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Acting in Plays, Singing/Upper register
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Question
Hi, I am a 13 year old girl, going into high school next year. I have taken a
few classical voice lessons in the past, but after a whie I stopped, becuase we
just didn't have the time or money. I can hit a high c on a good day, but never
higher. I can belt up to a high F. I want to be able to sing well, so that I may one
day be on broadway (I know it sounds rediculous).
Here's the thing. My lower register is quite strong, in my opinion and
doesn't need any work. But my upper register is weak, and lacks volume. it
doesn't come to me very easily, so I often resort to belting. I can't always resort
to belting though, for instance in songs that require singing softly. It is my
ultimate goal to make it hard for people to distinguish my upper register from
my lower register (because they sound so alike), just the way people on
broadway do. I feel that my upper register has too much air and too little sound
in it, but I can fix that on my own when I try very hard. It's just that, I have no
idea how to make my upper register sound loud and pure.
Thank you so much for your help, it means a lot!
-Emma
Hello, Emma –
Thank you for a very well expressed question.
My job as a professional vocal coach is to determine your correct vocal category. Once that is established, then the training begins.
From your description and personal experience, you may prove to be a standard mezzo-soprano with a strong belt. The basic range for that category is a two-octave stretch between Low A and High A. All my mezzo-sopranos sing between at least Low F to High C. Through their vocal workout they are able to demonstrate that clear balance you are talking about – without any breaks or noticeable shifts.
Don't conflate belting with loud (or "forte"). Everyone must be able to demonstrate an increase in volume between very soft (pp) and loud (f). Belting happens every now and then throughout the course of a song.
Ultimately, your true vocal category is proven over a period of time and through lots of public performances of the material written for it – including auditions.
The advantage of working with someone such as myself is that you will learn how to sustain your vocal chops come those opportunities where you will have extensive rehearsals and perhaps perform your role 8-shows-a-week.
If you have any of your material available on-line, send me the link and I will be happy to give your some feedback.
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/1166603154.html
I am also the Editor and Publisher of SanFranciscoSentinel.com. All my articles and interviews about the performing arts provide a link to my personal e-mail.
Take a look at my You Tubes:
Lorena Feijóo - A Look at "Giselle" with Seán Martinfield
SAMSON & DELILAH – Meet Seán Martinfield
CA ACADEMY OF SCIENCES – A Preview Look with Seán Martinfield
Below are links to my recent interviews and articles about what's happening on San Francisco's cultural scene:
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Best regards,
Seán Martinfield
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Answers by Expert:
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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