Professional Documents
Culture Documents
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Glissando
Head Speech
Head Speech
Speech
Head
Speech Head
Head Speech Head
Vocalize Belt
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4S
soft, balanced onset and increasing volume, with the apex of the crescendo
becoming a belted vocal production. (Figure 6)
Figure 6: Messa di voce Exercise.
Pay special attention to breath management. The use of a resistance band can
help counteract this: The student pulls the two ends of the band apart during the
crescendo, but not so much that the band gets thin and rigid, thus helping the
student physicalize and visualize the transverse and oblique action of the
intercostals required for smooth vocal transitions. This extends the range of the
belt voice and ensures vocal health.
5. Vocal tudes from repertoire
Inventing vocal tudes from the singers selected repertoire is an effective
tool when approaching a vocal challenge, especially if the singers repertoire
moves back and forth between belted and operatic vocal production such as
selections from Wicked. This allows the singer to understand the technical
demands of both the belt and operatic voice. Using fragments as tudes helps
avoid unnecessary tensions associated with learning new repertoire.
Sing
Voice 2
44
Mouth, Head, and Jaw Position for Belting
The difference in mouth position, between classical singing and belting, is
noteworthy. (Figures 7 through 12.) Experimentation is vital, as relatively little
pedagogical study has been devoted to mouth position. Familiarity with and
ability to model the technique allows beginning belters to benefit from good
aural examples.
Classical singers are trained to use the inside smile which raises the soft
palate. Belters need to actually smile. The horizontal mouth shape brings the
resonance forward, which is a necessary for belting A suggested rectangular
shape, even to the back of the pharynx, provides the edginess required of a
belted sound.
In Figures 7 and through 12, note the clear contrast between the classical
and belting postures, head positions, facial expressions, and mouth position.
When belting, the head is positioned higher, the eyebrows are not raised, and the
mouth is clearly in a horizontal position.
Figure 7: The author demonstrating a classical mouth position, taken by Brian
Kastens with Nikon D-60. July 21, 2014. Photography Copyright Release in
Appendix C.
4S
Figure 8: The author demonstrating a belting mouth position, taken by Brian
Kastens with Nikon D-60. July 21, 2014. Photography Copyright Release in
Appendix C.
Figure 9: The author in profile singing classical style, taken by Brian Kastens with
Nikon D-60. July 21, 2014. Photography Copyright Release in Appendix C.
46
Figure 10: The author in profile, singing belt style, taken by Brian Kastens with
Nikon D-60. July 21, 2014. Photography Copyright Release in Appendix C.
47
Figure 11: The author singing classical style, taken by Brian Kastens with Nikon
D-60. July 21, 2014. Photography Copyright Release in Appendix C.
48
Figure 12: The author singing belting style, taken by Brian Kastens with Nikon
D-60. July 21, 2014. Photography Copyright Release in Appendix C.
Twang Resonance
Narrowing the aryepiglottic folds (Figure 13) creates twang resonance,
which amplifies the resonances at about 3 kHz, also known as the singers
formant. The throat should not feel constricted. Constricted twang will likely feel
brittle or stuck. The bridge of the nose and area above the upper lip are focus
points are optimal twang resonance.
49
Figure 13: The aryepiglottic fold, Henry Gray, Anatomy: Descriptive and Surgical,
20th ed. (Grammercy Books, New York, 1918): Figure 953. The 20th edition of
Grays Anatomy is available in public domain in the USA.
Methodology for Specific Repertoire
Ten songs have been selected in order to provide detailed teaching
strategies for a young beginning to more advanced students of belting. This
author charted where to use belt or other types of registration in Tables 1
Su
through 10. Appendix B contains a list of representative videos for these
selections. Appendix C contains the references for the source scores used for
study.
1. Roxie, from Chicago
This song is recommended for the beginning student, as its range is not
extensive and the belted parts are not extremely high, even though the role as
whole is challenging when one considers the acting, dancing, and singing
requirements. Although the range is low for a soprano, belt emanates from
speech. A young soprano for whom the range is problematic can speak-sing the
beginning line from mm. 4-8. In mm. 10, the singer will find an opportunity to
introduce mixed voice on the first syllable of rakin. The first chance to belt
comes in mm. 28-30 on the word art. Belted production also comes back at the
end, from mm. 67 beginning with the words And Sophie Tuckerll shit. This
song possesses so much joie de vivre, and thus an uninformed choice would be to
belt the entire piece. Keep in mind, though, that the purpose of belting is to
underscore the drama. The voice teacher has an obligation to young students to
guide them by identifying areas of rest where less vocal intensity is required.
(Table 1)
S1
Table 1: Roxie from Chicago.
2. On the Steps of the Palace, from Into the Woods
On the Steps of the Palace is appropriate for a young, slightly more
advanced singer because of range, tessitura, intervallic leaps, and both rhythmic
and comedic timing required. The intervallic leaps often require a sudden change
of register. Good musicianship, and acting skills are also required. The singer
will use a combination of mixed voice (CT dominant) or head voice (CT
dominant) for a majority of the song. The few opportunities to use belt voice
occur in mm. 63, on the second syllable of the word scary, to mm. 72 on the
word steps, and mm. 105 to mm. 107. In these ending measures, it is important
to keep the CT engaged while belting so that the vocal folds will have the
necessary length. The singer will encounter a few places where the mixed voice
should be sung in CT dominant rather than TA dominant registration, so the
mixed voice will have more emphasis on head rather than chest voice. These
occur in mm. 3-4, mm. 9-21, as an option in mm. 27-29, mm. 30-34, and as an
Measure Range Registration
5-9 A-flat to G Mix (TA dominant)
10 G to D (descending) Belt (TA dominant)
11-28 A-flat to G Mix (TA dominant)
End of 28-30 G (single note) Belt (TA dominant)
End of 30-37 Middle C to A-flat Mix (TA dominant)
42-65 B-flat to A-flat Mix (TA dominant)
S2
option in mm. 47-63. The registration is especially challenging in mm. 39-46
where the singer is required to shift quickly between mixed voice that is TA
dominant and mixed voice that is CT dominant.
(Table 2)
SS
Table 2: On the Steps of the Palace from Into the Woods.
Measure Range Registration
3-4 B to A (ascending) Mix (CT dominant
except, possibly, the lowest
note B)
5-6 E to C-sharp (ascending) Head (CT dominant)
7-8 A octave (descending) Mix (TA dominant)
9-21 C-sharp octave Mix (CT dominant)
22-23 F-sharp to D Head (CT dominant)
24-26 D to B (descending) Mix (TA dominant)
End of 26- 27 (caught) F-sharp to D Head (CT dominant)
End of 27-29 A octave Mix (TA or CT dominant)
End of 30-34 F-natural to C-natural Mix (CT dominant)
End of 35-37 F-sharp to D (ascending) Head (CT dominant)
End of 37-39 A to B (descending 7
th
interval)
Mix (TA dominant)
End of 39-46 D to A (descending) Mix (Using both CT and
TA dominant registration)
End of 47- 63 D octave Mix or Head (CT
dominant)
End of 63 (ry of sca-ry) -
72 (steps)
D to B-flat Mix or Belt (TA dominant)
End of 72 (better)- 77 D to B Head (CT dominant),
possible Chest (TA
dominant) on sion of
collision
End of 77 83 A B-flat (ascending 9
th
) Mix (TA dominant)
84-88 E octave Head (CT dominant)
End of 88-104 A octave Mix (TA dominant)
105-107 E to D Belt (TA dominant, with
CT engaged)
S4
3. Adelaides Lament from Guys and Dolls
Adelaides Lament is appropriate for beginners as the range is limited,
but does require a good sense of comedic timing and the ability to act. Good
musicianship skills are important because the vocal line is often exposed. The
ability to change vocal style between sung and spoken text quickly, as in mm. 8-9
and 29 is important. In the effort to portray having a cold for most of the show, it
is also important not to lose the integrity of the mixed or belt voice. Regular
alternation between mixed and belt voice with TA dominant registration is
recommended. Loesser gives the instruction with sweet meditation in mm. 35,
CT dominant registration is recommended here through mm. 38.
This is one of the greatest character pieces in the repertoire. Scott Simon,
host of the National Public Radio broadcast on the 50
th
-anniversary retrospective,
observed Adelaides Lament is a perfect comic song.
64
Simon interviewed
lyricist Fred Ebb, who provided his take on its appeal:
Heres a girl whos got a cold all through the play and she
says she has a cold cause somebody isnt going to marry
her. Thats a very rich comic notion. And shes got these
hilarious punch lines. You know, if shes getting a kind of
a name for herself and the name aint his; if shes tired of
getting the fish eye from the hotel clerk. Every line in it is
worth something. It means something; has impact. It has
vitality. It has humor and charm and appropriateness.
And I dont know how you can get much better than that.
65
(Table 3)
64
Scott Simon (host). Creation of the musical Guys and Dolls, Weekend Edition Saturday,
National Public Radio, November 25, 2000. [website] Accessed June 22, 2014. Clip 14
http://www.npr.org/programs/weekend-editionsaturday/2000/11/25/13003410/
65
Ibid.
SS
Table 3: Adelaides Lament from Guys and Dolls.
4. Always a Bridesmaid from I Love You, Youre Perfect, Now Change
Another great comic song, Always a Bridesmaid is especially good for
beginning belters whose head voice is relatively undeveloped. The song has a
decided country-western feel. Twang resonance, typical of that style, is very
helpful in strengthening the belt voice. A more advanced belter will appreciate
this song for acting and comedic possibilities. At times it is quite low for a
soprano, with a G-sharp and F-sharp in mm.24 and mm. 25. This is a great
Measures Range Registration
1a-8a A-flat to B-flat (ascending) Mix (TA dominant), top B-
flat could be belted
10a-16a A-flat octave Mix (TA dominant),
possible belt from mm. 14-
16
End of 17a 25a D-flat to C-flat Mix (TA dominant)
End of 25a 27a E-flat to C-flat Belt (TA dominant)
End of 27a 29 D-flat to B-flat Mix (TA dominant)
Repeat: end of 29-9b A-flat to B-flat (ascending) Mix (TA dominant), top B-
flat could be belted
Repeat: 10b-13b A-flat to G natural Mix (TA dominant)
Repeat: end of 13b 16b E-flat to repeated A-flat Belt (TA Dominant)
Repeat: End of 17b 25b D-flat to C-flat Mix (TA dominant)
Repeat: End of 25b 30 D-natural to C-flat Belt (TA dominant)
End of 30-34 D-natural to C- natural Mix (TA dominant)
End of 34 38 E to B-flat Head (CT dominant)
End of 38 40 E to C Belt (TA dominant)
End of 40 48 D to B Mix (TA dominant)
49-51 D to G (descending) Belt (TA dominant)
S6
opportunity for a higher-voiced singer to employ speak-singing. Mostly sung in
TA dominant mixed or belt voice, there is an opportunity to CT dominant head
voice production in mm. 104-111 and 130-135. (Table 4)
S7
Table 4: Always a Bridesmaid from I Love You, Youre Perfect, Now
Change.
Measures Range Registration
4-33 F-sharp to G-sharp (ascending
9
th
)
Mix or Chest (TA
dominant)
34-37 B to G-sharp Belt (TA dominant)
39-43 B to G-sharp Mix (TA dominant)
43-46 G-sharp to C-sharp
(descending)
Belt (TA dominant)
End of 46-49 G-sharp to B (descending) Mix (TA dominant)
50 D-sharp to G-sharp
(ascending perfect 4
th
)
Mix (TA dominant) to
Head (CT dominant); like a
yodel
51-52 D-sharp to G-sharp Mix (TA dominant)
53-55 E to B (descending) Belt (TA Dominant)
End of 55-57 B to G-sharp Mix (TA dominant)
End of 57-59 Approximately D to F-sharp
(descending)
Speech Singing (TA
dominant)
End of 59-70 B to G-sharp Mix (TA dominant)
71-79 C-natural to A Mix (TA dominant)
End of 79-86 C to G Belt (TA dominant); End of
mm. 82 to beginning of
mm. 83 can be speech
singing
88-104 A to C Mix (TA dominant)
End of 104-111 A to F-sharp (descending) Head (CT dominant)
112-115 C to A (ascending) Belt (TA dominant)
End of 115-121 G to C Mix (TA dominant)
122-130 C to B-flat (ascending) Belt (TA dominant)
End of 130-135 A to C (descending) Head (CT dominant)
136-144 A to C (descending) Belt (TA dominant)
S8
5. I Know the Truth from Elton John and Tim Rices Aida
This is appropriate for a young singer comfortable with rhythm and blues
style and improvisation. R & B is sung slightly behind the beat. The
improvisations can be sung in the CCM genre that best suits the voice, such as
gospel or pop/rock, and most improvisations will occur at the end of a vocal line
or with a note substitution. This author recommends the song begin and end
with CT dominant alternation between head and mixed voice, reserving TA
dominant alternation between belt and mixed voice for the middle section. Most
R & B improvisation is recommended for the middle section between mm. 41-47.
The musical is based on Giuseppe Verdis opera of the same name and the
childrens storybook version of the opera written by Leontyne Price. This
character is a powerful and manipulative princess. (Table 5)
Table 5: I Know the Truth from Elton John and Tim Rices Aida
Measures Range Registration
1-15 G to F-sharp Head (CT dominant)
16-28 F-sharp to B (ascending
perfect 11
th
, compound
interval)
Mix (CT dominant)
End of 29-31 B octave Head (CT dominant)
33-39 A to F-sharp Mix (TA dominant)
41-44 B to D (descending) Belt (TA dominant)
45-55 A octave Mix (TA dominant)
56-60 D to E (descending) Belt (TA dominant)
End of 60-63 B octave (ascending) Mix (CT dominant)
64-66 B to G (descending M3) Head (CT dominant)
S9
6. I Got Rhythm from Girl Crazy or Crazy for You
This song is appropriate for an intermediate to advanced belter as the
range is high when sung in Gershwins original key of D-flat major. Any note
that may be too high to belt could be sung in head voice with similar vowel
quality and vibrato rate. There are opportunities for improvisation, based on
Ethel Mermans iconic interpretation of the song, in the repeat from mm. 29b-
44b.
The song has become a jazz standard. Its chord progression, known as
rhythm changes, can be called in any key. The form of the refrain is a 32-bar
AABA. It is commonly performed in B-flat major. (Table 6)
Table 6: I Got Rhythm from Girl Crazy or Crazy for You.
Measures Range Registration
3-26 G to D Mix (CT dominant)
29a-44a F to E-flat Mix (TA dominant)
45a-52a E-natural to G Mix (TA dominant); could
be Belt (TA dominant)
53a-59a F to E-flat Mix (TA dominant)
60a F Head (CT dominant)
End of 60a-62 E-flat to B-flat (descending
P4)
Mix (TA dominant)
Repeat: 29b-36b F to E-flat Belt (TA dominant)
Repeat: 37b-56b F to E-natural Mix (TA Dominant)
Repeat: 57b-60b F octave Belt (TA dominant)
Repeat: End of 60b-63 E-flat to B-flat (descending
P4)
Mix (TA dominant)
6u
7. Look at Me, Im Sandra Dee from Grease
This song is appropriate for the beginning belter as the range not
challenging. There are lots of opportunities to either belt or use speak-singing
(mm. 38-53, 71-78, and the end of mm. 82 to the beginning of mm. 83) if the belt
voice is not fully developed. This is a fun song, but not musically demanding.
The original stage version lyrics reference former teen idol Sal Mineo. He was
stabbed to death one year before 1978 film began production, so the line was
changed to refer to Elvis Presley instead. (Table 7)
Table 7: Look at Me, Im Sandra Dee from Grease.
Measures Range Registration
7-18 A octave Mix (TA dominant)
End of 18-21 E to B Belt (TA dominant)
23-35 A octave Mix (TA dominant)
End of 35-37 G-sharp to B Belt (TA dominant)
38-53 E to B Mix (TA dominant); can be
speech singing
55-66 A octave Mix (TA dominant)
End of 66-70 G to B Belt (TA dominant)
71-78 C to A Mix (TA Dominant); can be
speech singing, text
changed in film version
79-82 B-flat octave Mix (TA dominant)
End of 82-beginning of 83 Approximately G Speech Singing (TA
dominant)
End of 83-89 A to C Belt (TA dominant)
61
8. My New Philosophy from Youre a Good Man, Charlie Brown
This song is appropriate for a young singer with strong musicianship
skills due the exposed nature of the vocal line. A common pitfall to be avoided is
constriction to achieve a child-like sound. The song alternates between mixed
and belt voice TA dominant production and there are several opportunities to
employ speak-singing in mm. 19-23, 49-50, and 53-54. The song appears as a duet
between Sally and Schroeder with a guest appearance by Lucy at the end in the
show. The composer Andrew Lippa, as a solo version for publication, created the
score used for study in this essay. (Table 8)
62
Table 8: My New Philosophy from Youre a Good Man, Charlie Brown.
9. Blow, Gabriel, Blow from Anything Goes
This song is for an intermediate to advanced student with well-established
belt voice as the range is quite high. A charismatic performer with the ability to
command the stage as a singer, actor, and dancer is recommended. The song
begins with speak-singing in mm. 1-8 then regularly alternates between belt and
mixed TA dominant production. Students without well established high belt
technique could sing the highest notes in head voice with similar vowel quality
and vibrato rate. (Table 9)
Measures Range Registration
3-17 B octave Mix (TA dominant)
19-23 Approximately B Speech Singing (TA
dominant)
25-38 D octave Mix (TA dominant)
39-45 B to E-flat Belt (TA dominant)
47-48 E to B-flat Mix (TA dominant)
49-50 Approximately G Speech Singing (TA
dominant)
51-52 E to B Mix (TA dominant)
53-54 Approximately G Speech Singing (TA
dominant)
55-60 C to F-natural Mix (TA dominant)
61-62 C to F-sharp Belt (TA dominant)
66-73 B octave Mix (TA dominant)
78-85 (Short Ending) D octave Belt (TA dominant)
78-84 (optional long
ending)
D octave Belt (TA dominant)
End of 89-91 (optional long
ending)
D octave Belt (TA dominant)
6S
Table 9: Blow, Gabriel, Blow from Anything Goes.
10. On My Own from Les Misrables
This ballad could fall into the overdone category and is recommended
for assignment to an intermediate to advanced student with a well developed
mixed and belt voice. On My Own is straightforward in terms of registration
issues. It is suggested that the young singer begin and end the song in CT
dominant head voice, mm. 7-17 and 51-55. It is recommended the singer be
comfortable with the contemporary pop sound. (Table 10)
Measures Range Registration
1-8 Approximately B Speech Singing (TA
dominant)
End of 8-12 F to C Mix (TA dominant)
13-16 D to G (ascending P4) Belt (TA dominant)
End of 16-24 A octave Mix(TA dominant)
End of 24-37 G to A (ascending 9
th
) Mix (TA dominant)
End of 37-40 C to D (descending) Belt (TA dominant)
End of 40-49 G to A (ascending 9
th
) Mix (TA dominant)
End of 49-56 A to C (ascending 10
th
) Belt (TA Dominant)
End of 56-61 C to A Mix (TA dominant)
End of 61-63 E to A Belt (TA dominant)
64-76 A to C (ascending 10
th
) Belt (TA dominant)
End of 76-88 D to C Mix (TA dominant)
End of 88-100 C to E (ascending 10
th
) Belt (TA dominant)
64
Table 1u: "0n Ny 0wn" fiom "#$ %&$'()*+#$,
Measures Range Registration
7-17 A to B-flat (ascending 9
th
) Mix (CT dominant)
End of 17-18 G to D (descending P4) Belt (TA dominant)
19-25a A octave Mix (TA dominant)
End of 25a-27a G to A (descending 7
th
) Belt (TA dominant)
End of 27a-20b (repeat) A to E Mix (TA dominant)
End of 20b-21b (repeat) A to D Belt (TA dominant)
End of 21b-25b (repeat) A to F-sharp Mix (TA dominant)
End of 25b (repeat)-33 D to B-natural Belt (TA Dominant)
End of 33-35 B-flat to E Mix (TA dominant)
End of 35-37 C octave Belt (TA dominant)
End of 37-43 C to B-flat Mix (TA dominant);
possible crescendo to Belt
(TA dominant) at 41-43
End of 43-51 C octave Belt (TA dominant)
End of 51-55 C to A Head (CT dominant)
6S
CHAPTER 4
CONCLUSION
Areas for Further Research
Considerable scientific research remains to be done to better understand
the physiological phenomenon of belting. The term belting applies to such a
wide spectrum of repertoire, which is one reason why the term is confusing for
professionals. Jeannette LoVetri states: it is simply not true that there is one way
to make a belt sound, any more than there is one way to sing a classical
soundeach of these kinds of singing requires a different configuration of the
source and filter, different activities in the articulators, and use of the breath.
66
Quantifiable research is sparse on what is aesthetically acceptable for
nonclassical singing. Some nonclassical sounds are not considered beautiful,
but rather thrilling, intense, dramatic, and realistic.
This author plans to further develop a pedagogy by which symbols could
be used to expand on standard western music notation to include color, timbre
and other features specific to belting and flexibility of style. A variety of such
symbols can be seen in nonwestern music notation (Japanese, Korean, etc.) and
can offer a creative solution to teaching voice.
67
Vocal pedagogues could draw upon common ground between classical
singing and belting, while acknowledging the significant differences in source
filter production while embracing those differences. This author recommends
66
LoVetri, More Than One Way to Use the Vocal Tract, 250-251.
67
Correspondence with Dr. Cynthia Schmidt regarding Non-Western notation methods,
June 27, 2014.
66
that university voice teachers engage to familiarize themselves with the sounds,
styles, techniques and performance practices of belting.
67
APPENDIX A
DEFINITION OF TERMS
Pedagogical
Belting (vocal belting) is a technique of singing by which a singer produces
a very loud sound in the upper-middle part of the vocal range. This range is
sometimes referred to as a vocal register, but that term is a misnomer, as the
larynx itself does not change its oscillation during a belt.
68
Chest voice is one of the terms most consistently misused by voice
professionals. It can mean a vocal register, part of the vocal range, a vocal
resonance area, or a specific vocal timbre.
69
For the purpose of this essay, chest
voice describes singing produced primarily by the thyroarytenoid (TA) muscles
of the larynx, resulting in excessive resonance in the lower formants. The vocal
production may be perceived as heavy. Chest voice is used more regularly and
carried higher through the vocal range in musical theater singing than in classical
singing.
The thyroarytenoid (TA) muscle is a paired intrinsic laryngeal muscle that
makes up the bulk of the vocal fold. Also called the vocalis muscle, it is the
primary muscle for producing the lower pitches of the singing voice.
70
In musical
theater singing, this muscle is used at higher pitches than in classical singing.
68
Karyn OConnor, Sing Wise, [website] http://www.singwise.com/cgi-
bin/main.pl?section=articles&doc=BeltingTechnique Accessed July 19, 2014
69
McKinney.
70
Ibid.
68
Head voice denotes a particular part of the vocal range, type of vocal
register, or a vocal resonance area.
71
The term is used to describe singing
produced primarily by the cricothyroid (CT) muscles of the throat. Head voice
has become common parlance to distinguish the sympathetic vibrations in the
head area felt when singing higher pitches. It is produced in the larynx. Classical
singing is dominated by the use of head voice.
The cricothyroid (CT) muscle is a set of paired intrinsic laryngeal muscles
that are used primarily to control the vocal folds and help the vocal folds to
vibrate by stretching them. In the classical female voice, the vocal production is
head voice (CT) dominant, while much of the singing for the musical theater
female voice is chest voice (TA) dominant. The CT muscle also helps to control
pitch and is therefore used in all singing.
72
Mixed voice is more difficult to define than head and chest voice. However,
it is an important vocal technique for any musical theater singer and is the most
common vocal technique used today. It is a blend between chest and head voice,
and is an important transitional technique between the two. While scant research
exists regarding mixed voice, it employs a combination of both TA and CT
muscles, balanced via vowel and resonance tuning to smooth the transition
between head and chest voice. This concept is controversial, as some voice
specialists regard it as a perceptual phenomenon rather than a physiological
71
Ibid.
72
This definition is drawn from two sources, Karyn OConnor, The Larynx: Structure
and Function: Intrinsic Muscles of the Larynx Singwise [website] available from:
http://www.singwise.com/cgibin/main.pl?section=articles&doc=LarynxStructureAndFunction
&page=2 Accessed 12 October 2012 and Mary Saunders Barton, Bel Canto, Can Belto: Teaching
Women to Sing Music Theater producer Penn State Public Broadcasting, Penn State Media Sales,
2007, DVD video.
69
register. An important factor to consider is vocal cord adduction, which is a
critical variable for register manipulation. The shape of the vocal fold medial
surface must be considered as it becomes more convergent when the singer
moves into head voice. This is due to decreasing contraction of the TA muscle.
73
The larynx is an organ in the neck of amphibians, reptiles, and mammals.
The primary function of the larynx is to protect the trachea from food aspiration.
Breathing and sound production are spandrels. This organ houses the vocal
folds, which are essential for phonation.
74
Sound is generated in the larynx and
that is where pitch and volume are manipulated. The larynx is capable of
movement up and down. As it relates to belting, this movement is the subject of
much scientific investigation. Some scientific data show the larynx assumes a
high position in belting, and is lowered in classical singing.
75
The pharynx is part of both the digestive and respiratory systems and is the
region directly above the larynx, below the velum (soft palate) and posterior to
the oral cavity. It is a flexible tube that can both stretch and constrict. In classical
singing, it is stretched, whereas in musical theater singing, the position can be
slightly lowered.
The vocal folds are a paired system of ligaments in the larynx that oscillate
to produce sound. The vocal folds consist of two wedge-shaped, multi-layered
bundles of muscles with ligamental edges covered by a mucous membrane. The
vocal folds are a complex tensing and relaxing system; they can shorten, contract
73
Boardman. 2.
74
McKinney.
7u
laterally, and vary in length and thickness during vibration. Part of them can
tense while the rest stay relaxed.
76
(Figure 13)
Closed Quotient (CQ) refers to the duration of the closed phase of the
vibratory cycle in which the vocal folds close the glottis. Generally, in classical
(CT) vocal production,
77
the CQ is less than 40 percent. Fifty-two percent is the
marker for chest voice (TD) production while belters can exhibit a CQ as high as
70 percent.
Formants are resonances in the vocal tract. Their frequencies and
amplitudes shape the radiated spectrum. To achieve the best sound, singers
regularly modify the dimensions of the vocal tract, adjusting the resonance
frequencies of the vocal tract to amplify certain harmonics of the voice source.
Resonance strategies are well documented for classical singing; they have not
been systematically studied in belting.
78
(Figure 4)
Singers formant is a prominent cluster of intense acoustic energy
consisting of strong third, fourth, and fifth formants. This cluster results from the
cumulative distribution of upper harmonic partials that is present in the
frequency spectra of trained singing voices only. This formant, which seems to be
independent of the particular vowel and pitch, adds brilliance and carrying
power to the voice.
79
76
Boardman. 2.
77
Generally, belting is a Thyroarytenoid dominant type of vocal production, and
classical singing is a more Cricothyroid dominant type of vocal production.
78
Schutte and Besterbreurtje, 194.
79
OConnor.
71
Figure 14: The larynx, Henry Gray, Anatomy: Descriptive and Surgical, 20th ed.
(Grammercy Books, New York, 1918): Figure 959. The 20th edition of Grays
Anatomy is available in public domain in the USA.
72
Repertoire
Ballad is a term used in CCM and describes a song in a slower tempo. All
styles of musical theater repertoire that employ a slow tempo are ballads.
80
Up-tempo is a term used in CCM to describe a song with a fast moving
tempo.
81
Triple threat is a term used in theater to describe someone who can sing,
dance, and act.
80
Lebon. 34. Most musical theater auditions require a singer to come prepared with 16
bars of a ballad and 16 bars of an up-tempo selection to demonstrate vocal and stylistic contrast.
In the past, there was no distinction of genre or style, but that is changing.
81
Ibid.
7S
APPENDIX B
CONTEMPORARY COMMERCIAL MUSIC 1930s - PRESENT
Musical exchange between performers gained importance, as the leading
singers of the time acquired their skill and training by performing with big bands
and listening to each others shows and recordings. Female big band singers of
the time included Billie Holliday, performing with Count Basie and Artie Shaw;
Ella Fitzgerald with Chick Webb and Duke Ellingtion; Sarah Vaughan with Billy
Eckstine; and Peggy Lee with Benny Goodman. Two of the marquee
82
male
performers were Frank Sinatra and Bing Crosby.
Rock and roll, and the emergence of rhythm and blues, dominated the
period from 1950-1960. The term rhythm and blues (R&B) became vernacular
in the 1940s when Billboard magazine used it as a substitution for the term race
records. The use of electric guitars distinguished the idiom. Due to the
amplification and the pervasive dance rhythms, singers of rock and roll and R&B
reverted to an aggressive, shouted delivery. The emphasis was on audience
impact rather than content. B.B. King, Chuck Berry, and Little Richard were the
leading artists in this style and influenced the future British rock invasion.
83
The dance-driven style of R&B was eventually adopted and adapted by
white artists, and became popular with white youth. This style, dominated by
male performers like Bill Haley and Elvis Presley, is rock and roll. Top female
performers during this time including Connie Francis, Patti Page, Rosemary
82
A marquee performer is the main performer in a show, whose name will attract the
most attendance.
83
Lebon, 12.
74
Clooney, and Doris Day sang in an understated style. Not many female R & B
performers gained nationwide prominence, with the exception of Dinah
Washington and Della Reese. Washington and Reese performed with a more
aggressive singing style associated with male R & B performers. Several all-
female groups also performed in this style, including the Crystals, the Ronnettes,
and the Chiffons.
84
Female vocalists from the country-western idiom of the 1950s displayed a
more powerful belted vocal delivery. Tammy Wynette, Patsy Cline, Brenda Lee,
and Loretta Lynn all sang within their speaking range, with regional accents. The
incorporation of vocal cry (a sob-like style) was one important aspect in their
interpretations. The merger of country and R&B produced country rock and
rockabilly, typified by the musical styles of Elvis Presley, Carl Perkins, and Jerry
Lee Lewis.
85
Another important vocal development was the arrival of the teen idol: a
crooner with a large teenage fan base. These heartthrobs included Fabian, Bobby
Rydell, Bobby Vee, Paul Anka, and Frankie Avalon. Television became an
important medium for the development of hit tunes. By the early 1960s, the
popularity of the crooner and over-commercialized white performers was
waning, setting the stage for the British Invasion.
86
By 1963, several British groups that claimed influence from African-
American musicians such as Chuck Berry and Muddy Waters became popular in
84
Ibid. 30.
85
Ibid. 31.
86
Ibid.
7S
the USA, including the Beatles, the Rolling Stones, the Kinks, and the Who. The
leading British female vocalists of that time, such as Petula Clark, Lulu, and
Leslie Gore, used a more aggressive, belted approach to singing.
87
By the late 1960s, the sought-after vocal style sought was aggressive
belting. Rock music incorporated stylistic elements from soul, folk, country, and
jazz, resulting in hybrid forms such as jazz-fusion, country rock, and funk.
Leading female artists of this time included Grace Slick, Janis Joplin, Linda
Ronstadt, Helen Reddy, and Olivia Newton-John.
88
Soul is a sub-genre of R&B. Ray Charles and Aretha Franklin contributed
to the secularization of gospel into soul. Motown, the Detroit-based recording
company, was the heartbeat of an entire style that provided the connection
between gospel and popular music. Characteristics of the soul vocal style include
slurring into the beginning of the vocal line; improvisations and ornamentations
of words; wide vibrato; and the use of falsetto, growls, screams, wails, and
shouts.
89
The 1970s also brought more sophisticated studio equipment, plus the
development and refinement of electronic drums, keyboards, and synthesizers.
Notable artists of that era include Donna Summer, a belter, and Steven Tyler of
Aerosmith, also known as the Demon of Screamin.
The 1980s continued the high-level wave of vocal exertion. Popular male
belting artists such as Steve Perry of Journey and Lou Gramm of Foreigner had
87
Ibid.
88
Ibid.
89
Ibid.
76
high, edgy voices. Their exploration of chest voice belted to their highest limits
was an inspired progression from the high falsetto singing of the Bee Gees.
Female belters of this era included Irene Cara, Juice Newton, Laura Branigan,
and Pat Benatar.
90
90
Ibid.
77
APPENDIX C
REPRESENTATIVE VIDEOGRAPHY
When this author was first asked to teach musical theater and belting
years ago, there were few pedagogical resources. The belting technique was self-
taught. Observation of live performances and videos were an important resource
for the author to acquire the necessary techniques.
1. Roxie from Chicago performed by Renee Zellweger
http://www.youtube.com/watch?v=J-_HTUapDQo
Summary: Observe how Renee Zellweger uses the resonance of her
natural speaking voice to her advantage with very little visible tension. Note the
use of TA dominant belt at the end on Sophie Tuckerll shit, I know.
Renee Zellweger had not studied voice before appearing in the film
version of Chicago. In his interview for Playbill, Andew Gans asked:
What was your musical background? Had you
done musicals in high school or college?
RZ: I tried out for Hair in college, and I watched
Hair from the audience and enjoyed it very much . . .
I sang in the shower a lot, and my brother told me
to shut up a lot, and I sang a couple of notes in
"Empire Records." I played a girl who wants to be
a singer but who's too scared to sing and can't really
sing, so there's that. And, then, of course, there were
a couple of fabulous vocal moments in "Bridget Jones."
Q: Did you study voice at all for the film?
RZ: Yeah, we had class. I didn't know how to sing
properly. I didn't know how to enunciate. I thought
singing was hitting the tunes . . . I didn't understand
about the silent breath, the diaphragm. I didn't understand
about enunciating and elongating your words, and I
78
didn't know how to breathe properly and how to protect
your vocal chords. I didn't know, so I learned. And, I
didn't know the songs [laughs], and that's kind of a
problem, so I had to become familiar with that. And that
was all part of singing class at the Rob Marshall School of
"Chicago" in Toronto.
91
2. On the Steps of the Palace from Into the Woods performed by Kim Crosby
http://www.youtube.com/watch?v=4NV_Cd3csTA
Summary: Notice Kim Crosbys lovely mixed voice quality (CT dominant)
in the opening sung measures. Crosby uses this quality to move easily into her
head voice for the higher pitches. Also employing the natural resonance of her
speaking voice for dramatic or comedic effect.
Into the Woods has been produced many times since its premiere in San
Diego in 1986. The musical intertwines several Brothers Grimm Fairytales and
follows them to explore the characters wishes and quests. It has also been
adapted to a junior version suitable for schools with the entire 2
nd
act removed,
allowing it to fit into a 60- to 80-minute performance time versus the original 3
hours. The song keys are also transposed to be more suitable for young voices.
3. Adelaides Lament from Guys and Dolls performed by Vivian Blaine
http://www.youtube.com/watch?v=Ovsb8_vjWLE&feature=kp
Summary: Vivian Blaine uses forward placement while keeping the naso-
pharyngeal port closed. The soft palate is highly placed. Mostly sung in mixed
91
Andrew Gans, Diva Talk: A Chat with Renee Zellweger, the Hart of Chicago, plus
Diva News, Playbill [website] http://www.playbill.com/celebritybuzz/article/77137-DIVA-
TALK-A-Chat-with-Rene-Zellweger-the-Hart-of-Chicago-PLUS-Diva-News Accessed July 27,
2014.
79
voice that is either TA or CT dominant until the last page where she employs TA
dominant belt voice.
The role of Adelaide was specifically created for Vivian Blaine after she
was not chosen to portray Sarah Brown. The ability to do a dialect could be
helpful as well, dependant upon directors choice. Its a great piece for anyone
beginning to belt; on the other hand, the character should be cast a bit older for
the show, since Adelaide has been engaged to Nathan Detroit for 15 years. This
show is also popular among high school musical directors.
4. Always a Bridesmaid from I Love You, Youre Perfect, Now Change performed
by Traci Laborde
http://www.youtube.com/watch?v=qhMIvVfmYyA
Summary: Notice Traci Labordes classic belters mouth, narrow,
horizontal shape with lots of teeth showing. She is able to employ the twang
resonance required of the style without using full nasal resonance. Observe the
modified open vowel on own on the last page.
I Love You, Youre Perfect, Now Change is the second longest running Off-
Broadway musical. It closed at the Westside Theater on July 27, 2008 after a run
of 5,003 performances.
92
The musical has been translated into at least fourteen
languages.
92
Andrew Gans, I Love You, Youre Perfect, Now Change Ends NYC Run After More Than
a Decade July 27 [website] http://www.playbill.com/news/article/119818-LAST-CHANCE-
Playbillcoms-Reminder-of-NYC-Shows-Closing-July-27 Accessed June 22, 2014.
8u
5. I Know the Truth from Elton John and Tim Rices Aida performed by Sherie
Ren Scott
https://www.youtube.com/watch?v=Dw0yt8it134
Summary: Sherie Ren Scott begins in CT dominant mixed voice making
the intervallic leaps more accessible. Sung in R & B style, slightly behind the beat.
Scott moves into a TA dominant belt in the second refrain. She also employs
typical R & B ornaments. Scott ends the song in the same registration in which
she began, CT dominant mixed voice.
Disney had acquired the rights for an animated feature film, but the
project was shelved. The source material for the film developed into the
Broadway musical. This song appears in Act II; the singer, Amneris, is trying to
face the fact that her upcoming marriage to Radames is bogus. Sherie Ren Scott
originated the role of Amneris and received the award for Most Promising
Actress in 2000 for her performance. Notable replacements for the role include
Idina Menzel, Taylor Dayne, and Lisa Brescia.
6. I Got Rhythm from Girl Crazy or Crazy for You performed by Ethel Merman
http://www.youtube.com/watch?v=v4hI-xhGZug Televised in 1956.
http://www.youtube.com/watch?v=lJTsKhool5g Released in 1994.
Summary: Ethel Merman easily switches between nasal and non-nasal
belt. Easily moving into her upper register. Very clear articulation and phrasing.
Girl Crazy introduced Ethel Merman to Broadway in 1930. Mermans tale
of her introduction:
Once upon a time, back in 1930, I stepped out on stage at
the Alvin Theater in New York, got hit in the kisser with a
big spotlight, and found myself in big-time show business.
81
It was in a thing called Girl Crazy, which boasted Ginger
Rogers, Willie Howard, and the DeMarcos, and a great
score by George Gershwin. One of the songs I did that
memorable night was I Got Rhythm. And as I was
riveted in the second chorus I held on to a high C like it
was from Tiffanys, and the last one in the world.
Anyway, it was a show stopper. It sort of launched me
on my way, so I guess you cant blow the whistle on me
for saying its one of my special favorites. It goes like
this. And brother, how it goes.
93
The song is also included in the 1992 Broadway show, Crazy for You.
7. Look at Me, Im Sandra Dee from Grease performed by Stockard Channing
http://www.youtube.com/watch?v=Uz5D-D7VYmY
Summary: Stockard Channing employs the natural resonance of her
speaking voice to her advantage. She mostly uses TA dominant mixed voice,
employing belt or speak-singing for key dramatic moments.
The score of Grease recreates the sound of early 1950s rock and roll. It is
named for the 1950s working class youth subculture known as greasers.
Originally, quite a raunchy show, subsequent productions were sanitized. The
show explores teenage sexuality, class-consciousness and conflict. This song is a
good example of this conflict. In the stage musical the song happens at a picnic.
Betty Rizzo is making fun of Danny Zuko for falling in love with a girl like Sandy
Dumbrowski comparing her to the virtuous teenage screen ingnue Sandra Dee.
In the film, this scene is at Frenchys pajama party where Rizzo makes fun of
Sandy after she falls ill from trying a cigarette, alcohol and getting her ears
pierced by Frenchy. The musical was first performed in 1971 in Chicago. It has
93
Ethel Merman, A Musical Autobiography, Decca DXB 153.
82
been successful on stage and screen. The Chicago production moved to
Manhattan in 1972 and was deemed eligible for the 1972 Tony Awards. The first
New York production was presented Off-Broadway with first-class Broadway
contracts. The film was produced in 1978. The film version of this song was also
presented on the TV show Glee in Season 4, Episode 6. The film version is
included for study with this essay.
8. My New Philosophy from Youre a Good Man, Charlie Brown performed by
Kristin Chenoweth
http://www.youtube.com/watch?v=tRa7WNmRakY
Summary: Kristin Chenoweth uses her the natural resonance of her
speaking voice to move easily between belt, mixed, and head voice. Observe the
belters mouth especially in the last measures.
This song, composed by Andrew Lippa, is from the 1999 revival of Youre
a Good Man, Charlie Brown. The show is made up of a series of character-centric
vignettes with a musical number for each one. In the revival, the character of
Patty was replaced with Sally Brown. Kristin Chenoweth created the character,
and her performance won her the 1999 Tony Award for Best Featured Actress in
a Musical. Bruce Brantley, reviewer for The New York Times, wrote, Kristin
Chenoweths performance as Sally will be the part that should seal her
reputation.
94
Sally Brown is a cute but angry kindergartener.
94
Ben Brantley, Theater Review: Your Sisters Gutsy, Charlie Brown, [website]
http://www.nytimes.com/1999/02/05/movies/theater-review-your-sisters-gutsy-charlie-
brown.html Accessed June 22, 2014
8S
9. Blow, Gabriel, Blow from Anything Goes performed by Sutton Foster
http://www.youtube.com/watch?v=L-Ql-fduIdM
Summary: Sutton Foster begins the song with the belters mouth. She
also employs more twang resonance to move easily between the very low range
and the middle range. Notice Fosters very centered, non-athletic breathing in the
dance section in the middle. She conserves breath energy and does not sound
winded in her sung entrance after the dance portion. There is no clavicular
breathing.
Ethel Merman (1937), Patti LuPone (Drama Desk Award 1987), Elaine
Paige (Nominated for Laurence Olivier Award 1989), and Sutton Foster (Tony
Award 2011) have created and re-created the role of Reno Sweeney. This
character is confident, sassy, and sexy. This song should also be assigned to a
triple threat singer who is an excellent tap dancer. In an interview for Dance
Magazine, Sutton Foster describes the role thus:
I had never really delved into a character so unlike me.
Its the showiest, the brassiest the most commanding
role Ive ever played. I had to cover my mirrors with
words like youre awesome , you rock , you deserve
this you know total affirmations, so that I could stand
on stage and be like , Yeeeeah!
95
10. On My Own from Les Misrables performed by Lea Salonga
http://www.youtube.com/watch?v=VjfmP7h3gBw
Summary: Lea Salonga employs active articulation in the opening
recitative section as well as easily moving between TA and CT dominant mixed
voice. She uses contemporary pop inflection and phrasing when the song begins.
95
Sylviane Gold, Shes the Top, Dance Magazine December 2011 [website]
http://www.dancemagazine.com/issues/december-2011/Shes-the-Top Accessed June 27, 2014
84
Salonga employs TA dominant for the first in the bridge section. She uses
clavicular breathing for dramatic effect on All my life Ive only been
pretending. Notice her vowel modification on known at the end of the song.
One of the most famous songs from this show, this is ponines solo. Les
Misrables opened in 1985 in London by the Royal Shakespeare Company. The
initial reviews were negative. Literary scholars condemned the project for
converting a literary classic into a musical. The public disagreed: Les Miz put
up record numbers at the box office. As of November 2013, the show has
received 11,603 performances in the West End and it is still running. The
Broadway production closed in 2003 after 6,003 performances.
8S
APPENDIX D
REPRESENTATIVE MUSICAL SCORES
1. Roxie from Chicago Music: John Kander, Lyrics: Fred Ebb in The Singers
Musical Theatre Anthology, Volume 4, Mezzo-Soprano/Belter, Milwaukee, WI:
Hal Leonard Corp.
2. On the Steps of the Palace from Into the Woods Music and Lyrics: Stephen
Sondheim in The Singers Musical Theatre Anthology, Volume 4, Soprano,
Milwaukee, WI: Hal Leonard Corp.
3. Adelaides Lament from Guys and Dolls Music and Lyrics: Frank Loesser in
The Singers Musical Theatre Anthology, Volume 2, Mezzo-Soprano/Belter,
Milwaukee, WI: Hal Leonard Corp.
4. Always a Bridesmaid from I Love You, Youre Perfect, Now Change Music:
Jimmy Roberts, Lyrics and Book: Joe DiPietro in The Singers Musical Theatre
Anthology, Volume 3, Mezzo-Soprano/Belter, Milwaukee, WI: Hal Leonard Corp.
5. I Know the Truth from Elton John and Tim Rices Aida Music: Elton John,
Lyrics: Tim Rice in The Singers Musical Theatre Anthology, Volume 4, Mezzo-
Soprano/Belter, Milwaukee, WI: Hal Leonard Corp.
6. I Got Rhythm from Girl Crazy or Crazy for You Music: George Gershwin,
Lyrics: Ira Gershwin in The New York Times: Gershwin: Years in Song, New York:
Quadrangle: The New York Times Book Co.
7. Look at Me, Im Sandra Dee from Grease Music, Lyrics, and Book: Jim Jacobs
and Warren Casey in The Singers Musical Theatre Anthology, Volume 2, Mezzo-
Soprano/Belter, Milwaukee, WI: Hal Leonard Corp.
8. My New Philosophy from Youre a Good Man, Charlie Brown Music, Lyrics,
and Book: Clark Gesner; Andrew Lippa added songs for the Broadway revival in
The Singers Musical Theatre Anthology, Volume 3, Mezzo-Soprano/Belter,
Milwaukee, WI: Hal Leonard Corp.
9. Blow, Gabriel, Blow from Anything Goes Music and Lyrics: Cole Porter in
Anything Goes: Vocal Selections: Revival Edition New York: Warner Bros.
Publications, Inc.
10. On My Own from Les Misrables Music: Claude-Michel Schnberg, Lyrics:
Herbert Kretzmer and Alain Boublil in The Singers Musical Theatre Anthology,
Volume 2, Mezzo-Soprano/Belter, Milwaukee, WI: Hal Leonard Corp.
86
APPENDIX E
PERMISSIONS
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Re: Sciandmed.com Contact Form - MPPA Estill
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Sent:Tuesday, June 10, 2014 3:13 PM
To: Jennings, Colleen A
Date: May 22, 2014
Dear Ms. Jennings:
Material:
Figure: page 39 (Fig 2)
Article: Belting and classic voice quality: some physiologic differences.
Estill J.
Med Probl Perform Art 3 (1): 37, March 1988.
Proposed Use: dissertation
Title:
Publisher/university: Univ of Iowa
Pub Date: 2014
Thank you for your note requesting permission to reproduce/excerpt material
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As requested in your email dated June 9, 2014, we hereby grant you
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87
88
APPENDIX F
ADDITIONAL VOCALISES FOR BELTING
These exercises can be sung on the vowel of choice. For beginning belters,
closed vowels allow for more facility.
96
Sing these on [] or [i].
Figuie 1S: Auuitional vocalises foi belting. 0se |j oi |ij.
96
Based on exercises from Mary Saunders Bartons Bel Canto, Can Belto.
Voice
Glissando
Head Speech
Head Speech
Speech Head
Speech Head
Head Speech Head
Vocalize Belt
_
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89
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9u
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