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Acting in Plays, Singing/Strengthening the upper range

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Expert: - 5/2/2010


Question
Hello,
I am a 16 year-old Leggiero Tenor who is mostly focused in Musical Theatreand, until quite recently, I have never understood my range, and thought it was extremely strange, and absolutely unique. Because I was unable to sing anything above and A-flat above middle C in my "full voice". I eventually discovered the upper "extension" of my voice, and have found the ability to sing all the way up to an E, and occasionally even an F in this extension. Now that I understand my voice more than I used to, I would like to pursue ways to make my range more seamless. Thusly, I was hoping you would be able to give me exercises that could help me firstly strengthen my "upper extension" to sound more like a typical full voice, somewhat akin to the belt that can be heard in Adam Pascals' rendition of "Pity the Child" from Chess the Musical. This is simply due to the musical theatre's demand for the "full-voice" sound, instead of the sound akin to a "falsetto" that can be heard from the afore-mentioned extension. Secondly, I have also been finding problems in the transition between the extension and my "regular" full voice, I find that when transitioning down from it, I tend to transition into my falsetto, and when attempting to transition up, I tend to be unable to, and simply just end up straining my voice. I don't know if you have any suggestions for either of my questions, but, thank you so much for your time, sorry for this being so long.
Sincerely,
Joel

PS. Sorry for using quotation marks so often, I've never had this problem before.

Answer
Hello, Joel –

Thank you for the question.

Joel, my friend, I appreciate the information. You are all over the map with your descriptions and musical vocabulary. Who deemed you a Tenor Leggiero?

You need to work with a professional vocal coach such as myself. The solutions you are seeking must happen in person. It would take hours to describe the kind of exercises you need to achieve reasonable results – especially for someone who is 16. It cannot happen through a bulletin board correspondence such as allexperts.com.

The typical range of a tenor leggiero is two octaves plus a major fifth, i.e., the C below Middle C to the F above High C. To achieve a seamless balance, you must have a reliable vocal workout that incorporates a variety of scales throughout your entire range. My job is to teach you HOW to do them and to correct your placement AS you do them.  Then you practice everyday exactly like we did at the lesson – including the material you want to learn – until our next appointment. The studies get increasingly complex.

Start running 8-tone scales everyday. Practice in increments of about 15 minutes. Take a break. Start again. Include scale work in your falsetto. Never learn or rehearse your material on a cold voice. Patience is everything.

Listen to the recording by tenor Juan Diego Florez, "Rossini Arias". Click on or paste this URL into your browser:
http://www.amazon.com/Juan-Diego-Florez-Rossini-Arias/dp/B00005UT5H/ref=sr_1_5?i...

I am a vocal coach to working singers in the San Francisco Bay Area.  When you want to book an appointment, contact me through Craig's List. This week’s connection is: http://sfbay.craigslist.org/sfc/lss/1721763819.html I am also the Editor and Publisher of SanFranciscoSentinel.com.  All my articles and interviews provide a link to my personal e-mail.

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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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