Feel the Joy of Singing!


Ep. 36「ミュージカルの歌い方」【VLTTW翻訳】

Ep. 36 "Aspects of Musical Theater" - Voice Lessons To The World








Hi everybody! My name is Justin Stoney and I'm the founder of New York Vocal Coaching here in New York City.




Welcome to episode 36 of Voice Lessons To The World, the show where we want to help you guys as singers by answering your questions from all over the world.




And I'll give you a chance to ask questions later but our question for this week comes from Thomas J. in Athens, Greece.






And Thomas writes, "Dear Justin, I love your episode on pop versus classical singing. I'm wondering, what are some characteristics of musical theatre singing? Can you help?"




That's a great question, Thomas. Because I know that a lot of our viewers are more pop rock or maybe classical singers but there's also a lot of Broadway singers out there as well. So we want to talk today about aspects of musical theatre singing.




1, しゃべるようなスタイル


Now the first element that you're going to need to know about musical theatre singing versus all other singing is its conversational style.




So with Broadway musicals and with musical theatre songs, the songs are almost always trying to drive the story. They're trying to tell what's happening in the story, what's happening with the characters, maybe what the character wants, maybe tell about the action of the story.




But to do that, to be both actors and singers, the conversational quality of musical theatre singing is far beyond any of the other styles.






Let me show you what I mean by that in a song called "Purpose" from the musical Avenue Q.




If I just sing the first part of it and I'm not very conversational, here's kind of what would happen...





It's that little flame

That lights a fire under your ass 


It keeps you going strong

Like a car with a full tank of gas

Everything else has a purpose

So what's mine”




And that's not quite conversational. It's fairly smooth and legato but it's not conversational. If I add my musical theatre conversational style into it...







It's that little flame

That lights a fire under your ass 


It keeps you going strong

Like a car with a full tank of gas

Everything else has a purpose

So what's mine”




And you hear that it becomes a little bit more talky and a little bit more bringing out of the message and the action of the story that's being told.




2, スタイルの多様性


Now another thing about Broadway musicals, especially these days, is the stylistic diversity.




Broadway is an amalgamation of so many different styles of music. Some traditional and even classical, some pop, rock, R&B, country even. Especially these days we're hearing a lot more of the contemporary sounds in Broadway.




And then you have Broadway singing just straight up as it's always been. Classic Broadway tunes, show tunes, and then also jazz music is a very big part of musical theatre. So you really have almost every style of music in the musical theatre repertoire.






Because of this we need to have our neutral larynx coordinations, as we've talked about in the past, as one of our key elements. In other words, I need to be able to sound like myself, right? If I am using my neutral larynx I sound the most like myself.






So if I take, "I've Never Been In Love Before" from Guys and Dolls, and I use my neutral larynx something like this would happen...




I’ve never been in love before

Now all at once it's you

It's you forevermore”




And I sound like myself. So it really is accessible for my broadway-style communication.






Now since Broadway has a little bit more of those rock elements, I might have to do a little more high or rock larynx in certain situations. What if I took "One Song Glory" from Rent. Which is more of a rock musical.






“Find one song

One last refrain

Before the sun sets

One song to redeem this empty life

Time dies

Time dies”




And I get a little bit more into my rock belt in that scenario.






Now of course, like I say, musical theatre also has some of the more low larynx or traditional styles present. Right after I might have gone to see Rent I might actually go and see something like South Pacific, and I have "Some Enchanted Evening". And I get a more low larynx coordination.






“Some enchanted evening

You may see a stranger

You may see a stranger

Across a crowded room”




And you can hear that that's a little bit more deep, and also has more vibrato.




3, キャラクターヴォイス


Now on the topic of the different sounds that you hear, it's not that we always need to sound good in musical theatre. And that's something that gives musical theatre often a very bad rap. Is that people think that Broadway voices are sometimes really nasal and twangy and you get that sort of Broadway kind of sound that is very stereotypical.




Now of course that's not always true. But part of the reason that it gets that bad rap is there are moments where we do want to welcome into the equation character sounds and character singing. So these are sounds that are purposefully not beautiful sounds, that are sometimes an element that's necessary in musical theatre. 






If I have Ado Annie from Oklahoma and I'm singing it without a character voice...




“I’m just a girl who can't say no

I'm in a terrible fix”




That sounds actually a little strange when we're used to...






“I’m just a girl who can't say no

I’m in a terrible fix

I always say come on let's go

Just when I oughta say nix”




It sounds a lot better actually when I sound worse. Because what I'm trying to do is create a comic character that is very memorable.




So that's the reason why we'll sometimes hear this sort of Broadway or twangy character voice. There's not just the twangy character, there's many characters. But that's the reason why, is sometimes in Broadway singing we do need to add character to the voice.




4, ビブラートの重要性


Now finally vibrato is an element of a lot of Broadway singing. Pop and rock do not use as much vibrato as say classical, but musical theatre will use more than pop rock and a little bit less than classical.




So it's definitely very present in a lot of musical theatre songs. Especially the more traditional, or as they call it, legit musicals.






Les Mis being a little bit more of a legit musical. We have the song "Stars" and you can hear I'm gonna add some vibrato to it and take it away too. You can hear that Les Mis would be an example of a Broadway show that uses a little bit more vibrato.




“Stars in your multitudes

Scarce to be counted

Filling the darkness

With order and light"






"You are the sentinels

Silent and sure

Keeping watch in the night”




Doesn't sound quite right...






“Keeping watch in the night”




I have to add a little bit of vibrato to make it a legit or more traditional musical theatre sound. So that's another aspect of musical theatre singing. Is it's just a little bit more vibrato than a lot of the contemporary sounds would have.




5, 演技が一番


Now finally, I just want to tell you guys with Broadway singing, acting is number one.




Okay, now obviously we want to have a great voice. But here at New York Vocal Coaching we've had you know plenty of Broadway singers before they made it to Broadway.




Plenty of Broadway singers that are currently on Broadway that come to us to refine their vocal technique or work on some audition that's coming up or work on a role that they're doing.




And what I want to tell you guys, of all the Broadway actors or up-and-coming Broadway actors that I have worked with and that our staff has worked with, is acting is the number one.




In New York and and in the Broadway world you have to make sure that you're telling the story first. I know tons and tons of good singers, great singers actually, that just don't get cast as much as those that bring the acting to the equation with their Broadway singing.




You could actually have a less than perfect voice and be a spectacular actor and get cast far more than somebody with a pristine voice that doesn't know how to act.




So with musical theatre you really want to make sure that no matter what you do, with whatever you're focused on with your musical theatre Broadway sound, you're making acting- storytelling, having objectives, knowing who you're talking to, knowing what you want, knowing what the scene is about, put that as your number one and your Broadway singing is going to go to the next level. Because it's always gonna be your number one.


ですからミュージカルでは、何をやっているとしても、どういうミュージカル、ブロードウェイの声を練習しているとしても - 物語を伝えること、登場人物のこと、誰に話しているのかを知ること、何を求めているのかを知ること、どんなシーンなのかを知ること - といった演技のことを一番に置けば、あなたのブロードウェイの歌い方は次のレベルへとたどり着くことでしょう。これはいつでも、一番大事なことなのですから。




So Thomas and all, I hope that's been helpful for you guys today as singers. If you have questions that you'd like to see us answer on the show you can send an email to: Questions@VoiceLessonsToTheWorld.com.


というわけで、トーマスさん、みなさん。今回の内容がシンガーのみなさんの役に立っていれば幸いです。このショーで答えてほしい質問がある場合は、 Questions@VoiceLessonsToTheWorld.com にメールしてくださいね。


And we just encourage you not to lose that joy, don't lose that passion. If you guys are doing Broadway singing we just encourage you to get out there do some auditions, get in a lot of shows, expand your repertoire, get with a great voice teacher in your area.




And if you guys are in New York City you can check us out at www.NewYorkVocalCoaching.com.


もしニューヨークにいるのなら www.NewYorkVocalCoaching.com をチェックしてみてください。


And if you like these videos you can visit www.VoiceLessonsToTheWorld.com.


動画を気に入ってもらえたのなら、 www.VoiceLessonsToTheWorld.com も見てみてください。


I'm Justin Stoney. We'll see you next time.












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