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Found 101 results

  1. Black Dog

    Are Vocal Breaks Harmful?

    Recently I've been breaking a lot from chest to head (specifically falsetto), as I'm trying to extend "chest" more (I'm already working on support, placement, formants, etc.. not to break). I'd like to know if breaks are harmful to the vocal folds. If yes, why?
  2. SlashRock05

    Safe belt or not?

    First of all, I have this video of mine singing Gary Valenciano's How Did You Know. https://www.youtube.com/watch?v=I5vpwbMoXrI&feature=youtu.be And I would really appreciate if you'd comment positive and negatives on this cover. Better if the comment was with technicality. The song was quite high for my range though. Haha I hope y'all like it!
  3. So, I've been browsing youtube and found this amazing singer. https://www.youtube.com/watch?v=0Ns4S57wXxI He was actually a policeman from the Philippines. However, I find his vocals really special and trained. Can this set of singing skills be achieved through years of singing? Or it needs some kind of training? He is likely a tenor to me. He had this sweet, soft sound mixed with a very nice vibrato. Going back to the question, is there a term for what he did at the last line? The high, belted? note. Specifically, the "how 'MUCH' I love you" part. The very last part, the ending. I think it was a kind of a shift from chesty mix, to a head tone. Is that really it? And what do you use to call it? How is it achieved? Or is it just a "diminuendo"? Confused right now, tbh. Haha Thanks for the replies!
  4. Billy Budapest

    Can no longer push...?

    So I'm experiencing this new(ish) thing... I've been doing a lot of sirens and oohs and EEs up from my chest to my head voice and back down. I tell ya, if I ever have to sing a song where the only words are "You Fool Me", I will be styling! While I wait for that song to turn up - I've noticed where I USED to be able to kind of squeeze and push (right around A) things in my throat COMPLETELY shut off and it will no longer work. I can no longer PUSH THROUGH or Muscle Through stuff. Don't get me wrong, I don't wanna be a pushy (read that last word carefully kids!) singer, but there have been times when I've been in the middle of a gig and had to push to make it through. In fact there are a few songs where I need a bit of muscle like that behind it in spots. Not to hit the note, but to get the effect the original singer has. What I'm finding is that if I lighten up my air and don't push, I make it with minimal effort, but it's a different and not tight voice (good). However, it's not a big voice (bad). Just to reiterate- I don't want to have to push to get notes, however, there are times where that tightness is good for affect and can help as long as you don't ride that all night. AND I'd also think that by doing things with the head voice that it wouldn't mess up my upper chest voice. It's like my head voice is saying "DOOD, you need to go easy here... ooh! it's saying "You (Can't) Fool Me" - damn, so close to my hit song.... So my question to you all is - after you've worked and worked on your head transition and sirens, etc. do you notice that you cannot push any longer in your transitional area without basically shutting things off? Basically, that you can't take your chest up to that part of your range without it giving you issues and kind of shutting you down.
  5. I was thinking of this and I'd love to hear your opinions, especially from the voice teachers. Let's say a singer tried an experiment. He committed to practicing every day where he has to run the voice up his range and he had to avoid any kind of bridging, no letting go into falsetto, no transitioning...nothing... just had to run the full voice up all through just sheer will and determination. So any scale, any siren any voice exercise had to be done in full voice. No use of any heady placement, just pull up chest higher and higher..... I wonder,,,,,Would the voice eventually find it's way all the up the range? Would you and your voice figure out the way up through the "passaggio" and above? Would the development in this way open up the voice and allow it to release? I mean it's not like anyone's thinking of this or trying it, but I just wonder what the voice might end up doing in terms of capability and development. We always teach and read how the chest voice ends and now you have to nowhere to go......how you get stuck....or how you need to transition....... Historically speaking, did the teachers or singers of years gone by ever explore this? So let's say you just chest pulled for a few months, where would the voice end up? Would it be damaged? Would it be unbalanced? Who's to say...... (And yes.....I'm a little crazy I guess..lol)
  6. Before I give the link to my recording, I have to share how I feel about attempting this song..          Now for the link..    https://app.box.com/s/az6jzsweecrmhl4w6kkr19u7r24cnafd   Thanks for your comments, feedback, critiques 
  7. The vocals on this entire album are mind blowing!!!   Listen To This!     Freddy Curci         Freddy Curci on Wikipedia
  8. Figured I'd post this just to expose peeps to someone they may not have heard. This guy is amazing and still doin it in his later years. https://m.youtube.com/watch?v=RT5500p3YoQ
  9. Simpan24

    Trying to belt a d5

    Hi   I dont know if this sounds good or not but i try to belt a d5. It sorta sounds a little strained doesnt it?     https://soundcloud.com/rms-17/namnlos
  10. Phew!  This is one tough song.... This is a lesson in phrasing and vowel modification..    I think my mix has become stronger, so I thought I should give this song another go..  This is one take(except the chorus, which took multiple turns!).  I can't seem to get the first "Run to the hills" correctly.  To me, the "Run for your lives" which is the D5, sounds better...    This is the song with music...  https://app.box.com/s/zjry7z5yiyhshfnei0hs6dd9bo6fjvp3   and this is the raw vocals...  https://app.box.com/s/jjib0u9g3v70d6dj303qil87232fg2ug      
  11. Phew.... This is a tough song to mix with so many changes in the volume and intensity of the singing, and needless to mention an even tougher song to sing.  I did a version last year and since I have made some improvements, I thought it is time to post a version 2 of the song..    The chorus makes it so difficult to sing in tune(it is so loud in the karaoke track) and the phrasing makes it difficult to record without backing track... Took me nearly two days of effort to produce a version I am happy with.  There are a lot of mistakes, but am giving myself a break since I am not a pro :-)     Thanks to everyone who listens to the song and drops in a sentence or two...    https://app.box.com/s/fm1yf25i19v69dz7qttseqhlo7cbr5j7  
  12. Robert Lunte

    The Judas Priest Discussion

    Love These Vocals!   Rob Halford Was GREAT!    "Screaming For Vengeance"       1:15 - 1:30 - Amazing Edging skills here. Lots of twang compression and guiding the resonant energy and sound color right to the forward, hard palette to make it sound more "metal" or brighter. Not a lot of jaw movement through this passage, and thats great! Halford is very efficient with the embouchure throughout this song...    3:56 - 3:59, another great moment with good, tight edging pops right to the front of the hard palette.   You also have to appreciate his ability to interpret the lyrics and get into character. This is great character and theater in my opinion. With just a look in the eye and mouth, he makes it looks masculine and tough... Poise!  Instead of getting all spastic on stage... Love the way Halford struts on stage and keeps a very loose posture all the time.. his cool walk is not just to be cool, but it is great for keeping the body from tensing up.   Thoughts?
  13. Elvis

    Headier Placements

    Hey guys! So im trying to do my Pillars training as best as possible but i seem to have a hard time finding headier placements on my lower head notes. On B4 and up its easy to find that headier placement but its still weak and im just trying to get those lower notes first. Im trying to phonate a G4 in a headier placement but i just seem to be belting it out. Its easy to belt that G4 but i really dont want to do it that way so i can continue to practice. https://app.box.com/s/qsrmy4qaof1e0cupijg4hvt4ce7x3b5s - this is a G4..im trying to go as heady as i can but this doesent seem to be it. Its either this or falsetto. Ill include a C5 just so you can hear the difference in aproach. https://app.box.com/s/u0ta2rfl7jo5wwas39zjg97c63mog05s - this is C5.. it is weak and windy but its not pure falsetto..i need more adduction...this is purely for seeing the difference.
  14. Devin Burns

    Average progression time?

    Just wondering how long it usually takes people to make progress in certain areas.   Bridging?   Connecting?   Getting a "chesty" sound in the head voice?   I'm not meaning significant progress, just some noticeable progress.  I've been training with the Four Pillars for the past couple weeks and I've successfully bridged a handful of times.  (You have no idea how excited/shocked i was when it happened). So i feel i'm making pretty good progress there.  I can get a connected sound in head voice pretty easily when practicing.  It's a little harder to maintain the connection when singing actual lyrics.  But the last part is what really gets me.  When singing phrases ranging from, let's say, C4-A4, I feel i can get in and out of my chest voice fairly decently, but while there's not a noticeable "break", it doesn't sound like the same voice at all.  I'm definitely not expecting this to be a quick process by any means, but does anyone have any idea when i might notice my head voice starting to sound like my chest voice? And i don't necessarily mean my head voice sounding meaty, just more like my chest voice in general. (hope that makes sense!)   I've been trying to practice at least 4-5 days a week.  I usually do the foundation building routine, then add some bonus scales and sirens afterwards to get more practice with my onsets (mainly Dampen&Release, Wind&Release, and Contract&Release) and bridging. When i get more comfortable with my bridging I plan to start working on the other exercises in the program. 
  15. aravindmadis

    Goo Goo Dolls - Iris

    One of my favorite songs.. There are some timing issues(beginning).. I would like a little more ease during the chorus and little less shouty feel..    https://app.box.com/s/s60opbedndd03kmpgwfpcwmgkbes6g9u    
  16. Jeremy "Koz" from the band "Floor Thirteen"... Jeremy came to Seattle and trained for The Training Intensive in Seattle... a great belter from Seattle... Just thought I should share this... we also did a nice TVS shout out video when he was here... I just thought it would be cool to share the training behind the scenes a little bit then present the art that it feeds to...    
  17. This is Steve Antonsen, my student for many years. Love the bluesy belts and narrowed vowels. Lots of physical strength here form singing live for many years... and great training.       The band is "Colossal Boss"... Enjoy!  
  18. There is still alot of debate in vocal teaching circles concerning the healthiness of belting. Even finding a consistent definition is tricky. It's a sound that is often identified with Broadway or gospel singing. It is a big, loud, powerful sound that can be quite stirring. The potential problem with pure belting is that the chest voice range is pushed higher than is optimal, which can make a singer hyperfunctional. In my opinion, it is better to develop a strong mix or middle voice that can can be leaned into for more power. One exercise that can help in that area is the pharyngeal voice or 'witch's voice. The use of this device dates back to the baroque period and the training of the castrati. This ugly, bratty sound helps to bridge the chest into the middle area easily without pushing or straining. Use the sounds 'nay', 'naa', & 'waa' in your practice. As you ascend the scale, don't get intentionally louder- the pharyngeal resonance will give a sense of more power without your help! Just keep the sound ugly without strain. Be sure not to jam the sound into your nose. It works wonders without taxing the voice. A great scale pattern to start with is the octave arpeggio with the top note repeated: nay- nay-nay-nay-nay-nay-nay-nay-nay-nay 1 3 5 8 8 8 8 5 3 1 The repeat of the top note give the muscles a greater opportunity to remember the proper response. From here, you can add the octave & a half pattern as well as the mixed octave scale. These two amp up the challenge by covering more range more quickly. View full articles
  19. There is still alot of debate in vocal teaching circles concerning the healthiness of belting. Even finding a consistent definition is tricky. It's a sound that is often identified with Broadway or gospel singing. It is a big, loud, powerful sound that can be quite stirring. The potential problem with pure belting is that the chest voice range is pushed higher than is optimal, which can make a singer hyperfunctional. In my opinion, it is better to develop a strong mix or middle voice that can can be leaned into for more power. One exercise that can help in that area is the pharyngeal voice or 'witch's voice. The use of this device dates back to the baroque period and the training of the castrati. This ugly, bratty sound helps to bridge the chest into the middle area easily without pushing or straining. Use the sounds 'nay', 'naa', & 'waa' in your practice. As you ascend the scale, don't get intentionally louder- the pharyngeal resonance will give a sense of more power without your help! Just keep the sound ugly without strain. Be sure not to jam the sound into your nose. It works wonders without taxing the voice. A great scale pattern to start with is the octave arpeggio with the top note repeated: nay- nay-nay-nay-nay-nay-nay-nay-nay-nay 1 3 5 8 8 8 8 5 3 1 The repeat of the top note give the muscles a greater opportunity to remember the proper response. From here, you can add the octave & a half pattern as well as the mixed octave scale. These two amp up the challenge by covering more range more quickly.
  20. aravindmadis

    Bed of Roses(Bon Jovi)

    Hi Folks.   I sang this is my college days nearly 13 years ago.  I sang it that time before knowing that something called "head voice" existed.  I am a much more knowledgeable about singing.     I have long wanted to cover this song.  This is a single take.  So there are few instances where i am not bang on the center of the note and some places where I run out of breath.  At some level I like the authenticity of a live performance, which is the kind of singing I am training myself for.  This is a very difficult song for me and sits smack on my passagio.  I always seem to get into trouble singing "For tonaaayt, Ahell sleeep on a baaaaaaaad'onaaaaaaayls".  I have used a lighter onset singing that particular line, hopefully it does not distort the colour of the tone       Thank you for your feedback.  
  21. aravindmadis

    Faithfully - Take 2

    I feel I have made some improvements to my singing to post a second take of this song.  I feel like I have more "easy" power in my higher notes and my singing in the passagio has improved from the last time.    This is a very very difficult song for me.  I had to really work on each note and use vowel modifications to sing this song.   I think I made a zillion takes before I felt happy and would never attempt to sing this song live!      The mix I feel is frankly not good at all, but I am really lost on how to improve it.  Any suggestions will be appreciated  
  22. Hi Folks..  This is one of my favorite songs.. I think this song is well within my range, the A4 is not an issue..    I seem to have an issue with the start of the song.. Where it starts with "Can you remember" and again at the point where it says "I am returning" & "A strand of Silver".. I am seemingly sounding like I am shouting and losing integrity of the note.. I am using a mix voice(or as Robert would say a covered head voice) throughout the song.. Please check if you can spot anything and let me know what I can do..    http://vocaroo.com/i/s1hR97EWCNtS http://yourlisten.com/aravind.madhavan.90/perfect-strangersallconverter   Getting a copyright issue with soundcloud so trying a couple of other websites..     
  23. This article will compare the 'belt voice' production as used by female singers, the 'robust head voice' as used by Operatic tenors, and the male 'Rock' pharyngeal voice. These types of vocalism share some characteristics that make them similar to each other, but also have some characteristics, which differentiate them. As I have done before, I will use spectrographic analysis to assist in the understanding of how these voices can be compared and contrasted. A First example: 'Top Line F', Belt and Robust Head Voice The following spectrograph shows the harmonic content of two voices singing the F natural usually written on the top line of the treble staff, that is, the F at the upper range of both the belt and tenor voices (the F the octave and a perfect fourth above middle C.) The female singer, represented in blue, is Patti LaBelle, from a televised recording of "You'll Never Walk Alone" from Carousel, recorded in the mid-'60s. The tenor is classical tenor Nicolai Gedda, from a 1973 recording of "Credeasi Misera" from I Puritani. Patti http://www.youtube.com/watch?v=OTAOD-2Fnqw at 2:19 Nicolai http://www.youtube.com/watch?v=9w_TTK7UP1c at 4:50 As I have done with prior recordings, I have matched the volumes of first harmonic (H1) so that the relative intensity of the upper harmonics can be identified. With this matching, we see the following: There are five strong harmonics displayed by both voices, and for both of the notes, the 3rd harmonic is the strongest. This gives the voices power and color. The relative intensity of the harmonics is approximately the same in both voices. H1 and H2 are lower in intensity than H3, but strong enough to make the core warmth of the tone quality very solid. The 4th harmonic in both voices is within the 'red lines', the most sensitive part of our hearing range. The white trace sections are 'wider', indicating that Mr. Gedda's vibrato is as well. Ms. LaBelle sang her note with almost no vibrato, so the peaks are very pointed. A Second Example: Middle line B, Pop Belt and Rock Pharyngeal Voice This second spectrograph, which I have annotated for harmonic identification, is of two voices singing the B above middle C. The two voices are Robert Plant of Led Zeppelin, singing 'A Whole Lotta Love', and Whitney Houston singing 'I Will Always Love You', on a vowel approximating /a/. I have matched the fundamentals as before. Robert Plant's voice is in blue, and Whitney Houston's is in white. The spectrograph shows the following: With the fundamentals equalized, the loudest harmonic in both voices is H2, and approximately the same intensity in both. With fundamental matched, and H2 so similar, the core of the tone for both voices on this note is identical. H2 in both voices carries the bulk of the volume for both. H3 in Robert Plant's voice is somewhat louder by comparison to Whitney Houston's, but for both, it is louder than the fundamental, and the second loudest harmonic overall for both as well. Recall that the 3rd harmonic (an octave and a perfect 5th above the fundamental) as an odd harmonic, adds color to the tone quality. The relative strength of this harmonic in Robert Plant's voice helps us to distinguish his from Whitney's tone quality. H4 for both voices is about equal, but H5 and H6 in Plant's voice are stronger than Whitney's. This may be the result of "Singer's Formant" in Plant's voice. H6 is particularly well situated, as it is not only strong, but within the sweet spot of hearing. Example Three: Broadway Belt, and Operatic Tenor This one is a fun one. The following spectrograph is of two very famous singers, Ethel Merman (the quintessential Broadway belter of the mid-20th Century) and Luciano Pavarotti, Operatic Tenor. Ethel is singing the last note of 'There's No Business Like Show Business' from Annie, Get Your Gun, and Pavarotti is singing the last note of 'Celeste Aida' from Aida. As usual, for comparison I have equalized the strength of the fundamentals so that relative harmonic balance can be shown. Can you tell which is which? Without giving away yet which is which, the following can be observed: With the fundamentals equalized, the Blue voice has a louder H2 than the White one, which makes the core of the tone quality just a bit brighter, but not much. H3 in both voices is the loudest harmonic, so they both have the color this harmonic brings to the tone, with a small advantage for the White voice. H4 for both voices is quite a bit softer than H1, H2 and H3, adding some brightness, but not much to both. The higher harmonics have less energy in both voices, but overall the White voice has more than the Blue one, which gives it more ring. Both voices have vibrato (as evidenced by the 'wideness' of the harmonics), with the Blue voice having just a little bit more than the White one. Have you determined which is which? Pavarotti is in White. Merman is in Blue. Conclusions In looking at these representative voices, there are some commonalities that we can identify for this pitch range: In each voice type, the principal strength of the tone is in the 2nd and 3rd harmonic. The fundamental is often 4th or lesser in strength, meaning that other harmonics align more closely with the resonances of the vowels chosen than it does. Some voices display presence of singer's formant, and others do not. Each of the singers shows strong voice production characteristics, but not equal balances of resonance. This essay was first published December 21, 2008 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008. View full articles
  24. This article will compare the 'belt voice' production as used by female singers, the 'robust head voice' as used by Operatic tenors, and the male 'Rock' pharyngeal voice. These types of vocalism share some characteristics that make them similar to each other, but also have some characteristics, which differentiate them. As I have done before, I will use spectrographic analysis to assist in the understanding of how these voices can be compared and contrasted. A First example: 'Top Line F', Belt and Robust Head Voice The following spectrograph shows the harmonic content of two voices singing the F natural usually written on the top line of the treble staff, that is, the F at the upper range of both the belt and tenor voices (the F the octave and a perfect fourth above middle C.) The female singer, represented in blue, is Patti LaBelle, from a televised recording of "You'll Never Walk Alone" from Carousel, recorded in the mid-'60s. The tenor is classical tenor Nicolai Gedda, from a 1973 recording of "Credeasi Misera" from I Puritani. Patti http://www.youtube.com/watch?v=OTAOD-2Fnqw at 2:19 Nicolai http://www.youtube.com/watch?v=9w_TTK7UP1c at 4:50 As I have done with prior recordings, I have matched the volumes of first harmonic (H1) so that the relative intensity of the upper harmonics can be identified. With this matching, we see the following: There are five strong harmonics displayed by both voices, and for both of the notes, the 3rd harmonic is the strongest. This gives the voices power and color. The relative intensity of the harmonics is approximately the same in both voices. H1 and H2 are lower in intensity than H3, but strong enough to make the core warmth of the tone quality very solid. The 4th harmonic in both voices is within the 'red lines', the most sensitive part of our hearing range. The white trace sections are 'wider', indicating that Mr. Gedda's vibrato is as well. Ms. LaBelle sang her note with almost no vibrato, so the peaks are very pointed. A Second Example: Middle line B, Pop Belt and Rock Pharyngeal Voice This second spectrograph, which I have annotated for harmonic identification, is of two voices singing the B above middle C. The two voices are Robert Plant of Led Zeppelin, singing 'A Whole Lotta Love', and Whitney Houston singing 'I Will Always Love You', on a vowel approximating /a/. I have matched the fundamentals as before. Robert Plant's voice is in blue, and Whitney Houston's is in white. The spectrograph shows the following: With the fundamentals equalized, the loudest harmonic in both voices is H2, and approximately the same intensity in both. With fundamental matched, and H2 so similar, the core of the tone for both voices on this note is identical. H2 in both voices carries the bulk of the volume for both. H3 in Robert Plant's voice is somewhat louder by comparison to Whitney Houston's, but for both, it is louder than the fundamental, and the second loudest harmonic overall for both as well. Recall that the 3rd harmonic (an octave and a perfect 5th above the fundamental) as an odd harmonic, adds color to the tone quality. The relative strength of this harmonic in Robert Plant's voice helps us to distinguish his from Whitney's tone quality. H4 for both voices is about equal, but H5 and H6 in Plant's voice are stronger than Whitney's. This may be the result of "Singer's Formant" in Plant's voice. H6 is particularly well situated, as it is not only strong, but within the sweet spot of hearing. Example Three: Broadway Belt, and Operatic Tenor This one is a fun one. The following spectrograph is of two very famous singers, Ethel Merman (the quintessential Broadway belter of the mid-20th Century) and Luciano Pavarotti, Operatic Tenor. Ethel is singing the last note of 'There's No Business Like Show Business' from Annie, Get Your Gun, and Pavarotti is singing the last note of 'Celeste Aida' from Aida. As usual, for comparison I have equalized the strength of the fundamentals so that relative harmonic balance can be shown. Can you tell which is which? Without giving away yet which is which, the following can be observed: With the fundamentals equalized, the Blue voice has a louder H2 than the White one, which makes the core of the tone quality just a bit brighter, but not much. H3 in both voices is the loudest harmonic, so they both have the color this harmonic brings to the tone, with a small advantage for the White voice. H4 for both voices is quite a bit softer than H1, H2 and H3, adding some brightness, but not much to both. The higher harmonics have less energy in both voices, but overall the White voice has more than the Blue one, which gives it more ring. Both voices have vibrato (as evidenced by the 'wideness' of the harmonics), with the Blue voice having just a little bit more than the White one. Have you determined which is which? Pavarotti is in White. Merman is in Blue. Conclusions In looking at these representative voices, there are some commonalities that we can identify for this pitch range: In each voice type, the principal strength of the tone is in the 2nd and 3rd harmonic. The fundamental is often 4th or lesser in strength, meaning that other harmonics align more closely with the resonances of the vowels chosen than it does. Some voices display presence of singer's formant, and others do not. Each of the singers shows strong voice production characteristics, but not equal balances of resonance. This essay was first published December 21, 2008 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.
  25. TMV World Team

    How to Belt: Some How-To and Science

    If we define belting in the most general terms possible, let's entertain the notion that it's a vocal sound that derives from talking or yelling. Belting is most often linked to musical theater singing, but has been used to describe loud singing in commercial styles such as rock and gospel. Following is a brief description of the essentials of the mechanism of belting voice production, particularly as compared to classical singing. Head: aligned with body but with jaw parallel to ground (head tilted down in classical) Jaw: firmer masseter (chewing) muscle which protrudes jaw slightly forward Hyoid bone: pulls forward Thyroid Cartilage: slides forward (tilts down in front for classical) Larynx Height: higher position (approx. 1 1/2 cervical vertebrae higher) Vocal Fold Vibration Pattern: clapping, square-edge, no zippering, particularly at higher volumes Vocal Fold closure speed, speed quotient: faster Vocal Fold closure ratio, closed quotient: longer, closed minimum of 50% of time Increased sub-glottal pressure - upper belly must firm OUT, lower belly IN, to correctly pressurize vocal folds T-A muscle (vocalis): more contracted Frequencies: even range of frequencies up to 15k Subjective sensations: Extreme breath holding prior and during Singing smacky and sticky The feeling of folds high speed of closure and long closed phase Intense support (5 rules: chest stays up, side/back ribs stay out, upper belly magic spot firms out, lower belly gradually goes in, waist goes out) Sound shooting through mouth or chin or upper neck or lower neck or nose Modern belting ideas: Timbre (nasal and/or ringy) and volume should be character-based choices Can be loud, medium or soft (rarely), but cannot be breathy Musical Theater belting can be delineated into at least five belting sub-styles: Heavy Belt, Nasal Belt, Brassy Belt (nasal/ringy, mostly nasal, i.e. Ethel Merman) Ringy Belt (nasal/ringy, mostly ringy i.e. Kristin Chenoweth) Speech-Like Belt (broad spectrum of resonance i.e. Idina Menzel) Teaching Approaches: Calls (Come ere Daddy!) Nasals (e.g. nyaa) Lean Exercises Pressure Sounds (bee staccato) This essay first published November 30, 2008 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.