Acting in Plays, Singing/whats my voice type.


Hi sean:
I have a problem in identifying my voice.
Iam 21 years old guy but i sound like a kid. As a kid i won many competitions...but when i matured my voice changed very less and I just got few more low notes... i can only go down to Ab2 and my voices gets tired quickly around these notes.... I cant hit with power or body in A4 G4 or Ab4 ....i sing them like normal notes.... My Bb4 to C#5 is somewhat strong but loses power again after F5. and my head voice extention and mix voice extension is same . i top out at Ab5 in mix and C6 in head
and main problem is i dont sound manly. what can i di

Hello, Animesh --

Thank you for the question.

I appreciate your descriptions – it’s very helpful. What it all points to is that – no matter how youthful sounding your vocal instrument may be – the simple fact is that your hormones kicked-in a long time ago and disabled whatever your prepubescent Self managed to capitalize on. And around three years ago, the voice began settling into what it is right now. I want to hear that.

Right now, the range you have indicated and the way it all sounds and feels to you – from Ab2 up to C6 – is only a huge collection of sounds in search of a legitimate vocal category. My job as a professional vocal coach is to determine that category. It’s done through scale work. The process involves a wide variety of considerations. With some singers, it’s readily apparent. But not always for others. Bottom line – that determination process must happen in person. I must hear you demonstrate in person what you are attempting to describe on paper. At this point, you might be anything from a lyric baritone to a high countertenor.

After we level out the playing field and name the instrument, the training begins.

At twenty-one, the most important thing for you to keep in mind is the genre of music you want to pursue. If you are leaning toward theatrical repertoire, i.e., Classical or Musical Theatre, then it is absolutely essential that you know your legitimate vocal category – because the repertoire is written accordingly and auditions are all about singing that specific material in front of an Agency, Conductor, and Producer.

For all other kinds of music – while it is still essential that you know whether you are some variety of baritone or tenor – the conditions under which that material is performed, i.e., with a mic, with state-of-the-art sound equipment, etc., and the particular venues -- anything from a church basement to an outdoor amphitheatre -- you can do most anything you want with your sounds and with the arrangements written especially for you. Simple.

It’s always about building an audience and maintaining their interest.

I am a vocal coach to working singers and actors in the San Francisco Bay Area. When you can come into town for a coaching session, contact me at:

I am also published on: -- -- --

Below are links to my recent articles, interviews, and YouTubes:

A Profile of Hansuke Yamamoto, Soloist with San Francisco Ballet

“Jesus Christ Superstar” and Rock Star Ted Neeley – Behold, The Man!

BARRY DENNEN – A Conversation with the Pilate of “Jesus Christ Superstar”, at the Castro Theatre, 3/17

On Jeanette MacDonald: Why should we care?

A Conversation with Pianist Hélène Grimaud – At Davies Symphony Hall, 2/15–16

Composer Michael Kaulkin – Introducing New Works with 'Lieder Alive!’

A Conversation with Soprano Lydia Teuscher – Now at Davies Hall, 1/30–1/31

Organist Paul Jacobs – On Messiaen’s ‘Livre du Saint-Sacrement’

A Profile of Choreographer Val Caniparoli – 20th Anniversaries for ‘Lambarena’ and ‘Lady of the Camellias’

Pianist Orli Shaham on ‘Grand Pianola Music’ by John Adams

Eddie Muller on Noir City 13 and the Rescue of ‘Woman on the Run’

Composer Michael Kaulkin – Introducing New Works with 'Lieder Alive!’

In Conversation with Debby Boone

“Please don’t talk about me when I’m gone”

Tenor Michael Fabiano – On ‘La Bohème’, Now at San Francisco Opera

Joanne Polk – On ‘The Flatterer, Piano Music of Cécile Chaminade’

Filmmaker Judy Irving – On ‘Pelican Dreams’

Countertenor Anthony Roth Costanzo – A Stunning Debut in ‘Partenope’ at San Francisco Opera

A Conversation with Bass-Baritone Philippe Sly

Steve Wilson on 'The Making of Gone with the Wind'

Tenor Stuart Skelton on Peter Grimes

‘Susannah’ at San Francisco Opera – Final Performance, 9/21

The Alloy Orchestra Meets ‘Son of the Sheik’ at San Francisco’s Silent Film Festival

Bass-Baritone Christian Van Horn – A Busy Season at San Francisco Opera

Meeting Jeanette MacDonald in “San Francisco”

Sondra Radvanovsky and Jamie Barton Shine in New Production of 'Norma' at San Francisco Opera

In Tune with Tenor George Komsky – at the Napa Valley Opera House, 9/7

“Veda Pierce” – Lounge Lizard or High Toned Viper?

Best regards,
Sean Martinfield

Acting in Plays, Singing

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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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