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From:  taylor23f@h...
taylor23f@h...
Date:  Sat Feb 10, 2001  5:37 am
Subject:  Re: Belt Voice and voice pedagogy



Dear Listers,

The use of the belt voice can be a dangerous thing for some
singers. However, from a pedagogical standpoint the belt voice only
differs from the classical use of chest-voice in two main areas:
1) Laryngeal position- when belting the larynx is generally high
in the throat. Also, we must keep in mind that as the larynx goes up-
the soft palate(velum)comes down. This laryngeal position is
opposite to the comfortably low-larynx position used by any good
classical artist.
2) The choice of vowel quality. The belt voice lends itself to
very spread vowels usually produced with a more horizontal mouth
opening. This more horizontal mouth opening probably goes hand-in-
hand with the high-larynx.

If the larynx is raised in the throat, the vocal tract becomes
shortened. Since the "ringing" quality (area of acoustic energy from
2800-3400Hz which gives a voice carrying power) of the voice comes
from the laryngeal area itself, the heightened laryngeal position of
a "belt" quality has some serious implications on the true "ringing"
quality with which we associate a fine classical singer. That being
said, it is clear why nearly every music theater singer performing in
a large venue uses a body mic. With the correct vowel and a stable
larynx, the belt voice may not differ very much from a classical
chest-voice tone, as both chest-voice and "belt" use increased action
of the vocalis(TA). Very interesting topic for discussion......

Take Care All,

Taylor L. Ferranti
Doctoral Candidate in Vocal Pedagogy
Louisiana State University


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