Acting in Plays, Singing/Struggling to learn

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Expert: - 1/25/2012


Question
I have been learning from your very informative answers! Now, I'd like to ask your advice about my situation.

I have begun to cantor at my Catholic church. The idea that I could sing at a funerals & weddings has been brought up.

People seem puzzled when I say I would like to take lessons, so I guess I sound all right. The music at church all seems a bit high for me, C above middle C is where the trouble starts. I can get the notes, cantoring lasts only a few minutes, but I worry about taking on more, especially since my throat sometimes hurts like it's on fire, more often in practice than performance. My lowest comfortable note is an E or D below middle C.

I'm also afraid to harm my voice by singing without some education.

When I sang in a show this Christmas, I sought out lower songs such as Karen Carpenter's "Merry Christmas, Darling" and moved "Twas in the Moon of Wintertime" down. What a difference to sing the words without a half-thought for some upcoming high note. I sang the latter song with no accompaniment because I did not know how to find sheet music in a key that is good for me. It went fine.

But I live in a rural area and cannot find a voice teacher. Believe me, I have spent years searching. People seem content to sing as they sing or they come here with training and are not interested in teaching. My goal is to sing popular and Catholic church music in an unaffected style with all the notes that are honestly in my range. My pleasure is in interpreting and presenting the words of the songs.

Any advice would be greatly appreciated. I feel so lucky to be able to submit a question. Just writing this piece has clarified my situation for me. Thank you.

P.S. I'm trying to learn to speak treble clef and have failed to find a webpage or book that teaches it -- what are 3rd-space C# and 4th-space E-flat, for instance?

Answer
Hi, Brenda –

Thank you for the question.

I often use the position of a note as it appears in treble clef – where most popular vocal sheet music is "spelled" – to describe the vocal range. Thus, a 3rd-space C is the same note described as "C5". This is the note you are referring to as your trouble spot.

I sang in Catholic churches for years. Not all of them offer the same variety of opportunities as I enjoyed, including a great rapport with the Music Director who was also the organist. Solos at every mass, wedding, and funeral, etc., were played in my key. My tenor vocal range works with the Hymnal and for all the special occasion material, like "Danny Boy" on Saint Patrick's Day and "O Holy Night" on Christmas Eve. Thus, since your natural range is that of a low alto, I understand your concerns about taking on more responsibilities – possibly as the paid Cantor – and not being sure that your vocal technique is up to the challenge. And a vocal coach such as myself is nowhere nearby to help you.

Again, it's about the Job Description. What does the Director want? Whoever is in charge already knows your range and vocal limitations. If it's about occasional solo work and they want you, and if you really want everybody out there in the congregation to be nurtured by your music and be enthusiastic about having you back at some future point, then whatever you sing must be in the key that works for and flatters the beauty of YOUR voice. If that's a problem, tell them you'll take a raincheck. No professional singer performs in a key that is inappropriate to their range and abilities and will only make everyone uncomfortable throughout the performance. Why would you do that?  But, if they need a higher voice and would settle for a tenor, I'm available.

If what you want to do with your life is to make a living as a professional singer, these are the kinds of issues that will never go away. Depending on your age and circumstances, of course – your talents may compel you beyond the horizons of West Virginia.

As the music critic for SanFranciscoSentinel.com and Examiner.com I do a lot of interviews with world class singers. They all share one thing in common – their advanced musical education and training happened somewhere other than their home town. All of my mezzo-sopranos and lower voiced altos exercise to at least the F above your C, i.e., a major 4th above, and most go higher. In order to have your C secure in performance, you must be able to sing to at least D in private practice without cracking or sounding like you are straining. My job is to show you how.

Until you are able to hook-up with a private vocal coach or to attend a community college that offers courses in vocal production, etc., consider that the wide range of vocal literature heard in religious institutions reflects the same vocal demands and musicianship found in standard and classical music. For example, a bride may want "One Hand, One Heart" from the Broadway musical WEST SIDE STORY. And if someone does not want a Classical-sounding version of "Amazing Grace" at their father's funeral, there are all kinds of singers in your range who you can sample and find a kindred spirit. In other words, by listening to and singing along with recordings of major female artists in genres of music that are other than religious, i.e., Rosemary Clooney, Alice Faye, Ella Fitzgerald, etc., you can find a way to cultivate and extend your low Alto range and to refine your overall musicianship. Obviously, it's not the only answer. But – the parishioners at your church are the same folks who listen to, purchase on-line, watch on TV, and attend all kinds of musical events somewhere else and way-outside of a religious context. If they think you don't need lessons, then it's because your talents reflect the qualities of professional singers they already admire in other fields. In other words, they know what sells.

Simply stated, think outside the box. And when you get to San Francisco book an appointment with me.

I am a vocal coach to working singers in the San Francisco Bay Area. I'm also the Music and Theatre critic for SanFranciscoSentinel.com and Classical music reviewer for Examiner.com: www.examiner.com/user/4557381/articles

Check out my recent interview with popular TV host, David Perry, on "Ten Percent":
http://www.youtube.com/watch?v=XKeeTYTYMAI

Below are links to my articles and youtubes on San Francisco's entertainment and cultural scene:

THE GREAT GATSBY – A near miss from Ensemble Parallιle
http://www.examiner.com/classical-music-in-san-francisco/the-great-gatsby-a-near

TONY BENNETT – A Valentine's Day Tribute at City Hall
http://www.sanfranciscosentinel.com/?p=167090

NICOLA LUISOTTI – Music Director of San Francisco Opera signs with Teatro di San Carlo
http://www.sanfranciscosentinel.com/?p=167072

Tchaikovsky's Other 'Onegin' – At San Francisco Ballet
http://www.examiner.com/classical-music-in-san-francisco/tchaikovsky-s-other-one

Blomstedt and de Waart conduct SFSymphony in February
http://www.examiner.com/classical-music-in-san-francisco/blomstedt-and-de-waart-

'Unfaithfully Yours' – Classic Overtures at Noir City X
http://www.examiner.com/classical-music-in-san-francisco/unfaithfully-yours-clas

SAN FRANCISCO OPERA – Announces 2012/13 Season
http://www.sanfranciscosentinel.com/?p=166876

SF Symphony – elevates Debussy's "Martyrdom of Saint Sebastian" to ecstatic heights
http://www.examiner.com/classical-music-in-san-francisco/sf-symphony-elevates-de

EDDIE MULLER – On the Slow Death of 35mm – An Interview with the "Czar of Noir"
http://www.sanfranciscosentinel.com/?p=166840

GOLDEN GATE BRIDGE – 75th Anniversary – "Bridging Us All"
http://www.sanfranciscosentinel.com/?p=166824

CHRISTINE EBERSOLE – Bay Area Cabaret presents Tony Award winner at the Venetian Room, January 15th
http://www.sanfranciscosentinel.com/?p=166791

Best In Women's Classical Vocals 2011
http://www.examiner.com/classical-music-in-san-francisco/best-women-s-classical-

AMANDA McBROOM – A conversation on her recording of songs by Jacques Brel
http://www.sanfranciscosentinel.com/?p=68879

CAMERON CARPENTER – An interview with Grammy-nominated organist
http://www.sanfranciscosentinel.com/?p=68311

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

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

JANE MONHEIT – An Interview
http://www.sanfranciscosentinel.com/?p=48083

DIANE BAKER – Celebrating the 50th Anniversary of THE DIARY OF ANNE FRANK
http://www.sanfranciscosentinel.com/?p=32007

CAMERON CARPENTER – An Interview with Seαn Martinfield
http://www.sanfranciscosentinel.com/?p=24462

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

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

THIS GUN FOR HIRE, 1942 – Looking at "Now you see it, now you don't"
http://www.youtube.com/watch?v=VI26A6HdnWY

"My Silver Dollar Man" – from MARKED WOMAN (starring Bette Davis, 1937)
http://www.youtube.com/watch?v=uJMuY8aKFV8

"Would You Like A Souvenir?" – Sean Martinfield and Janet Roitz explore a song from Film Noir classic NORA PRENTISS (1947)
http://www.youtube.com/watch?v=yOiqTp0tjvg

Best regards,
Sean Martinfield

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: Seαn 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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