March 4, 2025 • 11 mins
Belting is one of the most exciting and misunderstood vocal techniques. Many singers struggle with it, wondering “Am I doing this right?” or “Is belting damaging my voice?” In this episode of The Voice Science Podcast, we break down what belting really is, separate fact from fiction, and give you science-backed strategies to belt safely and powerfully.
🔥 What You’ll Learn:
✅ The real definition of belting (hint: it’s NOT just yelling)
✅ The biggest myths about breath support, range, and vocal safety
✅ Three essential exercises to improve your belt and extend your range
✅ How to belt high notes without strain using brassy twang
If you’ve ever wanted to master your belt but felt unsure about technique or vocal safety, this episode is for you. Watch until the end for practical exercises to transform your belting!
🔔 Subscribe for more voice science insights!
📌 Links & References:
Purdy, S., 2016. Musical theatre song: a comprehensive course in selection, preparation and presentation for the modern performer, Performance books. Bloomsbury Methuen Drama, London.
Schutte, H.K., Miller, D.G., 1993. Belting and pop, nonclassical approaches to the female middle voice: Some preliminary considerations. Journal of Voice 7, 142–150. https://doi.org/10.1016/S0892-1997(05)80344-3
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
Welcome to the Voice Science Podcast, where we
explore the science behindsinging and teaching.
I'm Josh, the founder ofVoicescienceorg.
I've been educating singers andteachers for over 13 years.
Here you'll learn how the voiceworks and discover practical
tips to train it moreefficiently.
In today's episode we're divinginto one of the most exciting
(00:27):
and misunderstood vocaltechniques belting.
You'll learn what makes beltingunique, uncover common myths
and discover practical exercisesto build a stronger, healthier
belt.
By the end of this episode,you'll not only understand the
science behind belting, but alsohave tools to start improving
(00:49):
your own technique.
Let's dive in.
So what is belting?
Belting at its simplest is thesound you make when you call
across a busy parking lot tosomeone you know.
It's powerful and it's resonantand it demands attention.
(01:09):
But what does the literaturehave to say about belting?
Well, according to StephenPurdy in his book Musical
Theater Song, which provides acomprehensive course in
selection, preparation andpresentation for the modern
musical theater performer,belting is primarily associated
with female singers, who will bespecifically asked to sing in a
(01:32):
belt or legit style duringauditions and as roles and songs
demand it.
He also notes the ongoingdebate around if men belt, as
the term was first used todescribe non-legit singing for
women.
I've never been a fan of thedebate around if men truly belt,
but let's see what the researchhas to say.
(01:52):
Schutt and Miller, in their1993 study, present a slightly
different definition of belting.
Belting is a manner of loudsinging that is characterized by
consistent use of chestregister, a greater than 50%
closed phase of the glottis in arange in which larynx elevation
(02:15):
is necessary to match the firstformant with the second
harmonic on open high formant 1vowels, that is, is G4 to D5 in
female voices.
Okay, so that was a lot ofscience jargon.
Let's break that down realquick.
The closed phase, or closedquotient, is the percentage of
(02:37):
time that the vocal folds areclosed during a cycle.
When the vocal folds are closedlonger, subglottal air pressure
increases, which increasesamplitude.
As for formants and harmonics,don't let the terms scare you.
They're fascinating and I'llwalk you through them step by
step in a future episode.
(03:00):
Now that we've explored thescience behind belting, let's
clear up some of the biggestmyths surrounding this exciting
vocal technique.
The first myth about belting isthat it requires a massive
amount of air.
I briefly addressed this in thelast episode, where we explored
how singing louder or higheroften leads people to believe
that they need more air, andleads people to believe that
(03:21):
they need more air.
This common belief is notentirely wrong.
Increased subglottal airpressure does contribute to
vocal intensity, but it's notthe whole story.
During belting, the vocal foldsbecome short and thick, staying
closed for a longer portion ofeach vibratory cycle.
(03:42):
This naturally increasessubglottal air pressure,
creating intensity withoutrequiring excessive airflow.
It's been my experience thatsingers try to over pressurize
and just kind of end up shouting.
The best way to avoid this overpressurization is to take a
(04:03):
smaller, more controlled breath.
This allows the vocal folds todo the work without overwhelming
them.
The second myth is that you caneffectively belt any note.
There's still some debate aboutwhether it's technically
possible to belt very high orvery low notes at reduced
(04:23):
intensities, but for practicalpurposes, belting is most
effective within a specificrange that tops out around C5
for female singers, that's the Cabove middle C.
Above this point, it is thoughtthat the vocal folds have to
lengthen and stiffen to continuerising in pitch.
(04:44):
This means belting theexceptionally high notes found
in some modern musical theaterpieces, like the iconic E-flat 5
in Wicked is simply notfeasible.
But don't worry, there aretechniques to manage this
challenge, and I'll share anexercise shortly to help you
manage these extreme notes.
The final myth is that beltingis inherently dangerous and will
(05:10):
destroy your beautiful voice.
Okay, so singing at higherintensities carries a greater
risk of injury than simply notsinging, and while no vocal
activity is completely risk-free, with proper technique you can
minimize the risk of injury.
The reality is that beltingwithout proper technique often
(05:31):
just resembles shouting, whichcan strain the voice and
increase your risk of injury.
If you're serious aboutimproving your belt, find a
teacher experienced in CCMstyles who can guide you through
safe and effective techniques.
Now that we've debunked some ofthe myths about belting, let's
focus on how to train your beltsafely and effectively.
(05:53):
These exercises are designed toaddress common challenges and
help you build strength, controland range in your belt.
As we've mentioned, one of themost common issues I see with
belting is that students take amassive breath beforehand,
thinking, of course it's goingto help.
In reality, this creates anuncontrollable surge of
(06:16):
subglottal air pressure, whichis especially challenging for
beginners.
Instead of taking a breath in,I want you to exhale first
before attempting your belt.
If it's a particularly longphrase, you might not make it to
the end and that's okay.
This exercise is aboutdiscovering how little air you
(06:38):
actually need to belt.
The goal here again is to findthe minimum amount of air that
is required.
The second exercise is perfect.
If you're having troublefinding your belt, I want you to
try a bit of imagery.
I personally don't use a lot ofimagery in my studio, but this
(06:59):
one works wonders.
Imagine you are in a parkinglot and you see your best friend
across the lot.
They didn't see you, but youhave exciting news that you just
can't wait to tell them.
Breathe out and belt a bob orwhatever their name happens to
be.
A quick note, I am specificallynot making the aspirate H sound
(07:25):
at the start of the word.
Hey, aspirate onsets makebelting much more difficult than
a strong glottal onset.
Give this a few tries andremember breathe out first.
You'll feel the urge to take adeep breath before belting.
Resist it, trust the processand let the belt happen
(07:46):
naturally.
The third exercise addresses theneed to belt higher pitches,
because a physiological belt isimpossible at higher pitches.
We need to navigate between twodifferent techniques For notes.
At C5 and above, we'll use athin brassy twang.
(08:07):
This involves a head voice orthin fold configuration that's
been significantly brightened bynarrowing the pharyngeal walls
Think of a witch's cackle.
Add slight pressurization togive it a little more oomph For
notes below C5, we'll move backinto a true belt technique.
(08:28):
So here's what you're going todo Practice ascending and
descending five-tone scales thatcross the transition note,
which in this case is C5.
Take it slow and make thetransition between brassy twang
and belt technique at C5 everytime.
This allows you to main thetonal quality of belting while
(08:49):
extending your range safely andeffectively.
So let's recap.
In today's episode, we delvedinto the science and technique
of belting, a powerful and oftenmisunderstood vocal skill.
We started by defining belting,both in everyday terms and
through the lens of research,breaking down its unique
(09:10):
physical and acousticcharacteristics.
Then we tackled three commonmyths about belting that belting
requires a massive amount ofair, which, in reality,
efficient belting relies onminimal, controlled breaths.
You can effectively belt anynote.
Of course, belting has apractical range that typically
(09:31):
ends around C5 for femalesingers with higher notes
requiring alternative techniques.
And that belting is inherentlydangerous.
While belting does carry somerisks, proper technique and
guidance from an experiencedteacher can make it safe and
sustainable.
(09:51):
And then, finally, we exploredthree practical exercises to
help you train your belt.
Remember, exhale before beltingto discover the minimum air
required for a strong,controlled belt.
For a strong, controlled belt,use imagery like calling for a
friend across a parking lot tofind your natural belt without
(10:14):
overthinking it.
And we did an exercise tonavigate to higher pitches by
transitioning between a brassytwang for those notes C5 and
above and a true belt below.
Belting is a dynamic andexpressive technique that
demands precision, control andlots of practice.
By understanding the sciencebehind it and incorporating
(10:38):
these exercises, you can developa stronger, healthier belt that
extends your vocal range whilemaintaining tonal quality.
Thank you for tuning in to theVoice Science Podcast.
I hope today's episode gave youa better understanding of the
science behind belting and howto train your voice for strength
, control and range.
If you're excited to continuelearning, head over to
(11:01):
voicescienceorg, where you'llfind more resources, articles
and exercises to help you onyour vocal journey.
Next time we'll be diving intothe fascinating concept of
phonatory threshold pressure,what it is, why it matters and
how it can help you sing withmore ease and efficiency.
You won't want to miss it.
(11:22):
Until then, take care of yourvoice and keep singing.
Welcome to the Voice Science Podcast, where we
explore the science behindsinging and teaching.
I'm Josh, the founder ofVoicescienceorg.
I've been educating singers andteachers for over 13 years.
Here you'll learn how the voiceworks and discover practical
tips to train it moreefficiently.
In today's episode we're divinginto one of the most exciting
(00:27):
and misunderstood vocaltechniques belting.
You'll learn what makes beltingunique, uncover common myths
and discover practical exercisesto build a stronger, healthier
belt.
By the end of this episode,you'll not only understand the
science behind belting, but alsohave tools to start improving
(00:49):
your own technique.
Let's dive in.
So what is belting?
Belting at its simplest is thesound you make when you call
across a busy parking lot tosomeone you know.
It's powerful and it's resonantand it demands attention.
(01:09):
But what does the literaturehave to say about belting?
Well, according to StephenPurdy in his book Musical
Theater Song, which provides acomprehensive course in
selection, preparation andpresentation for the modern
musical theater performer,belting is primarily associated
with female singers, who will bespecifically asked to sing in a
(01:32):
belt or legit style duringauditions and as roles and songs
demand it.
He also notes the ongoingdebate around if men belt, as
the term was first used todescribe non-legit singing for
women.
I've never been a fan of thedebate around if men truly belt,
but let's see what the researchhas to say.
(01:52):
Schutt and Miller, in their1993 study, present a slightly
different definition of belting.
Belting is a manner of loudsinging that is characterized by
consistent use of chestregister, a greater than 50%
closed phase of the glottis in arange in which larynx elevation
(02:15):
is necessary to match the firstformant with the second
harmonic on open high formant 1vowels, that is, is G4 to D5 in
female voices.
Okay, so that was a lot ofscience jargon.
Let's break that down realquick.
The closed phase, or closedquotient, is the percentage of
(02:37):
time that the vocal folds areclosed during a cycle.
When the vocal folds are closedlonger, subglottal air pressure
increases, which increasesamplitude.
As for formants and harmonics,don't let the terms scare you.
They're fascinating and I'llwalk you through them step by
step in a future episode.
(03:00):
Now that we've explored thescience behind belting, let's
clear up some of the biggestmyths surrounding this exciting
vocal technique.
The first myth about belting isthat it requires a massive
amount of air.
I briefly addressed this in thelast episode, where we explored
how singing louder or higheroften leads people to believe
that they need more air, andleads people to believe that
(03:21):
they need more air.
This common belief is notentirely wrong.
Increased subglottal airpressure does contribute to
vocal intensity, but it's notthe whole story.
During belting, the vocal foldsbecome short and thick, staying
closed for a longer portion ofeach vibratory cycle.
(03:42):
This naturally increasessubglottal air pressure,
creating intensity withoutrequiring excessive airflow.
It's been my experience thatsingers try to over pressurize
and just kind of end up shouting.
The best way to avoid this overpressurization is to take a
(04:03):
smaller, more controlled breath.
This allows the vocal folds todo the work without overwhelming
them.
The second myth is that you caneffectively belt any note.
There's still some debate aboutwhether it's technically
possible to belt very high orvery low notes at reduced
(04:23):
intensities, but for practicalpurposes, belting is most
effective within a specificrange that tops out around C5
for female singers, that's the Cabove middle C.
Above this point, it is thoughtthat the vocal folds have to
lengthen and stiffen to continuerising in pitch.
(04:44):
This means belting theexceptionally high notes found
in some modern musical theaterpieces, like the iconic E-flat 5
in Wicked is simply notfeasible.
But don't worry, there aretechniques to manage this
challenge, and I'll share anexercise shortly to help you
manage these extreme notes.
The final myth is that beltingis inherently dangerous and will
(05:10):
destroy your beautiful voice.
Okay, so singing at higherintensities carries a greater
risk of injury than simply notsinging, and while no vocal
activity is completely risk-free, with proper technique you can
minimize the risk of injury.
The reality is that beltingwithout proper technique often
(05:31):
just resembles shouting, whichcan strain the voice and
increase your risk of injury.
If you're serious aboutimproving your belt, find a
teacher experienced in CCMstyles who can guide you through
safe and effective techniques.
Now that we've debunked some ofthe myths about belting, let's
focus on how to train your beltsafely and effectively.
(05:53):
These exercises are designed toaddress common challenges and
help you build strength, controland range in your belt.
As we've mentioned, one of themost common issues I see with
belting is that students take amassive breath beforehand,
thinking, of course it's goingto help.
In reality, this creates anuncontrollable surge of
(06:16):
subglottal air pressure, whichis especially challenging for
beginners.
Instead of taking a breath in,I want you to exhale first
before attempting your belt.
If it's a particularly longphrase, you might not make it to
the end and that's okay.
This exercise is aboutdiscovering how little air you
(06:38):
actually need to belt.
The goal here again is to findthe minimum amount of air that
is required.
The second exercise is perfect.
If you're having troublefinding your belt, I want you to
try a bit of imagery.
I personally don't use a lot ofimagery in my studio, but this
(06:59):
one works wonders.
Imagine you are in a parkinglot and you see your best friend
across the lot.
They didn't see you, but youhave exciting news that you just
can't wait to tell them.
Breathe out and belt a bob orwhatever their name happens to
be.
A quick note, I am specificallynot making the aspirate H sound
(07:25):
at the start of the word.
Hey, aspirate onsets makebelting much more difficult than
a strong glottal onset.
Give this a few tries andremember breathe out first.
You'll feel the urge to take adeep breath before belting.
Resist it, trust the processand let the belt happen
(07:46):
naturally.
The third exercise addresses theneed to belt higher pitches,
because a physiological belt isimpossible at higher pitches.
We need to navigate between twodifferent techniques For notes.
At C5 and above, we'll use athin brassy twang.
(08:07):
This involves a head voice orthin fold configuration that's
been significantly brightened bynarrowing the pharyngeal walls
Think of a witch's cackle.
Add slight pressurization togive it a little more oomph For
notes below C5, we'll move backinto a true belt technique.
(08:28):
So here's what you're going todo Practice ascending and
descending five-tone scales thatcross the transition note,
which in this case is C5.
Take it slow and make thetransition between brassy twang
and belt technique at C5 everytime.
This allows you to main thetonal quality of belting while
(08:49):
extending your range safely andeffectively.
So let's recap.
In today's episode, we delvedinto the science and technique
of belting, a powerful and oftenmisunderstood vocal skill.
We started by defining belting,both in everyday terms and
through the lens of research,breaking down its unique
(09:10):
physical and acousticcharacteristics.
Then we tackled three commonmyths about belting that belting
requires a massive amount ofair, which, in reality,
efficient belting relies onminimal, controlled breaths.
You can effectively belt anynote.
Of course, belting has apractical range that typically
(09:31):
ends around C5 for femalesingers with higher notes
requiring alternative techniques.
And that belting is inherentlydangerous.
While belting does carry somerisks, proper technique and
guidance from an experiencedteacher can make it safe and
sustainable.
(09:51):
And then, finally, we exploredthree practical exercises to
help you train your belt.
Remember, exhale before beltingto discover the minimum air
required for a strong,controlled belt.
For a strong, controlled belt,use imagery like calling for a
friend across a parking lot tofind your natural belt without
(10:14):
overthinking it.
And we did an exercise tonavigate to higher pitches by
transitioning between a brassytwang for those notes C5 and
above and a true belt below.
Belting is a dynamic andexpressive technique that
demands precision, control andlots of practice.
By understanding the sciencebehind it and incorporating
(10:38):
these exercises, you can developa stronger, healthier belt that
extends your vocal range whilemaintaining tonal quality.
Thank you for tuning in to theVoice Science Podcast.
I hope today's episode gave youa better understanding of the
science behind belting and howto train your voice for strength
, control and range.
If you're excited to continuelearning, head over to
(11:01):
voicescienceorg, where you'llfind more resources, articles
and exercises to help you onyour vocal journey.
Next time we'll be diving intothe fascinating concept of
phonatory threshold pressure,what it is, why it matters and
how it can help you sing withmore ease and efficiency.
You won't want to miss it.
(11:22):
Until then, take care of yourvoice and keep singing.
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