Christopher Peterkin Response to ‘Belt is Legit’

In learning how the vocal mechanism works I think that it is important to understand the

difference between legit and belt. Legit was considered the more “high brow” form of singing

while Belt was considered lower class and was often featured in minstrel shows, burlesque and

dance halls. Though belting has been around far longer than classical singing it wasn’t until re-

cently that is began to be considered a legitimate art form. Many times it can be hard (at least for

me) to discern the difference between healthy and non-healthy belting. To me a lot of belting

sounds like shouting so I think it is very important that this article gave a clear explanation of the

correct way for both men and women to belt.

In the article Robert Edwin says “Classical technique… is of little use to a belter. Classi-

cal technique serves only classical and traditional Broadway legit singing.” This was one of the

key things I noted in this reading. I had never really thought about the fact that there may have

been a different technique for belting and classical singing; I assumed that it was all kind of the

same. I also had absolutely no clue there could be a “faux belt”. I assumed that it all had to come

from the same place, but this new knowledge made me think that perhaps the belting I had heard

before that I thought sounded bad could have been a “faux belt”.

A little further in the article he points out that since belting is more speech like in quality

versus classical singing. While I knew this to be true I did not know that because belt is “bright

or highly chiaro” it is more necessary to spread the mouth “‘east and west’ as opposed to the

‘north and south’ position for tall, round classical vowels”. I was always told not to spread so this

was something that confused me at first. Then learning that most men and some women often

have a more chest dominated or rather TA dominated belt allowed me to make more sense of the

differences between classical singing and belt. Then after reading this learning that “Carrying TA

dominant sounds up the scale with tall, round vowels is… potentially damaging to the instru-

ment” I began to even further understand what I may have been perceiving as a “bad” belt and

why it sounds the way it does to me.

Though this article sets out to clarify the difference between a classical or “legit” sound

and a belt sound it has also showed me a lot about my own instrument. Though I am not sure ex-

actly how to control the TA or CA muscles it is clear to me now — more than ever — what these

muscles do. I have had a hard time learning about the musculature of the throat, especially be-

cause I think I should be feeling a specific thing rather than just feeling what I am feeling. I will

work with my voice teacher to hopefully help build this belt sound up without putting it in my

throat. I have a hard time not putting it there when I start to psych myself out so that is another

hurdle I am working to get past. Hopefully by working on my belt voice I will gain some better

control over my flip as well.