<p>I am a bit confused after reading comments on various threads about an auditioner's belt song. Do they mean that they did a ballad and a belt song, or are they calling their up-tempo piece a belt song? Also, are these students truly belting or are they using correct vocal placement in order to achieve a strong straight tone and more volume? I know that it is difficult for many adults to belt an entire piece, let alone a young singer. Any thoughts on this?</p>
<p>Thanks,
Mary C</p>
<p>Mary C,</p>
<pre><code> Welcome! My D is using a 16 bar ballad that is in the key of F (soprano) and her uptempo is a belt song (key of C)for her auditions. She is studying the "Jo Estill Voice Method." Her instructor is also a voice therapist (near Boston) and strongly believes that belting, if done correctly will not damage the voice. I would strongly suggest looking up posts by Coach C to read more about this topic.
</code></pre>
<p>Sarahsmom42</p>
<p>Most schools ask for 2 contrasting selections.... traditionally this means uptempo and ballad... but with so many varied styles of musical theatre both in terms of musical style and vocal style standpoints... the uptempo/ ballad model has become a little more fluid.</p>
<p>Many people will show off their more legit soprano sound on a ballad and more mixy/ belty sound on an uptempo... however, it is possible to do the opposit... for example singing something like "Most Unusual Day" for an uptempo (showing soprano range), and something more "pop musical theatre" for a ballad showing off more of a belty sound. There are many ways to put together the package.</p>
<p>As far as "belting" goes.... up above a B-flat, C, or D (above middle C) most singers are really doing more of a mix that with vowel modification and breath support sounds like the belt of the chest voice, but is not acheived by carrying the chest voice up into the higher range. Coach C does give a lot of great informtion on this on the site. Working with a reputable teacher or coach with experience working with musical theatre singers on this sound is a good way to train this part of the voice. Often if a young singer is trying to emulate the sound they hear on the CD she will end up taking her chest voice up too high, and this can cause problems. </p>
<p>Belting is just like any other style of singing it takes training, and practice. But if done correctly it can be doen without causeing vocal damage.</p>
<p>The key is doing it <em>correctly.</em> From what I hear from talking to my D's voice teacher, the correct way to belt does not come naturally (without training) for most people. Many singers are quite adept at imitating what they hear on a Broadway cast recording CD without knowing <em>how</em> they are doing it and <em>what</em> they are doing, which can result in them doing it the wrong way and damaging their voices. That's why learning proper, healthy technique is so important.</p>
<p>These are all really good points. It sounds like finding a good voice teacher is of utmost importance. My D has a wonderful teacher right now, but she is concentrating on the good old classical technique to make sure her foundation is correct. I am guessing that down the road, I will have to do some research on teachers who are more musical theatre oriented and can teach the proper way to get that belt sound without risking injury to the voice.</p>
<p>Classical training is fabulous and some institutions prefer to have students focus on classical and plan to teach them to belt. I studied classically with a teacher who believed that classical was the ONLY CORRECT way to sing. She had no respect for any other style of singing. A whole new world was opened to me when we found our D's teacher. She understands the different ways to use your palates, vocal folds etc. to make different kinds of sounds. She understands how each sound is made, physically, and has an appreciation for many kinds of singing.
We asked the different music theatre departments at the schools that my D is applying to about this very topic, because although my D can sing opera, she can also belt, twang and sound like a pop singer if she wants to. She did not want to go to a school where classical was the only "legit" way to sing.</p>