Expert: Sean Martinfield - 1/30/2011

Question
Three months ago, I had a fantastic voice. Four octave(ish), perfect pitch, no problems sustaining notes, and natural vocal talent. However, four months ago, I began testosterone, and have since been undergoing transition from female to male.

In these last few months, my voice has been changing. Normally, this is part of the pleasure. However, as might be guessed, this had an extreme impact on my voice. It is cracking badly, I am unable to find its register, and perhaps the most devastating to me is that I am completely unable to sing. I still have perfect pitch, and can tell that no note I come out with is steady, on tune, and most of them are cracking.

Thus, a couple questions here:

A) Have you ever dealt with the gender spectrum in the area of vocal training? If not, have you ever dealt with pubescent boys who are going through extreme voice changes? What would your suggestions in this area be for them on time before they worry?

B) Do you have any suggestions at all for how I can at least find my register now that my voice is changing, and work on getting at least some semblance of a singing voice back? it is not something I make money on, but it *is* something that I treasured.

Answer
Hello, Trey –

Great question. Thank you.

I do have experience working with the gender spectrum and vocal changes in adolescent boys. I also know how testosterone injections effect older men's voices.

What I know as a professional singer and vocal coach is that accessing four octaves is not much proof of anything. Many of my clients work in musical theatre. As with opera, roles are written in specific keys that will flatter the character's vocal category. A great example comes from the musical CAMELOT. The role of the romantic hero, "Lancelot", is written for a baritone – and is at its best when sung by a dramatic baritone or a bass-baritone with a strong upper register. The most important aspect of my job is identifying a client's true vocal category, i.e., soprano, mezzo-soprano, tenor, bass, etc. Once that is determined, then the training begins. Then it's about building repertoire with which to compete. Again, in both opera and musical theatre there are a number of Absolutes that a professional singer must know absolutely. The first thing to know is their vocal category and the range that can be confidently exhibited in public performance – whether in front of a Producer or the local critics. It's scary.

But for you and for now and surely until you feel that the timbre of your voice (the way it sounds) has more or less settled – the very best thing I can suggest is lots and lots of humming. Humming is very soothing – especially to the spirit. You don't need to hum something from an Yma Sumac recording. Tony Bennett would probably suggest "It Had To Be You". In other words, keep it simple. Be diligent and patient.

The other piece of advice appeals to your Artist Self. The Artists who can pay their rent and keep food on the table by doing their Art – have all incorporated and adapted to change, sometimes drastic, of some sort and duration. Whatever the transition – you must keep your musicianship skills up to par. And you don't have to sing to do that.

All that stuff you used to sing?
Put it away. You can always drag it out later.
It's time to learn something new.

I am a vocal coach to working singers in the San Francisco Bay Area. I'm also the Editor and Publisher of SanFranciscoSentinel.com All my articles and interviews provide a link to my personal e-mail.
Below are links to my articles and youtubes on San Francisco's entertainment and cultural scene:

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GISELLE – Opens SF Ballet's 78th Season, 1/29/11
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NADJA SALERNO-SONNENBERG – and New Century Chamber Orchestra Announce February 2011 Tour
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LANG LANG – Tonight At Davies Symphony Hall
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VOICES OF MUSIC – In Concert, “Concerto Barocco”, January 28th–30th
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AVNER DORMAN, Composer – SF Symphony Presents World Premiere of “Uriah: The Man the King Wanted Dead”
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LORRAINE HUNT LIEBERSON – Featured Artist On Philharmonia Baroque's New Recording Label
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CAMERON CARPENTER – Organist signs with CAMI Music and Konzertdirektion Schmid
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THE ELIXIR OF LOVE FOR FAMILIES (The Movie) – Free Screenings At The Herbst
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BEETHOVEN – A Two-Week Gig At San Francisco Symphony
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ASIAN ART MUSEUM – Proposed financial agreement provides long term stable financing
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AIN’T MISBEHAVIN’ – Yoshi’s SF presents Tony Award-winning Broadway musical
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2ND ANNUAL GERMAN GEMS – Comes to the Castro Theatre
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PIANIST HÉLÈNE GRIMAUD – This Week with the SF Symphony
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FILM NOIR FESTIVAL – At the Castro Theatre, 1/21–30
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THE PALACE OF FINE ARTS – Opening Celebration, January 14th
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OF THE EARTH – New Year’s Eve with the Shotgun Players
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THIS WEEK ON STAGE – Leanne Borghesi, Tom Orr, Teatro ZinZanni, New Year’s Eve Masquerade Ball with SF Symphony
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WOMEN ON THE WAY FESTIVAL – “The Dark Season”
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JENNIFER EWING: Artist-in-Residence, at the de Young Museum
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GISELLE – Opens SF Ballet’s 78th Season
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A Conversation with Elza van den Heever
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Greg Weber – Appointed Director of Production by SF Opera
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A.C.T.’S RENÉ AUGESEN – to Participate in Lunt-Fontanne Fellowship Program
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HEART OF A SOLDIER – SF Opera Commissions New Work
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SF SYMPHONY – Announces 2011/12 Centennial Celebration
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CLUB FOOT ORCHESTRA – A Conversation with Richard Marriot
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SAN FRANCISCO OPERA – Broadcasts Return to KQED
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JULIAN COX – Appointed Chief Curator of the de Young Museum and Founding Curator of Photography
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YOUNG FRANKENSTEIN – "Puttin' On The Ritz" At the Golden Gate Theatre
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FROM BEGINNING TO END – At the Castro Theatre, FRAMELINE34
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DEBORAH VOIGT – A Captivating "Fanciulla del West"
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SABINA ALLEMANN – Former SF Ballet Ballerina Returns In A.C.T.'s "The Tosca Project"
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CD/DVD Release: CAMERON LIVE! – Organist Cameron Carpenter
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THE RUFFATTI ORGAN & CAMERON CARPENTER at DAVIES HALL
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JEANETTE MacDONALD – Hollywood Diva Remembered at the War Memorial Opera House
http://www.sanfranciscosentinel.com/?p=75637

IN THE HEIGHTS – Hits the heights in San Francisco
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AMANDA McBROOM – A rose for new CD, "CHANSON"
http://www.sanfranciscosentinel.com/?p=68879

CAMERON CARPENTER – Stellar Organist Returns to San Francisco
http://www.sanfranciscosentinel.com/?p=68311

HANDEL'S "ORLANDO" – An Interview with Conductor Nicholas McGagen
http://www.sanfranciscosentinel.com/?p=67774

WAKING SLEEPING BEAUTY – An Interview with Director Don Hahn and Producer Peter Schneider
http://www.sanfranciscosentinel.com/?p=66140

CAMERON CARPENTER – At Davies Symphony Hall
http://www.sanfranciscosentinel.com/?p=64126

PEARLS OVER SHANGHAI – An Interview with Russell Blackwood
http://www.sanfranciscosentinel.com/?p=63625

PIANIST MISHA DICHTER – A Conversation
http://www.sanfranciscosentinel.com/?p=59695

ZUILL BAILEY – A Conversation
http://www.sanfranciscosentinel.com/?p=58241

DAVID PERRY – On the “Dos and Don’ts of Social Media”
http://www.sanfranciscosentinel.com/?p=56487

NATHAN GUNN – Sings Schubert's Die Schöne Müllerin
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CAMINOS FLAMENCOS – A Conversation with Yaelisa
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A CONVERSATION WITH LUCIE ARNAZ – This Week At The Rrazz Room
http://www.sanfranciscosentinel.com/?p=51605

ON THE ORGAN – At the Legion of Honor
http://www.sanfranciscosentinel.com/?p=49615

JANE MONHEIT – This Sunday At The Empire Ballroom
http://www.sanfranciscosentinel.com/?p=48083

NORMA SHEARER – Hollywood Dreams Made Real
http://www.sanfranciscosentinel.com/?p=38082

DIANE BAKER – Celebrating the 50th Anniversary of THE DIARY OF ANNE FRANK
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CAMERON CARPENTER – An Interview with Seán Martinfield
http://www.sanfranciscosentinel.com/?p=24462

AT LAST! – ANN HAMPTON CALLAWAY – An Interview with Seán Martinfield
http://www.sanfranciscosentinel.com/?p=27122

A Conversation with Ruben Martin Cintas, Principal Dancer with SF Ballet
http://www.sanfranciscosentinel.com/?p=22107

Best regards,
Seán Martinfield
http://www.sanfranciscosentinel.com/?cat=65