Belting

Popular Song and Music Theater
ASSOCIATE EDITOR: Robert Edwin
Belting: bel canto or brutto canto?
According to my student, the term All of the aforementioned styles of

belting cannot describe accurately the singing and countless subdivisions
perceived beauty of Kate Smith's voice. fall under the general heading of belt-
To her, belting is synonymous with ing. How then do we sort through all
loud, unattractive sounds that are these sounds and address the initial
more yelling than singing. question—belting: bel canto or brutto
One of the major problems in defin- canto?
ing belt is that the term belting cov- The sagacious old phrase, "beauty
ers an enormous amount of vocal is in the eye (or ear) of the beholder,"
territory, far more than its counter may serve us well here. The Random
term, legitimate, or "legit" in Broad- House Dictionary defines the word
way shorthand. For example, there is beauty as a "quality giving intense
the belting of the aforementioned Kate aesthetic pleasure." A fisherman
Smith, a belt/mix tone that, while catching a record-breaking tuna may
Robert Edwin
chest Voice dominant, includes a sig- be moved to exclaim, "Isn't she a
beauty?" when gazing upon his catch.
nificant amount of cricothyroid (head
The request was a simple one. An Those who fail to see the tuna's
voice) influence. Other female singers
adult classical student of mine asked beauty may not share the fisherman's
that use this style of belting include
if I would tape record a piano accom- aesthetic.
Barbra Streisand, Liz Callaway, and
paniment of Irving Berlin's "God Bless It follows then that someone who
Linda Eder. Singers who may use
America" so that her eleven-year-old gains intense aesthetic pleasure lis-
more of their thyroarytenoid (chest
daughter could sing it in a talent show. tening to the emotive blues of the late
Voice) muscles in their voice produc-
Since I was familiar with the child Janisjoplin would he inclined to label
tion include Liza Minnelli, Georgia
and her singing, I asked mom if she her singing as beautiful, while some-
Brown, and Bernadette Peters.
wanted me to play it in a key that one else listening to the same artist
Rock and pop singers such as
would allow the young singer to belt. may derive no pleasure at all and may
Melissa Etheridge, Britney Spears, and
"Oh no," said mom. "I want her to even be inclined to label .Janis's singing
Jessica Simpson, do not necessarily as ugly.
sing it like Kate Smith did."
When I informed her that Ms. use more chest voice in their belting As teachers of singing, we need to
Smith did indeed belt "God Bless than their Broadway counterparts. understand that beautiful singing or
America," the woman was aghast. Rather, they introduce irregular vibra- ugly singing is an aesthetic issue,
"That's not belt," she said. "It sounds tions, or noise, into their vocal tone. whereas technical efficiency or inef-
too pretty!" The sound can be, among other things, ficiency is a functional issue. We know
Belting: bel canto or brutto canto? raspy, breathy, fried, or twangy. that bel canto can be produced inef-
Beautiful singing or ugly singing? Our Rhythm and Blues and Gospel ficiently, and brutto canto can be pro-
music community continues to strug- singers such as Mariah Carey, Yolanda duced efficiently. Our job is to see that
gle with defining, performing, and Adams, and Aretha Franklin, use a all singing is produced as efficiently
teaching vocal sounds that fall out- style of belting that can put tremen- as possible given the technical and
side the parameters of classical or dous pressure on their vocal folds. With artistic demands of the style, be it
"legitimate" singing. range-defying leaps to F5 and higher, as Bach or rock or someplace in between.
well as assorted screams, shrieks, For those of us who teach non-
Journal of Singing, September/October 2002
growls, and moans, the R & B/Gospel classical vocal technique and reper-
Volume 59, No. 1. pp. 67-68
Copyright 2002 singer often tests the limits of the vocal toire, pedagogy means understanding
itn1na1 Assoc iation o..... . aclicrs of Singing mechanism. and working with the increased
SIII'1Nmut-:r Ocioij;i 2002 67

Robert Edwin
closed phase vocal fold pressure that technique cannot serve all styles. If leading authority on nonclassical and child
belting requires, raspy or breathy a singer learns classical vocal tech- vocal pedagogy, he practices what he
phonation, resonance "twang," and nique, it will serve classical-like preaches at his private studio in Gin-
the assorted screams, shrieks, yells, singing. It will not, I repeat, will not naminson, New jersey. He serves on the
moans, and growls that have come serve the contemporary commercial adjunct voice faculties of New jerseij s
to define a good portion of contem- singer. Paton's 26 Italian Songs and Burlington and Camden County Colleges,
porary commercial music. Arias is not a necessary purchase for and is afrequent faculty member of the
As teachers, we know there are most nonclassical singers. Neither is
Voice Foundation's Annual Symposium:
potential dangers singers face regard- training in the use of vibrato from the
Care of the Professional Voice. From
less of their singing style. For exam- onset of tone, full and formal vowels,
1996 to 1999, he was a contributing cdi-
ple, we may see the singer who exceeds and an uninterrupted legato line. Let's
her vocal capacity and overloads her torfor VocalEase magazine. A member of
make sure we are teaching vocal tech-
instrument to the point of hoarseness nique that benefits the style of the the American Academy of Teachers of
or worse; the young singer who tries singer rather than trying to turn a Singing, he has led master classes and work-
to copy an older singer's sound but perceived brutto canto into a bel canto. shops throughout the United States, as well
does not possess the vocal or emotional as in Canada and Australia.
equipment to do it; the singer whose
Robert Edwin. baritone, has stony Bach can- In addition to writing "71w Bach to Rock
manager or agent tries to steer her in
tabs in cathedrals and rock songs in Connection" column since 1985, Robert
a direction that is not vocally or artis-
Greenwich Village coffeehouses. He has per- Edwin has served NATS as president of the
tically healthy for that particular artist;
formed in New York City's Carnegie Hall New Jersey Chapter, and as a presenter/
or the singer who ignores the need for
and Town Hall, toured throughout the USA clinician at national conventions, sum-
qualified vocal advice and counsel.
and abroad, recorded for Avant Garde and mer workshops, regional, and chapter events.
Whether perceived as beautiful or
Fortress Records, and published as an ASCAP His latest NATS responsibilities include
ugly, every style of singing should
lyricist and composer.
have in place a systematic Vocal tech- national srcretarij/treasurrr, and associ-
nique that supports that style's His diverse performing career is paralleled ate editor oftheJournal of Singing.
mechanical and artistic demands. One by an equally diverse teaching career. A c-mail: Edwinsingaol.com
68 JOURNAl, OF SINGING

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Popular Song and Music Theater

ASSOCIATE EDITOR: Robert Edwin

Belting: bel canto or brutto canto?

According to my student, the term All of the aforementioned styles of

SIII'1Nmut-:r Ocioij;i 2002 67

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