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Acting in Plays, Singing/Identifying vocal fach on choir

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Expert: - 3/6/2009


Question
Hello! I have read about your experience, so i decided to ask you a question that is REALLY bothering me... I am a Church choir conductor. So the problem is with the female singers, there are about 10 of them, and their AGE ranges from 11 years old to about 38 years old. Now, *even though there are really young ones and older ones, ALL of their ranges are from a bout a G3 or A3 on the piano to about an A4 or A#4 and if they go any higher they flip dramatically in falsetto... Now, does this mean they are all altos? Because i have studied that Mezzos have their natural break at around E5 and sopranos at about F5 or even G5, but since none of them can go any higher than A#4, im thinking they are ALL altos, i know with training they can learn to go over their break by using head voice,(but i cannot give them that kind of training yet) but i know if they were sopranos they would be able to yell in their chest voice possibly higher than an E5 right? PLEASE TELL ME WHAT YOU THINK THEY MAY BE!  I am really worried about their health, i dont want them to strain! For the guys i am sure we are all baritones (we all break in falsetto at about F4 or G4 and sing as low as A2 or B2)  PLEASE TELL ME!!!

Answer
Hello, Luis –

Thank you for the question.

Based on my previous answers, you know that I know that conductors of church choirs are among the hardest working and most dedicated musicians in the whole business of the performing arts.  Each of them – and their congregation – are dependent on the dedicated few that agree to show up on time (and sober!) for rehearsals and all manner of performances every week of the year.

Throughout my professional singing career I maintained regular jobs as the primary cantor/soloist at a variety of churches.  All the choirs had mixtures of voices and levels of talent which were a constant challenge to the Director.  Yours is a doozy.

What you need is for me to come in and work with the singers to determine their true vocal category and range.  Until I actually hear what the individual singer is doing – even with the notes you describe – can I give absolute answers to your concerns.

No matter what you read about breaks, etc., the voice is not divided into separate hemispheres marked Chest & Head.  My job as a professional vocal coach is to enable the singer to have a seamless balance between their highest and lowest notes and to then apply that knowledge to the music at hand.  Again, it's all in relationship to their true vocal category.  My experience is that many un-trained choir-oriented altos turn out to be sopranos – and vice-versa.  The controlling factor is their true "Soloist" Voice – not how they soften and blend or "compromise" whatever vocal skills they have, along with personal fears, etc., in order to sing in a particular section and, thus, serve the needs of the community.  In other words, "who cares" as long as the presentation is satisfactory, you and the choir are pleased, and the material goes into the permanent repertoire.

But, for the Soloist – it's a different discussion.  Tenors do not present their material in keys suited for a baritone.  All my baritones sing to High A without a break, some go higher.  But that does not translate into them being mistaken for a Second Tenor.  And Sopranos don't yell in a "chest voice".  And on and on.

If you have any recorded material to send me or something I can access on-line, I will be happy to listen and give you some feedback.

In the meantime, the choir needs to warm-up at the beginning of every rehearsal and before every service.  That is the best protection you can offer all your singers, no matter their age.  Also, assuming your group really are a collection of true baritones and altos – then it's time to post a "Join Our Choir" notice on the church Bulletin Board and on your community page of Craig's List.

I am a professional singing teacher and vocal coach in San Francisco.  When you want to book an appointment, contact me through Craig's List – http://sfbay.craigslist.org/sfc/lss/1056375240.html
I am also the fine arts critc for SanFranciscoSentinel.com.  All my articles and interviews provide a link to my personal e-mail.

Take a look at my You Tubes:

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Sean Martinfield

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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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