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Expert: - 5/24/2008


Question
Hi there,

I am 19 years old and I just finished my first year of college.  I became a Music Education major
for the second semester, so I had one semester of (very good) voice lessons (as a Baritone) and
before college I had only one year of voice lessons.  For voice type, my lessons in college are
making me a decent Baritone as far as operatic style goes with a range of about a low E or Eb to
an E or F on top (comfortably).  However, I can also make a really good bright tone (very similar
to Princeton from Avenue Q) and I can get to about a G.  However, I have tried to sing the
baritone voice in higher registers (some of the higher stuff from Jekyll & Hyde like "This is the
Moment") and I can hit a G usually, but I can't hit it well, and I can't hold on to anything higher
than an E very long at all.  The maximum range I've ever hit full voice is a low B to a high Ab,
but the Ab was not pretty at all, and the B was incredibly soft.

As for auditions, I am planning on trying out for either "Into the Woods" or "Godspell" in the Fall
at college.  I would much prefer "Into the Woods" and I really want to be Jack, but I don't know
if my voice fits the part well.  Also, I have done very little dancing (just 4 musicals in high
school and a very pathetic show choir for one year) and I know nothing about professional
dancing.  That would definitely be the negative of the three theatre qualities.  Any ideas for how
to improve this, at least a little, in the next few months?  And do you have any suggestions for
what part I should be and what songs I should sing?  I am working on singing higher and I
hope by then to at least have a high F and F# comfortably.

Answer
Hi, Jason –

Thank you for the question and all the information.

The role of "Jack" in Sondheim's INTO THE WOODS is intended for a tenor.  His range in "Giants in the sky" is from Middle C to 5th-line F#.  All my tenors exercise from at least Low A to High D, some go higher.

If the "bright tone" you are referring to is that annoying pinched nasal crap, then you are talking about a character voice not a legitimate voice.  "Jack" is most definitely a legitimate voice.  He's young, that's all.

What you might consider are either one of the "Prince" roles.  Depending on the preferences of the production team, they can be sung by a baritone or a tenor.

Based on your descriptions – including the variety of training you are receiving – two things are worth considering.  You may be working with someone who does not know how to develop your upper register.  It is also possible you have been mis-diagnosed in the vocal category.  You might very well be a bass-baritone.

My job is to identify the vocal categories of my clients and to train them accordingly.  All my bass-baritones exercise from at least Low E-flat to High G, some go higher.

I am a professional singing teacher and vocal coach in San Francisco.  If you are in the Bay Area, contact me through Craig's List – http://sfbay.craigslist.org/sfc/lss/685071004.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:
THE CHRONICLES OF NARNIA: PRINCE CASPIAN – Just say “NO!”
http://www.sanfranciscosentinel.com/?p=13041

IT’S MURDER, MARY! – A Killer World Premiere at The New Conservatory Theatre
http://www.sanfranciscosentinel.com/?p=13133

ERIK BATZ – A Conversation With “The Scarecrow” At The Mountain Play
http://www.sanfranciscosentinel.com/?p=12892

SAN FRANCISCO OPERA SCHEDULES AUDITIONS FOR THE BONESETTER’S DAUGHTER
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2820 SCOTT STREET – Spectacular 2008 San Francisco Decorator Showcase
http://www.sanfranciscosentinel.com/?p=12974

BLACK & WHITE BALL, 2008 – At Davies Symphony Hall, May 31st
http://www.sanfranciscosentinel.com/?p=12808

SAN FRANCISCO BALLET’S 2009 SEASON – Includes World Premiere of All-New Swan Lake by Helgi Tomasson
http://www.sanfranciscosentinel.com/?p=12715

A MIDSUMMER NIGHT’S DREAM – Now at The Curran Theatre
http://www.sanfranciscosentinel.com/?cat=10

A CONVERSATION WITH MAESTRO HELMUTH RILLING
http://www.sanfranciscosentinel.com/?p=12494

RICHARD C. BARKER – Named Chair of San Francisco Ballet’s Board of Trustees
http://www.sanfranciscosentinel.com/

SAN FRANCISCO CONCERT CHORALE PRESENTS – THE BACH EXPERIENCE
http://www.sanfranciscosentinel.com/?p=12305

ANTIQUE ROADSTERS RACE FROM NOB HILL – THE 2008 SAN FRANCISCO MILLE
http://www.sanfranciscosentinel.com/?p=12210

LEAVE HER TO HEAVEN – Restored Film Noir Classic at SF International Film Festival
http://www.sanfranciscosentinel.com/?p=12196

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

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

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

At the Asian Art Museum – DRAMA AND DESIRE
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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
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ANNIE LEIBOVITZ – On her show at the Legion of Honor
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LORENA FEIJÓO – A Conversation with Seán Martinfield
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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

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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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