Tag Archives: belting

The voices of Carrie Underwood, Adele, Kelly Clarkson, Steven Tyler, John Mayer

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Chest voice and head voice are terms for describing where the sound resonates in your body when you sing. In other words, the sound timbre or “color” of a voice quality at a certain pitch.  Singing teachers have argued for centuries over these concepts, and continue to do so.

Most singers have experienced these sensations, and know what true chest voice and head voice feel like. Singers usually recognize they feel very different. To some singing teachers, this is how the voice is taught. They teach you to sing in one register or the other.

With Speech Level Singing, and here at Bee Music Studios, students learn how to sing throughout their entire range while negotiating the transition from their chest voice to their head voice. This is called mixing. Singing in a mixed voice means the singer has the ability to maximize their chest resonance on low notes and head voice on high notes.

At Bee Music Studios we take mixing a step further. Once a singer can ascend and descend throughout their entire range with ease, a singer can learn how to maximize the “illusion” of chest voice on high notes. This is a voice quality frequently heard in rock, pop, country, R&B and opera! (Just listen to Pavarotti).  This illusion is created when the thyroid cartilage in the larynx tilts forward. Tilting of the thyroid cartilage causes the vocal cords to thin and stretch.  This is a very healthy way to sing high notes.

Some singers can actually tilt their cartilage and sing with thick folds. This is not recommended for amateurs, and in fact, takes a great deal of self awareness to achieve this balance without vocal trauma.

Here is a link to Carrie Underwood who does a fabulous job of singing with thick folds and a tilted cartilage. She can manage this because she has great breath control and self awareness. Notice the chin rising for the belt notes. There are other coordinations going on as well here, but that’s for another post!  The action really happens at the one minute mark. (FYI Kelly Clarkson is a master of this as well).

http://www.youtube.com/watch?v=hvTwFl6OIAk

So what’s the difference between Adele’s voice and Carrie Underwood’s voice?

The issue with Adele’s voice is too much air passing through the vocal cords on high notes. This can be damaging to the vocal cords.

Adele’s voice is “chestier” and that’s why we love it!  She has a lot of breath escaping and that adds character to her sultry, smoky voice.  The problem is, all this breath passing through the cords can cause havoc to a singer’s vocal cords when trying to reach high notes. The more air coming through the vocal cords, the harder it is to control. Maybe with more tilting of the cartilage, Adele can still achieve the sound we love to hear, without all the breath.

This is a prime reason why John Mayer has already had trouble with his voice, and yet Steven Tyler continues to scream regularly with no issues whatsoever after 40 years!

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Changing your sound

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There are many variations in sound quality you can make simply by altering the shape of your vocal “tube” or tract.

Your tube is the length and area where your breath passes as it blows through your vocal cords. Moving the “house” or “voice box” gives you many options. Knowing how to move it up or down will instantly change the sound of your voice. When your voice box (larynx) is lower in your throat, you have lengthened your tube creating a darker, more robust sound. Move your larynx up, and you have shortened your tube to create a thinner more piercing sound. The entire voice box can tilt as well.

The tongue, soft palate, and shape of the mouth will give you many vocal colors to play with. When the soft palate is low for instance, the breath may escape through the nose changing the sound. If the tongue is high there is added resistance to the breath creating a pressure change which is essential for the “belt” sound.

These are just a few options that can add texture and interest to your voice.

 

How to Belt

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I stumbled on this video and it prompted me to write this post. Take a moment and watch this first. http://www.youtube.com/watch?v=x5eKV3AgxJY

Expert Village should be ashamed of themselves for posting this. It certainly has tarnished my impression of anything they post as being “expert”.

First, let me state….I’m no expert! However, I do try to keep up with the latest information about belting.

Let’s first look at what’s wrong with this video instruction:

To simply state that belting is speech-like shouting (as in her demonstration) is not going to help any singer learn how to belt!

Here are my recommendations:
First, every singer who wants to understand and learn to “belt” needs to know where their register shifts are, and what they feel like.
Belting in it’s safest form should be coordinated through a balance of all registers….chest/middle/head. If the note being belted is in the chest voice range, it is safest to have at least a component of middle to head voice resonance in a balanced coordination that is manageable by the singer.

This video is implying that belting is simply shouting. If that were the case, belting would only be harmful to the voice. That is incorrect, belting can be done efficiently without harm. BUT, not by watching this video!!

Singing Isn’t Rocket Science….

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Learning to sing better isn’t rocket science. However, difficulty can arise when a singer wants to sound like someone else.

You know what I mean. Singers may want to sound like Josh Groban, Charlotte Church, Christine Aguilera, Steven Perry, Barbra Streisand….the list goes on. We all have our favourite voices that we try to emulate.

All the above voices are different in genre, style, texture and range. Let’s face it, no two voices are alike. That’s the beauty of being an unique singer! It’s not wrong to try and copy other voices, and in fact, I think it is an integral part of growing and exploring your voice. However, your voice is unique to you, and your instrument will not sound like anyone else’s on the planet.

I suggest you change your thoughts to your preferred style and genre of voice instead of a specific singer.

When looking for a voice teacher, make sure that teacher can sing the same style of music you want to sing. Classical singing technique will typically only teach you how to sing classical and opera music. Good vocal technique to sing Broadway is sometimes hard to find. You need a teacher who understands how to belt correctly (in a strong chest mix without strain) so that the voice can be free to sing notes that are loud and very high.

And guess what? If you can find a teacher who can teach you a strong “safe” Broadway belt, then you have probably found a teacher who can teach you country and pop and jazz too. Rock singing can be a challenge, so if you are a rock singer then be absolutely sure you have a teacher who knows what they are doing! This genre of singing can be extremely dangerous on the vocal cords.

Questions or comments? Leave me a message.

 

Learning how to “belt” sing

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There is much debate over what is “belting” in pop music and Broadway, let alone how to actually do it. I am a self-taught belter, and in fact never had any singing lessons until I was in my late 20’s, at which time I had already been singing with a band professionally for a number of years.

If you are classically trained, then belting may not be easy. You may need to undo some of the things you have been taught. If you have no training, then hopefully I can take away some of the mystery as to why you don’t sound as good as your favourite “belter”.

I would describe belting as singing above your first bridge (break, passagio) with thinning cords that are slightly stiffened with very little breath passing through, and a stable, tilted larynx to provide adequate twang. This gives the illusion of a strong chest voice `in the mix“. The belt I’m describing is the sound of Whitney Houston, Kelly Clarkson, Freddie Mercury or Adam Lambert. You know, the “big note” sounds in popular music. This is not the musical theatre belt sound.

The bridge is the area in your voice that differentiates your chest register from your head register. For women this is around A flat (above middle C) to B flat or even B, and for men it is around E flat above middle C to F or even G flat.

These are important areas of the voice. These are also very difficult areas of the voice for most singers. The way a singer handles this area will determine if (s)he can learn to belt safely or not. A singer must be able to maintain cord closure while ascending from the chest register into the head register. In order to main closure, the larynx must tilt and allow the cords to stretch and thin. This is called your mixed voice.  Belting requires extreme control of your mixed voice.

As you ascend in pitch keep that connection but allow the transition to mixed voicing. You will almost start to sound like a cartoon character. (This is the ability to add a cry to your voice to keep the cords thinning and touching on the edges). You do not carry the `heaviness`of the low notes with you as you ascend through the first bridge. You do not need to get louder. It may sound like your favourite singer is singing `heavy“ as (s)he goes higher, but in fact, belters are naturally zipping up their vocal cords as they ascend in pitch. It`s the ability to sing with very little air  that makes these belters sound so good to our ears. It may appear they are “loud” but they are actually not singing any louder than their medium speaking voice.

If you are untrained, and you find you are shouting and cannot decrease or increase the volume of a note above your first bridge, then you are not in a controllable good mix. This can mean a number of things, but in my experience it is commonly a problem with lack of ability to thin out  the vocal cords, while tilting the larynx. If you are a trained singer, and you are shouting as you go over your first bridge and cannot control the volume, then your larynx is possibly not tilting enough to get the cords to stretch and thin. There is a good chance you are sending too much air through the cords to try and get the sound you want.

Belting is not something you should learn on your own without a proper specialized teacher. However, hopefully I have shed some light on some possible habits or obstacles that might be in the way to accomplishing this difficult sound.

Tough job for female Broadway singers

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My last post was a look at belt singing. Today I want to express the problems facing female trained voices in theatre.

Traditional training typically approaches the high voice in a female singer, and works downward. It can produce some beautiful head voice sounds, but leaves the “speech-level” chest tones alone. Female singers are typically more breathy as they go lower in pitch….irregardless of whether they are a soprano or an alto.

These trained voices have issues pursuing work in theatre….more so now than ever before. Due to the cultural musical shifts and changes, producers are writing plays that require a more contemporary sound with the ability to chest belt. What is good belting? In my opinion, good belting is the ability of the singer to ascend through her first bridge, while maintaining a good chest register connection at a loud volume. This means the balance of the mix voice has more chest tone (speech-like), as opposed to head tone. Can this be done without major trauma or distress to the vocal cords? Absolutely!!! Unfortunately, classically trained singers are at a disadvantage because this sensation is everything they have been told not to do.

Some female voices on Broadway have found a good mix while others have not. Singers who are unable to find a good mix are unable to transition from their low voice into their head voice without notice. They tend to flip into their chest register for lower singing lines, and end up “shouting” up to the highest note needed to complete the phrase. Then, as soon as the music is back to a higher pitch they go back to their classically trained approach. These complications generally happen for notes that fall under A4. Have you experienced this? Tell us about it.

Comments and questions are welcome.

What happened to Christine Aguilera?

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You probably heard the gossip surrounding Christine Aguilera’s mix-up of the words of Star-Spangled Banner at the Super Bowl. You can revisit that performance here http://www.youtube.com/watch?v=OpCFpYLPw74 I would like to talk about that performance, but not about the words she messed up, but rather her voice.

First, let me say I am a big fan. She is one-of-a-kind. I have heard her perform at times extremely well (You tube – live video concerts) and other times, not so well. This performance was definitely the latter. It is clear that she was not able to get into a good mix as she ascended in pitch during the song. She probably recognized that she was “pulling too much weight”, and things weren’t just right. This may be the reason she messed up the words. It can definitely be distracting when you find yourself in the middle of song, giving it everything you have, and knowing that there’s no backing down now, you have to get to the big finish, you have to get to that big note…….and…..well, what happened in Christina’s case, is that she had to flip and sing the biggest note in the song in her head voice. I’m sure that was not her plan.

What went wrong? Well, a number of things could have gone wrong. Maybe she had a virus and her cords were slightly swollen. Maybe she didn’t prep her mix well enough before the performance. I wouldn’t think she would go into the performance unprepared, but my guess is she belted with too much volume in the beginning of the song, such as the words “by” the dawn’s early light. These heavy chest tones can immediately unbalance the voice and make it difficult to get into your head voice. This song is in the key of F and the main belting note that she sang over and over is the A above middle C. I think the fact that she pick this key was detrimental for her. The key of G would have put her over her bridge slightly at the belting note, and possibly made it easier to be in the mix. In other words, she could have actually been singing higher, and not have had to flip. She would have been able to carry the chest in the mix all the way up to D above middle C no problem.

How to get a “mixed” voice

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Everyone’s voice has a low section and high section. The low end is your chest voice and the high end is your head voice. The essence of good singing is utilizing both the chest voice and the head voice at the same time. This is called your “mixed voice”. Make sense?

Your chest voice is where you speak. Try saying “A – A – A” like the “a” in cat. Say it with some umph, and a little bit nasty. Make an open big mouth and say it again. This is your engine….and yes, it can sound rather obnoxious. But, don’t disregard this, this is your power house!

On the other end is your head voice. This is the light, airy sound at the top of your voice. Some people can’t access it very easily. Try and do a sigh with your light high voice. This is head voice.

The ideal voice is when the chest voice and the head voice work together at the same time. Unfortunately, often what will happen is one voice will “outweigh” the other, creating an imbalance of sound and sensation.

If you have any background singing with a choir or training with a classically trained teacher, then you were probably encouraged to sing with your head voice brought down even to your low notes, This can create a very strong head voice, but unfortunately doesn’t match up in balance with your chest voice, leaving you light and airy on your bottom notes with minimal strength.

On the other end of the spectrum, if you have been singing pop, country or rock music on your own and copying some “not-so-well-balanced” singers, then you may have developed a strong chest voice without allowing any head voice in the mix. You may notice that you have to sing louder and louder as you go higher and higher, and eventually you just can go further. Your sound is likely harsh and well, possibly, very annoying. And, let’s not forget to mention that you probably hurt!

“Getting in the mix” is the vocal workout you need. If done correctly, it will help your voice be stronger and more flexible than you ever thought possible. You will be able to sing any note you want.

It worked wonders for me, and I know it will for you too!

Have you got any questions? Why not drop me a line!

Why does it seem that I have two singing voices?

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Do you ever notice that when you sing along with the radio you usually have this very talky kind of singing that can be fairly loud but you have trouble reaching the high notes. Then when you sing at church on Sunday, you have this other voice that is, let’s just say, different, kind of whimpy maybe, yet sweet. 

This isn’t everyone’s experience but it is common, especially for women. Songs on the radio are usually written in lower keys so the singers can use their chest voice. Then when they get to the higher notes, they “belt” out the high notes. This is that shouty, yelling kind of voice that some audiences love, and some audiences hate!

Traditional church songs are quite often written in a key that is too high to use your chest voice well. Instead, singers need to use their head voice to reach the high notes. This is why some church choirs with older women have that unique sound!

Depending on your singing background, you may be more comfortable in either one of these voices. Most children who grew up singing in choirs are very well acquainted with their head voice. Children who did not sing much growing up, are much more likely to be comfortable in their chest voice, because this is the range that is closest to their speaking voice.

The key here is to know which voice you gravitate to, and then work on the opposite. Good singing needs a balance of both the head voice and chest voice, irregardless of the kind of song you are singing.

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What does it mean to “Get In the Mix”?

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When we talk, we are using our chest voice. If you put your hand on your chest and talk, you can feel the sound vibrations. The higher in pitch you go (try talking like a whiny baby), you should feel the vibrations leave your chest and resonate in your nose, eye and top of your head area. I get amazed sometimes when I meet people who can’t find their head voice because they’ve  never tried to find it before, and they don’t know the feeling or how to get it. Then when they finally do use their head voice, it is usually very airy and weak at first because the vocal cords have never produced these sounds before. Getting to know your “head voice” and exercising it is a good good first step to getting in the mix.

The mixed voice is simply that…a mix of chest voice and head voice. Some singers will have more chest voice  in the mix, while others may have more head voice in the mix. You may find these variances in the style of music they are singing. Belt singers like Celion Dion, Aretha Franklin, Barbra Striesand,  Adam Lambert, for instance have a strong chest mix that they can produce and carry up through their bridges. Classical singers are most likely to have a stronger head voice in the mix allowing for a more even, balanced sound.

Regardless of your preference of style, exercising the chest, mix and head voice in the proper way is crucial to developing a strong healthy voice.