Belting (music)

Belting (or vocal belting) is a specific technique of singing by which a singer brings their chest register above its natural passaggio (break) at a loud volume; instead, an alternative production is developed, often described and felt as supported and sustained yelling. 'Belting' is sometimes described as 'high chest voice' but this is technically incorrect and potentially damaging for the voice. It is often described as a vocal register, although this is also technically incorrect; it is rather a descriptive for the use of a register. Singers can use belting to convey heightened emotional states.

"Chest register" is the lowest register of the singing voice, produced by dominant use of the thyroarytenoid muscle. The term "belt" is sometimes mistakenly described as the use of chest voice in the higher part of the voice. The chest voice is a general term for the sound and muscular functions of the speaking voice, singing in the lower range, and the voice used to shout. Each of those functions requires a thicker closure of the vocal folds and the support of the muscles surrounding them. The term "chest voice" is therefore a misunderstanding when it describes muscular work in the chest-area of the body, or a resonance therein. Proper production of the belt voice, according to some vocal methods, involves minimizing tension in the throat and a change of typical placement of the voice sound in the mouth, bringing it forward into the hard palate, although techniques vary by pedagogical style.

It is possible to learn classical vocal methods like bel canto and also to be able to belt; in fact, many roles now require it. Vocalists trained in a wide berth of styles describe vastly varying experiences in learning belt technique. Some claim that it comes naturally, while others struggle to access chest register other than while speaking. Style of music does not seem to be a related factor, other than in a singer's exposure to material.

Belt technique requires muscle coordination not readily used in classically trained singers as the thyroarytenoid muscle is dominant (as opposed to head register singing where the cricothyroid muscle is dominant), which may be why some opera singers find learning to belt challenging.

In order to increase range and stamina, one must practice, however physiology and physical limitations should always be taken into consideration in a realistic approach. Since belting can be harsh on the vocal mechanism if care is not taken, supervision by a teacher experienced in working with belters is recommended in order to avoid developing lifelong pathologies that could be otherwise avoided. Others recommend repeatedly attempting to hit a note in a melody line, or by using vocalise. Many commercial learn-to-sing packages have a set of scales to sing along to as their main offering, with which the purchaser must practice often to see improvement. However, these packages do not offer a user feedback in terms of posture, breath support, muscular constriction, or any assistance with difficulties that a singer may encounter. Since this is not a separate instrument but a part of the human body, care must be taken not to damage it in a way that may later require surgery, so learning to belt without proper supervision is not advised.

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Wikipedia