Belt (music)

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Belting (or vocal belting) refers to a specific technique of singing by which a singer uses his or her chest voice to produce high and powerful pitches. Technically, it is known as chest voice, or middle voice.

[edit] Technique

The term "belt" in music means the use of "chest" voice in the higher part of the voice, rather than using the "head voice," etc. However, the proper production of the "belt voice" involves minimizing tension in the throat and modulation of vowels and change of typical placement of the voice sound in the mouth. In a higher range all vowels are modulated to one of two vowels: "eh" as in "ape" or "ah" (bright vowel) as in "ChicAgo." Depending on the range of the singer, the vowels will be more or less modulated. Hence, in a male voice, a belted A-flat might not have the same amount of modulation as a belted B-flat. In males, belted voices often sound similar to classical, or "legit" singing techniques, such as Bel Canto or Speech Level Singing. Classical methods are not similar in females as the higher range of a singer in formally trained singing in females is done in middle and head voices, not the chest.

In addition to the modulation of vowels, the belt voice sound is produced by properly placing the sound in the mouth. The soft palate is raised and the vowels brightened toward the front of the mouth. The jaw is open (but not fully open) so that a few teeth are typically showing on the top and bottom of the mouth. There are various techniques and vocalises to accomplish this sound. The result is a kind of "soft yell."

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 singer or female student of Speech Level Singing, however, as these muscles are generally used only during high chest voice production or when making straining noises which singers trained in these styles are told not to do.

In order to increase the amount 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. A good example of an artist repeatedly attempting to hit a note required in a melody line can be seen in the DVD on the "With The Lights Out" boxset from Nirvana, in which Cobain is shown trying to hit a required music note in early unfinished versions of Smells Like Teen Spirit live in concert, again and again over many months before finally achieving the note. 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.

In pop music belting can be heard into singers such as Whitney Houston, Mariah Carey, Celine Dion, and Christina Aguilera.

[edit] Physiology and possible dangers of belting

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 registers. Because of research, more is known about the anatomy and the physical process of singing than before. One current vocal researcher and tutor is Jo Estill. Estill has conducted research on the belting voice. Estill describes the belt as an extremely muscular and physical way of singing. When observing the vocal tract and torso of singers, while belting, Estill observed:

Minimal airflow (70% closure)
Maximum torso anchoring (activating the large muscles in the back to control airflow)
Head anchoring (activating the neck and head muscles for stabilizing the larynx)
Tilting of the cricoid (We know that the space between the thyroid and the cricoid widens. It seems that the cricoid is tilting downwards, although there might be thyroid activity as well).
Highest position of the larynx
Maximum muscular effort of the external muscles. When produced healthily, there is no forced tension in the vocal folds themselves.
Constriction of the aryepiglottic sphincter (the "twanger")

Use of overly strong chest voice in the higher registers in an attempt to hit higher notes in the chest can lead to forcing. Forcing can lead consequently to vocal deterioration.^[1] Moderate use of the technique and, most importantly, retraction of the false vocal chords while singing is vital to safe belting. Without proper training in retraction, belting can indeed be unhealthy.

Another tutor who has performed research on singing is Cathrine Sadolin. Her method is called Complete Vocal Technique, which is also the title of her self-practice book. Sadolin states that all vocal sounds including belting, can be produced in a healthy way.

Most Speech Level Singing tutors and some students of that method regard belting as damaging to long term vocal health, they may teach an alternative using the Head register which may or may not be as strong sounding depending on how much practice is done and on the gender. The subject 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 slightly higher than in classical technique, they say that vocal cords are not harmed.

However, it is thought by some that "belting" will produce vocal nodules. Nodules can show up when the vocal cords are unhealthily slapped together in what is referred to in legit singing circles as a "glottal attack." Belt pulls the vocal cords very close together, but air can still pass through safely without causing a "glottal attack" with training.

Some singing tutors such as Catherine Sadolin actually believe belt technique can be used as therapy for vocal cords.