Belt (music)

Belting (or vocal belting) refers to a specific technique of singing by which a singer uses a high-intensity sound to convey heightened emotional states. It is often referred to as 'yelling set to music.'

Technique

The term "belt" is sometimes mistakenly described as the use of "chest" voice in the higher part of the voice. However, the proper production of the "belt voice" involves minimizing tension in the throat and change of typical placement of the voice sound in the mouth, bringing it forward into the hard palate.

It is possible to learn classical vocal methods like Bel Canto and to also be able to belt; in fact, many musical roles now require it. The belt sound is easier for some than others, but the sound is possible for classical singers, too. It requires muscle coordinations not readily used in a classically trained singers, which may be why some opera singers find learning to belt challenging.

In order to increase the number of high notes one can belt, one must practice. This can be by repeatedly attempting to hit the note in a melody line, or by using vocalise programs utilizing scales. Many commercial "learn to sing" packages have a set of scales to sing along to as their main offering, which the purchaser must practice with often to see improvement.

'Belters' are not exempt from developing a strong head voice, as the more resonant their higher register in head voice, the better the belted notes in this range will be. Some belters find that after a period of time focussing on the belt, the head voice will have improved and, likewise, after a period of time focussing on the head voice, the belt may be found to have improved.

Belting is often misunderstood to be dangerous. However, a well trained, well supported and placed belt is safe. As a general rule, learning belters are told to cease immediately if what they are doing physically hurts, and work through it with their tutor.

In the mainstream music scene, belting can be greatly heard performed by singers such as soul singers Regine Velasquez, Diana Ross, Aretha Franklin, Chaka Khan, Whitney Houston, Jennifer Holliday, and more recently Mariah Carey, Jennifer Hudson, Fantasia Barrino, Idina Menzel, Christina Aguilera, Celine Dion, Leona Lewis.

Physiology

There are many explanations as to how the belting voice quality is produced. When approaching the matter from the Bel Canto point of view, it is said that the chest voice is applied to the higher register. However, nowadays we have more extensive knowledge of the biomechanics of singing. One of the groundbreaking researchers on the singing voice is Jo Estill. Estill has conducted research on the belting voiceEstill J (1988). Belting and Classic Voice Quality: Some Physiological Differences. Medical Problems of Performing Artists, 3:37-43.] Yanagisawa E and Estill J (1989). The Contribution of Aryepiglottic Constriction to "Ringing Voice Quality. Journal of Voice, 3:342-350] . Estill describes the belting voice as an extremely muscular and physical way of singing. When observing the vocal tract and torso of singers, while belting, Estill observed:

*Minimal airflow (longer closed phase (70% or greater) than in any other type of phonation)
*Maximum muscular engagement of the torso (In Estill terms: Torso anchoring).
*Engagement of muscles in the head and neck in order to stabilize the larynx) (in Estill terms: Head and neck anchoring)
*A downwards tilt of the cricoid cartilage (An alternative option would be the thyroid tilting backwards. Observations show a larger CT space).
*High positioning of the larynx
*Maximum muscular effort of the extrinsic laryngeal muscles, minimum effort at the level of the true vocal folds.
*Narrowing of the aryepiglottic sphincter (the "twanger")

Possible dangers of belting

Use of belting without proper coordination can lead to forcing. Forcing can lead consequently to vocal deterioration.The OXFORD DICTIONARY OF OPERA. JOHN WARRACK AND EWAN WEST, ISBN 0-19-869164-5] Moderate use of the technique and, most importantly, retraction of the ventricular folds while singing is vital to safe belting. Without proper training in retraction, belting can indeed cause trauma to the vocal folds.

Most tutors and some students of the method known as [http://www.speechlevelsinging.com/ Speech Level Singing] , created and supported by Seth Riggs, regard Belting as damaging to long term vocal health, though they have no research to support this. They may teach an alternative using a "mixed" or middle voice which can sound almost as strong, as demonstrated by Stevie Wonder, Patti Labelle, Aretha Franklin, Barbra Streisand and in modern times, Jennifer Hudson though all of these singers use belting as well. The subject of Belting is a matter of heated controversy among singers, singing teachers and methodologies. The method is also frowned upon in some classical legit circles, though they tend to be less vocal on the subject.

Proponents of Belting say that it is a "soft yell," and if produced properly it can be healthy. It does not require straining and they say it is not damaging to the voice. Though the larynx is higher than in classical technique, research shows that vocal cords are not harmed.

However, it is thought by some that "Belting" will produce vocal nodules. This may be true if belting is produced incorrectly. If the sound is produced well there will be no damage to the vocal folds.

Some singing tutors believe Belt technique can be used as therapy for vocal cords, such as Cathrine Sadolin, who created the method called [http://www.completevocalinstitute.com/ Complete Vocal Technique] and Allison Bagnall, who is author of the method named [http://www.voicecraft.com.au/index.html Voicecraft] . As a matter of fact, in Cathrine Sadolin's model, Belting is regarded as one among four possible singing modes, being the most metallic and powerful one.

As for the physiological and acoustical features of the metalic voices, a [http://www.teses.usp.br/teses/disponiveis/5/5160/tde-19102005-145626/ master thesis] advised by the speech therapist PhD Silvia Rebelo Pinho has drawn the following conclusions:
*No significant changes in frequency and amplitude of F1 were observed
*Significant increases in amplitudes of F2, F3 and F4 were found
*In frequencies for F2, metallic voice perceived as louder was correlated to increase in amplitude of F3 and F4
*Vocal tract adjustments like velar lowering, pharyngeal wall narrowing, laryngeal raising, aryepiglottic and lateral laryngeal constriction were frequently found.

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