Backstage: Oklahoma City University vocal coach and accompanist discusses tools of his trade

As a young man pondering what direction his career path might take, Brian Osborne realized he simply couldn’t pursue all of his interests. He thought about becoming a doctor but found himself spending more time in the music building than the science lab.

Music prevailed, but once again, Osborne had to narrow his choices. He sang in the choir, played the piano and even tried his hand at acting. And while he enjoyed some success in each area, Osborne ultimately decided to combine all three and use his musical expertise for accompanying and coaching.

“At the end of my first year at Florida State, I knew I wanted to switch from performing to coaching,” said Osborne, who is now in his fourth year as an accompanist and vocal coach at Oklahoma City University. “I liked the process of preparing for an audition and putting a recital program together — helping performers be the best they can be.”

In addition to his duties as vocal coach and accompanist, Osborne serves as music director for one OCU Spotlight show each year. These productions feature piano accompaniment and are staged in the intimate 275-seat Burg Theatre. This year’s Spotlight musical is “Little Shop of Horrors,” scheduled at 8 p.m. Friday and Saturday as well as 3 p.m. Oct. 30.

Osborne describes the process of being a vocal coach as part psychology and part music. Helping students tap into their characterizations and find their motivations essentially boils down to good storytelling.

“As a vocal coach, I ask my students a lot of questions about what they’re singing,” Osborne said. “Who is this character and what is he experiencing? Is he angry, scared, joyful? It’s about thinking through the process and making choices.”

A coaching session often gives a student the first opportunity to hear the musical accompaniment. Depending on the composer, that can be a straightforward accompaniment or a complex arrangement that demands careful coordination with the vocal line. Both offer important suggestions about how the singer delivers the song.

Osborne also offers suggestions about the choice of songs a singer includes in his “book,” a compilation that is a musician’s version of a visual artist’s portfolio.

When singers start making the audition rounds, it’s important that their songs offer a variety of musical styles.

“A book might contain 20 songs, with two or three in a variety of categories,” Osborne said. “There should be a few old-school songs (Cole Porter or Rodgers and Hammerstein), music from the 1970s (Stephen Sondheim and Andrew Lloyd Webber), perhaps a country song, a contemporary pop number and a few songs written in the last several years (Jonathan Larson or Jason Robert Brown). Each one has to be good for the singer’s voice.

“There are so many elements that have to come together in singing: phrasing, dynamics, color, emotions, states of being. Ultimately, you have to let the singer put his or her artistic stamp on the song. You give people the license to decide what they can do best. Marketability is the key.”

Pure Music

Blog Dedicated To The Best Music