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Acting in Plays, Singing/Higher notes, range, or greater vocal intensity - what makes a better song / impression?

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Expert: - 7/5/2008


Question
Hi,

I have been singing for about 3 years after a couple people told me I had a good voice when they overheard me singing along with the radio. I sing mostly modern country rock and classic rock. I went out and tried karaoke and got very positive and encouraging feedback. I am very passionate about it, and am trying to practice and learn as much as I can. I have discovered, within the past couple months, how much more powerful of a sound can be achieved, and how much greater of a range can be reached, when using resonance versus trying to force louder vocals and higher notes from the throat. I really can't believe how limited I was for so long! Anyway, I am trying to determine how to be as effective, and make as much of an impression with my singing as possible. So, my question revolves around what makes the most impact in singing, and to a successful singer's career. I would say I am a baritone with a good deal of range into the lower tenor territory. I can definitely sing in a higher key, but with less intensity. But, I am wondering if that is how some artists sing? Also, I notice that a lot of male artists are tenors, especially in the rock genre, but is that just a function of the fact that many male singers have a slightly higher voice when singing, or are they actually selected due to the fact that they have the ability to hit higher notes? That brings me to wonder why males with lower voices like Elvis or Sinatra are so popular; vocal intensity, range, etc? If I have a very wide range, but my higher notes aren't as high as a true tenor, is that a greater asset than having a much smaller range, but being able to hit higher notes?

Thanks in advance for tackling this multi-facetted question!

Tom

Answer
Hello, Tom –

Thank you for the question.

All my baritones exercise to a fully-voiced High A, some go higher.  A typical baritone's lowest note is generally Low A-flat.  My baritones sing to Low G, some go lower.  A bass-baritone sings to Low E.

Being "effective" means that your delivery is consistent – day after day (no matter what time), week after week, and year after year.  My Broadway singers are expected to deliver the same performance 8-shows-a-week.  Obviously, some days are better than others.  But there must be a median performance, i.e., one that deserves a paycheck and can be delivered no matter what.  If not, then the Understudy takes over.

You want the spotlight to yourself.  I so understand.  Whoever books you will expect the same performance they heard you do somewhere else or as it sounds on your demo.  You will be the first one to know if your vocals are better, about the same, or have deteriorated.

As a professional vocal coach my job is to correctly identify your vocal category, i.e., tenor, baritone, bass, etc., and to then teach a reliable vocal workout that will strengthen, expand, and maintain your vocal range.  Once you get through that workout, then you rehearse or learn your material.  Never practice your material on a cold voice.  If you do, then you invite all kinds of havoc.

Elvis Presley and Frank Sinatra are two of the greatest singers of the 20th Century.  Their recordings will endure through the 21st Century.  Sinatra pointed to Vic Damone as a great singer.  I totally agree.  What they have in common is a romantic sound and the ability to tell a love story that most folks can relate to.  And they did it LIVE – without all the correcting gimmicks of today's technology.  Simple.

A baritone's high notes are as thrilling as a tenor's high notes.  Each must maintain their Product or it atrophies.  It's the same discussion as for an athlete or a body builder or a high-fashion model.

My job is to teach you HOW.

I am a professional singing teacher and vocal coach in San Francisco.  If you are in the San Francisco Bay Area, you can contact me through Craig's List – http://sfbay.craigslist.org/sfc/lss/735495752.html — and at www.SanFranciscoSentinel.com.

Take a look at my You Tubes:
Lorena Feijóo - A Look at "Giselle" with Seán Martinfield
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SAMSON & DELILAH – Meet Seán Martinfield
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I am also the fine arts critc for the San Francisco Sentinel.  Below are some links to recent articles and reviews:

VERTIGO – AT THE LEGION OF HONOR, July 10th
http://www.sanfranciscosentinel.com/?p=14532

A CHORUS LINE – Returns to the Curran Theatre Tonight
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VIVA TO THE DIVAS! – SF Opera Summer Season Concludes This Weekend
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SILENT FILM FESTIVAL, 2008 – Opens Friday, July 11th at The Castro Theatre
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BREAKFAST WITH SCOT – Final Curtain on FRAMELINE 32
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TALENT COMPETITON – On-Line Reality for A CHORUS LINE
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SF INTERNATIONAL LGBT FILM FESTIVAL – Continues through Sunday, June 29th
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AUDITION NOTICE – Hillbarn Theatre – Saturday and Sunday, June 28th & 29th
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ARIODANTE – Cross-Dressing Goes Baroque – at SAN FRANCISCO OPERA
http://www.sanfranciscosentinel.com/?p=14127

WOMEN IMPRESSIONISTS – At San Francisco’s Legion of Honor
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TIMOTHY HORN – BITTER SUITE – A Sweet Tribute To Alma Spreckels
http://www.sanfranciscosentinel.com/?p=14049

‘TIS PITY SHE’S A WHORE – At A.C.T through July 6th
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60TH ANNIVERSARY CONCERT – San Francisco Boys Chorus celebrates this Sunday Night at the War Memorial Opera House
http://www.sanfranciscosentinel.com/?p=13747

FREE OPERA AT AT&T BALLPARK – Lucia di Lammermoor, June 20th
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CONTEMPORARY JEWISH MUSEUM – A Grand Opening!
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THE CHRONICLES OF NARNIA: PRINCE CASPIAN – Just say “NO!”
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ERIK BATZ – A Conversation With “The Scarecrow” At The Mountain Play
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SAN FRANCISCO BALLET’S 2009 SEASON – Includes World Premiere of All-New Swan Lake by Helgi Tomasson
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A CONVERSATION WITH MAESTRO HELMUTH RILLING
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LEAVE HER TO HEAVEN – Restored Film Noir Classic at SF International Film Festival
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HIGH SCHOOL MUSICAL – At the Orpheum, San Francisco
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CHERYL BURKE DANCE – Dancing with Gavin and Jennifer
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DALE CHIHULY – Lighting-Up At The de Young
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MELISSA MANCHESTER – A Conversation with Seán Martinfield
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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
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ANITA COCKTAIL and LEANNE BORGHESI – A 3-Way Dialogue
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NORMA SHEARER in “MARIE ANTOINETTE” – At the Legion of Honor
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JENNIFER SIEBEL – A Conversation with Seán Martinfield
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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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