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Acting in Plays, Singing/Trying to find appropriate audition songs for and alto


I go to a performing arts high school so we have musical auditions constantly. I need help finding songs that will fit my vocal range from musicals. So far I have used nothing from a chorus line and there worse things I could do from grease. I am not aware of what notes I can and cannot hit and have yet to take any vocal lessons to find out but I hope you can help me with my problem according to the info I have provided.
We also are doing into the woods for our spring musical next year and I was wondering your opinion on which character would be best suited for me. I am told to be a very strong actor and to be a very animated singer although I do not have the strongest voice at my school. I am 4'11 and the shortest girl in theatre. I have mostly played little girls or old ladys so far in my acting career. I was hoping to play little red riding hood but am not sure if I am right for the role. Thanks so much for your help!!

Hello, Madison –

Thank you for the question.

The vocal range of "Nothing" from A CHROUS LINE is G3—Bb4.
The vocal range of "There Are Worse Things I Could Do" from GREASE is A3—C5.

Do you keep your voice performance-ready? Have you rehearsed this material with an accompanist lately? If your agent called and said, "Get down here and sing right now!" —could you do it?
If it's YES – then that identifies you as a Mezzo, maybe one with a decent belt.

Your job at this audition for INTO THE WOODS is to prove that you have the kind of musicianship it takes to sing Stephen Sondheim. This is not easy stuff. The director may require a Sondheim piece. If so, then consider "Another Hundred People" from COMPANY. Go to the web site below:

"Another Hundred People"

Notice the key, C Major. In this key, the range extends from C4—D#5. That is too high for you. Scroll down, click on A Major. In this key, the range extends from A3—C5. Now you are within the same range as your other two songs. Listen to the Original Broadway Cast recording of COMPANY to get the best idea of how it goes.

Don't sing the song from GREASE for this audition.
"Nothing" is a good song. Be prepared in case they ask for a 16-measure excerpt.

With the Baker's Wife in mind, consider "Could I Leave You?" from Sondheim's FOLLIES. Go to this web site and consider transposing it into the key of C Major:

I am a vocal coach to working singers in the San Francisco Bay Area. I'm also an entertainment critic for – and Classical music reviewer for – Let me know when you're ready to come to San Francisco for some vocal coaching.

Check out my web site:

See my interview with popular TV host, David Perry, on "Ten Percent":

Below are links to my articles and youtubes on the San Francisco Bay Area entertainment and cultural scene:

Marnie Breckenridege, A Modern Soprano for Contemporary Opera

A Profile of Choreographer John Neumeier and his "Nijinsky"

The Silent Film Festival, Winter 2013 – Saturday at the Castro Theatre

Peggy Cummins Honored at San Francisco's Noir City Film Festival

"Christmas Holiday" – at the Deanna Durbin Festival, Stanford Theatre, 12/21-23

In Conversation with Peter Gallagher – Coming to the Venetian Room

Melody Moore steps into Tosca — Opening Night at San Francisco Opera

Patricia Racette – A Definitive 'Tosca' at San Francisco Opera

'Moby-Dick' opens at San Francisco Opera: A Conversation with Composer Jake Heggie

Vasily Petrenko, BRIT Male Artist of the Year, Conducts SF Symphony, 10/5–6

Marco Vratogna Is Sensational as Rigoletto at San Francisco Opera

A conversation with Joshua Bell, featured guest artist at opening of SF Symphony, 9/19

Jazz vocalist Nicole Henry makes San Francisco debut

Norma Shearer and Joan Crawford duke it out at The Castro Theatre's 90th Anniversary

San Francisco, starring Jeanette MacDonald, to be featured at the Castro Theatre's 90th Anniversary

The Wizard of Oz Meets the San Francisco Symphony

The "It" Girl, Clara Bow, A Featured Star at the San Francisco Silent Film Festival, July 12–15

Jun Kaneko's 'Magic Flute' Is Stunningly Visual

Samuel Ramey is Leo the Great in San Francisco Opera's 'Attila'

'Victor Herbert, Collected Songs' – A Great CD

Tom Judson Is Making It Big In San Francisco

A Look at Gennadi Nedvigin, Principal Dancer with San Francisco Ballet

Organist Christopher Houlihan Makes A Powerful Debut at Davies Symphony Hall

RICHARD WINSOR – An Interview With the Star of 'Matthew Bourne's Swan Lake in 3D'

DEANNA DURBIN – The Leading Lady of NOIR CITY, Wednesday at The Castro Theatre

THOMAS JANE – An interview with the star of HBO's "Hung" and 3D Thriller "Dark Country"

KRISTIN CLAYTON– A Conversation with "The Diva" of Teatro ZinZanni

DIANE BAKER – Celebrating the 50th Anniversary of THE DIARY OF ANNE FRANK

CAMERON CARPENTER – An Interview with Seán Martinfield

AT LAST! – ANN HAMPTON CALLAWAY – An Interview with Seán Martinfield

MARNIE BRECKENRIDGE – An Interview with “La Princesse” of Philip Glass’ Orphée

A Conversation with Elza van den Heever

CUBAN BALLET – An Interview with Octavio Roca

A Look At "Giselle" with Ballerina Lorena Feijóo

ZUILL BAILEY – A Conversation

Best regards,
Sean Martinfield

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Sean Martinfield


I am a professional vocal coach in San Francisco. I have published over 3300 responses related to vocal training - particularly as it relates to Musical Theatre, Pop/Standard, and Opera. I have 30 years of experience as a personal trainer to working 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 can assist you with your song selections and help you build an audition portfolio that demonstrates your vocal category and meets the requirements specified in the audition notice. I have created a vocal methodology, "The Belter`s Method". It will enable those in Cabaret and Musical Theatre to practice more efficiently because it focuses on the vocal demands of professional performers and will keep you performance-ready. If what you want is a better voice and more control over your career moves and choices, contact me at: I am also a music and cultural critic for and I interview internationally recognized musicians, singers, dancers, and recording artists -- particularly those who are now appearing or scheduled to perform in San Francisco.


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 kids 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. 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:


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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