A Masterclass in Vocal Dynamics
Barbra Streisand's rendition of "Somewhere" from The Broadway Album is widely considered one of the definitive versions of this Bernstein/Sondheim classic. Unlike the original West Side Story arrangement, Streisand transforms the song into a cosmic plea for hope, utilizing a massive synthesized orchestration that demands a vocal performance to match.
To sing this well, you need more than just power. The magic of this performance lies in the legato phrasing—smoothly connecting notes without breaking the flow—and the incredible dynamic range, moving from a near-whisper to a stadium-filling belt.
AI Coach Tip: Focus on Breath
Streisand's phrasing is incredibly long. Users often run out of air before the end of the line "Hold my hand and I'll take you there." Practice taking deep, low breaths from your diaphragm before every phrase.
Phase 1: The Vision (0:00 - 1:45)
The song opens with an ethereal, dream-like quality. The opening line "Someday, somewhere" sits in the lower register (around G3). The goal here is intimacy.
The Trap: Many singers push too hard too early. Keep the tone breathy but supported. Think of speaking the lyrics to someone close to you. Do not let the pitch sag on the lower notes; keep the soft palate raised.
Phase 2: The Build (1:45 - 3:10)
As the orchestration swells, so must your voice. You need to transition from your chest voice into a forward-placed mix. When you sing "We'll find a new way of living," ensure your resonance shifts from your chest to your "mask" (the front of your face).
- Forgiving: This word needs a clear, pure vowel sound. Avoid closing your jaw.
- There's a place for us: Here, you begin to add vocal weight. Engage your core muscles to support the increasing volume.
Phase 3: The Climax (3:10 - End)
This is the moment of release. The final repetition of "Somehow, Someday, Somewhere!" requires a full, open-throated belt reaching up to Eb5. This is not a scream; it is a controlled, resonant shout.
To hit the high Eb safely, drop your jaw significantly and modify the vowel in "Where" to sound more like "Whahr." This prevents the throat from closing up and allows the sound to ring out freely.
Frequently Asked Questions
In Streisand's arrangement, the big climactic belt hits an Eb5. However, she often improvises or modifies melodies, so live versions may vary.
Yes. The song sits very comfortably in the Alto range for the verses. For the high climax, you can use the Singing Coach AI app to transpose the track down -2 or -3 semitones to make the belt more accessible.
Focus on seamless vowel transitions. Do not chew on the consonants. Imagine the sound is a continuous ribbon that never breaks, even when you change words.
