE TENDER LAND), " Mr. Gedge, the Vicar" (ALBERT HERRING) and "Dr. Caius" (THE MERRY WIVES OF WINDSOR). During these ten years, I also appeared in many classical recitals singing the standard classical Baritone repertoire. It was Mr. Schwabacher's training that expanded my upper range, turning me into a working tenor. My last appearances as a classical tenor were with conductor and pianist Robin Kay, performing Schubert's DIE SCHÖNE MULLERIN.
I then re-trained my voice, dropped the Bel Canto methodology, and went on to sustain another 10 years doing standard American repertoire including Broadway, Jazz, Blues and Standards. Throughout this period I appeared regularly on the San Francisco cabaret circuit and was a featured soloist with Bay Area bands, orchestras and choruses. I continued producing my own solo concerts, the last being at the New Conservatory Theatre.
As a vocal coach, I work primarily with singers and actors throughout the San Francisco Bay Area. My clientele ranges from absolute beginners to working professionals, from pre-schoolers to retired Senior Citizens. The vast majority of them 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 for certain 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 two major components to my job. The first is to teach basic musical skills such as reading music, counting, breathing techniques, development and expansion of the vocal range, phonetics and diction ? specifically as it applies to Standard American English. The second is about presentation ? that is, everything involved with the client's audition and/or actual performance. In short, for any person relying upon their vocal endurance and performance skills to earn a living, my job is to enable them to compete for a job and, when hired, to maintain that job.
Over the years my clients have appeared in all of the available Broadway musicals produced in virtually every theater throughout the Bay Area. Some have worked in New York and gone on National Tours. Most recently, my clients have been praised for their work in AIDA and WICKED.
So, if you want to prepare for "American Idol" or the Broadway stage, contact me through http://www.geocities.com/broadwaybelters
Expert: Sean Martinfield Date: 5/9/2008 Subject: Hoarseness/Laryngitis?
Question Hello,
I'm not a trained singer and don't have any extensive background in vocals. Music has been is in my family blood, and I DO have extensive training in piano/keyboards and play many other instruments.
I began "actually" singing (not in the car or quietly at home) about 4-5 years ago. Have had little training (can't afford any now for a while sadly), but I developed my voice greatly over the past 4 years and became the lead vocalist in my group after I stopped being even a little shy and really gave it my all.
I have had what I believe is called hoarseness (possibly from laryngitis) for what seems to be an eternity! (but more likely for about 2 weeks, give or take a few days or so.) it's worse in the morning, and gets better throughout the day, but we are recording vocals for the new album and I refuse to go sing because I don't want to have a terrible album.
I have been very busy (ex. P-Funk afterparty with another band till 5am) and not had very healing conditions. But I've tried to take care of myself and my voice, and am very worried my voice might never go back to the way it was. included in these unhealthy environments is a scenario where I sanded (with a flooring company) a wood floor without a mask for a little while before the guy who was supposed to get them actually got them.
I just moved, don't have enough money to go to any sort of professionals, and am very distraught. Especially because most websites and such say that if it is chronic for 2 weeks or more then it could be a node or something serious.
Any advice? on...uuuummm... anything I just said?
is it normal to have longer healing periods?
I also avoid going to doctors and getting antibiotics for small petty things, so I refuse to go get drugged for something like a minor URI. but if there is danger of my voice never healing I might have to consider it.
thanks,
Jamiel
Answer Hey, Jamiel –
Thank you for the question.
I am not in the position to give either medical or pharmaceutical advice – especially without hearing you. What I pick up from you is that nobody can tell you anything.
Nevertheless, while I have your attention – as a professional singer and vocal coach I know that until you find out exactly what is going on with your vocal cords from an ENT (ear-nose-throat specialist) you will not know exactly what is going on with your vocal cords. After you find out – and let's both hope it's not nodes – then you have to get serious about getting serious training.
What you lack is a reliable vocal work-out. You don't know how to exercise your voice. All you have done thus far is rely on your youthful enthusiasm and musical savvy to create the "sound" of a lead vocalist. Now you're in a position to produce the demo that is going to get you and your band more work. And now your voice has quit on you.
If by chance you experience some temporary relief – after some extended rehearsals – your vocal trauma will return. Count on it.
The only way you will get your performance chops back is to learn how to exercise your voice. As with any professional instrumentalist soloing with any orchestra in the world right now – it all starts with scales. You learn how to play your instrument through a complex variety of scales. You heal your voice from all the wear and tear of rehearsals and performances through the same complex variety of scales. Simple.
When you finally learn how to do that, both you and your band and anyone who hires you will know that you can deliver the goods any night of the week, any week of the year, year after year.
If you can't– then all your band has to do is find another Lead Singer who can. Simple.
