VOCALS
BELTING BASICS | Renée Maranan
Belting is a commonly used stylistic strategy in contemporary worship music , but in practice , it ’ s a bit of a mystery for some singers . One of the most common misconceptions about belting is that it is dangerous for the voice , and that there is no way to belt without putting oneself at risk for vocal fatigue , voice loss , or even injury . While belting is indeed a challenging vocal task , it can be performed sustainably when executed well .
CHARACTERISTICS OF BELTING
Belting refers to the production of a specific aesthetic quality in singing , one that is commonly characterized by high volume , power , and edginess or ring .
One of the things that gives belting its sound is the use of twang . In twang , the pharynx is narrowed , which also raises the larynx and closes the piriform sinuses . When the piriform sinuses are closed as they are in twang , the voice sounds more edgy and bright .
Another element in belting is the tongue . When singers belt , they can retract the back of the tongue towards the back of the pharynx , which then narrows the valleculae . When the valleculae is narrowed , the voice has more cut , kind of like a ringing quality .
Last but not least , another characteristic of contemporary belting is tied to articulation . Belt singers often use wide open mouth shapes to maximize the size and power of their voices . They may also use more pronounced consonants to add “ punch ” to their sound .
IS BELTING SAFE ?
It can be ! The key is using the right blend of tools and striking an optimal balance between them to produce the sound required with minimal wear on the vocal folds themselves .
For example , a singer who has learned to use twang can achieve the edginess and brightness they want with less strain by only using as much twang as the vocal task calls for , and then balancing it with postural adjustments to help release some muscular tension at the jaw and neck . A singer that has become more aware of their tongue position might observe that a little bit of retraction goes a long way in creating the clarity and ring that they are looking for , without tensing up the entire tongue upwards and backwards into their throat . While wide vowels are a characteristic of belting , there is a way to articulate vowels in order to create the thick sound required in belting without sacrificing sustainability . Lastly , not all power necessarily comes from volume and air pressure ; a lot of power can come by optimizing the acoustics of the vocal tract , which can then help increase power and resonance without requiring an excessive amount of air pressure or unnecessary loudness .
ENSURING SUCCESS AND SAFETY IN BELTING
If you ’ re playing around with belting in your own singing , you can start by asking yourself these questions :
• How much constriction or muscular tension am I experiencing in my throat , jaw , and tongue ? Can I move my head , shoulders , and jaw while I am singing ? If not , try introducing a bit of movement into your practice to see if you can allow the muscles to remain somewhat free .
• How much volume am I using ? Do I need to be singing this loud ? What happens if I reduce my volume in 5 % increments ?
• If I play with different shapes of this vowel , how does it affect the quality of my voice ?
For example , try singing an “ AH ” as in “ father ” and then slowly slide to “ AE ” as in “ cat ” and notice how it changes the way your voice sounds and feels .
• How am I pronouncing my consonants ? What happens if I emphasize the consonants a little more ? What happens if I emphasize them less ?
• How is my posture ? Is my chin tilted up , my head craning forward , my shoulders hunched ? If so , what happens if I allow my shoulders to roll back and away from my ears ? What happens if I tuck my chin down slightly and allow my head to rest in a more neutral position on top of my spine ?
• How long have I been singing at high volumes ? Be mindful of practicing belting for too long – any kind of singing , when done for excessive amounts of time , will cause fatigue no matter how impeccable your technique !
As mentioned earlier in this article , belting is a challenging vocal task . To make the most of your singing practice and to ensure the safety of your instrument , it ’ s ideal to seek coaching from a vocal instructor who is well-versed in functional vocal training . This will give you the best chance of learning and mastering the craft of powerful and sustainable belting .
GOT A QUESTION FOR RENEE ? Send an email to hello @ reneemaranan . com with “ WM Voice Question ” in the subject line !
Renée Maranan Vocal Instructor | Life Coach Ambassador for the Institute for Vocal Advancement www . ReneeMaranan . com Instagram @ reneemaranan
40 May 2024 Subscribe for Free ...