Vocal Coaching

Resource for Grades 6-12

Vocal Coaching

Media Type:
Video

Running Time: 2m 31s
Size: 9.3 MB


Source: Broadway or Bust

This media asset was excerpted from Broadway or Bust.

Resource Produced by:

WGBH Educational Foundation

Collection Developed by:

WGBH Educational Foundation

Collection Credits

Collection Funded by:

Public Television Viewers
Funding for Broadway or Bust was provided by the Anne Ray Charitable Trust and public television viewers.

Broadway actor Leslie Odom Jr., one of the coaches and mentors for the annual National High School Musical Theater Awards competition, comments on what he has learned as a performer and coach, in this video from the Broadway or Bust website. Odom notes that different performers need different kinds of guidance. He also explains that he tries to inspire his students to take risks during their college studies and not pigeonhole themselves as a certain kind of performer.

open Teaching Tips

Here are suggested ways to engage students with this video and with activities related to this topic.

  • Encourage student performers to work on something that is outside their usual repertoire. Ask them to choose an area that they don’t think of as a strength. For instance, a singer who feels most at home with slow romantic ballads could learn a fast comic song. An actor who works mostly in improvisational theater could learn a speech from a published play, or vice versa. Ask students to think about how working outside their comfort zone can help them as performers.
  • The coach works with a student to help her relax as she sings and to lessen the physical tension that is leading to “singer’s face.” Ask students how they define “singer’s face” and how they might address it.
  • How to stand, what to do with your arms, and how much or little to move while singing is often a challenge for performers. The coach remarks that some students need to move more and some less. Have students think about this as they rehearse in a mirror, with video, or work with a partner to find approaches that work for them and their songs. What is the effect of moving more or less as they sing? They can also develop a list of questions to elicit feedback from classmates: what they like, what could be improved, are the words clear, are they moving in a way that is appropriate for the song?

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