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Acting in Plays, Singing/Too many sing the song and ruin it?
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Question
Normally, I think the fact that a song is covered by many singers is the sign that the song is good and popular.
However, can it be that the more people sing it, the more you feel that the song is worse? Or in another scenario, later singers, no matter how good they are, seem to sing the song worse than their predecessors.
Some examples are You raise me up, or Fly me to the moon.
Pls let me know if you agree with my premise and explain more.
Hello, Adrian –
Thank you for the question. It's not one that has an easy answer or can be placed into an either/or framework.
It is true that many singers believe their career will be advanced by singing the signature tunes of famous artists – perhaps in the same manner and with the same arrangement. For example, in cabaret or club venues, if a relatively unknown performer can knock-out a rendition of a block-buster song associated with any number of stellar performers, i.e., Angela Lansbury and Patti LuPone in SWEENEY TODD, or the latest from Lady Gaga, etc., then the (informed) audience has an immediate understanding of that performer's capabilities and potentials. Obviously, if the presentation is sub-par, everyone will notice – even if the song or the associated artist is not on the radar of any listener present.
It is also true that many artists with a huge number of hits are not on everyone's List of Favorites. I am not Josh Groban's biggest fan. I don't need to sit through another rendition of "You Raise Me Up" by him or anybody. But when a client wants or needs to prepare that song for a particular occasion, my job as a professional vocal coach is to assist them in bringing the song to the level that the composer intended and to "warn" the client about the potential difficulties and criticisms that might come their way because of its familiarity. I know that most trained singers – given the best accompaniment and the right performing circumstances – can create at least the same effect as Mr. Groban, certainly better and with more personality and substance. Guaranteed – this weekend will see thousands of weddings across the country and around the world where this song as well as Frank Sinatra Favorites will be on the musicians' list.
What if YOU were hired or assigned to sing a hit song associated with one or a number of major performers? What would you have to do, how much extra preparation would you need to offset your own theory and, thus, win the support and approval of your audience?
Take your idea to another extreme – the world of Grand Opera. There always has been and always will be yet another singer who meets the demands of the composer and those of the opera company, and who – along with a world-class voice – has a set of competitive variables, i.e., a glamorous image, great acting chops, interviews well on Letterman, makes guest appearances on Sesame Street, etc., that not only measures-up to the legends of the past, but inspires a whole new generation of listeners and subscribers.
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. 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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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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