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Acting in Plays, Singing/Musical theatre vocals help!

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Expert: - 4/26/2009


Question
Hi there

I'm almost 15, and an overly keen musical theatre fanatic, my obsession being Wicked the musical. I have performed in many shows, my latest being Annie where I performed as Miss Hannigan using belt for a number of my songs. I felt extremely strong belting, that I owned the stage, however as I increased pitch I had to use my head voice which was such a contrast in strength. I so want to be part of a West End show one day, and although I have singing lessons where I work on my head voice, I'm failing to notice a significant change in skill. Please help me as I'm desperate to improve it. My range isn't all that good - occasionally an E below middle C but more likely F upto a belting E flat, occasionally E. I would also love to improve my belting technique and be able to reach bigger, higher notes - I have done a small amount of belting with my teacher however she focuses on using my head voice. I don't feel any strain when I belt, and it never hurts so I'm pretty sure I am doing it correctly. My sister is brilliant at belting and I would love to be as good as her at least although she's a natural! In head voice I can reach the B flat 2 above middle C.
Please help! Thanks for your time,
Asha

Answer
Hello, Asha –

Thank you for the question.

The voice is not divided into two separate hemispheres marked "head voice" and "chest voice".  Until you accept that, you will always be attempting to fix a problem that does not exist.  If your teacher cannot give you what you want or explain to you WHY – then close your checkbook and leave.  Simple.

There are far better things and shows to be obsessed with than WICKED.  Speaking in treble clef, belting the 4th-space E and 5th-line F is nothing if you know what you're doing.  My job as a professional vocal coach is to provide you with a vocal workout that will balance and strengthen your entire range.  All my mezzo-sopranos can belt to 5th-line F, some go higher.  But all of them can sing two-octave scales ranging from Low E to High C, i.e., two octaves plus an augmented fifth, without any noticeable shifts or breaks.  You need to know how to do the same.  It's all about placement.

You may be in another vocal category, i.e., soprano, mezzo-soprano, etc, than your sister.  That's the only thing that is "natural".  The rest is about choosing repertoire that works for your category and range and suits your "type".  Beyond that, it's about becoming the best musician you know.

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/1155066319.html
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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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