Usuario:Paladium/Taller
Belting (o vocal belting) es una técnica específica de canto mediante la cual un cantante mezcla en las proporciones adecuadas, sus resonancias inferior y superior; resultando en un sonido que se asemeja a un grito, pero que es en realidad una fonación controlada y sostenida. El 'Belting' se describe a veces como 'voz de alto volumen', pero esto es técnicamente incorrecto, y si se hace incorrectamente puede ser perjudicial para la voz. A menudo se describe como un registro vocal, aunque esto también es técnicamente incorrecto; es más bien un estilo para el uso de un registro.[1] Los cantantes pueden usar el "belting" para transmitir estados emocionales intensos.[2]
Técnica[editar]
El "registro de pecho" o voz de pecho es el registro más bajo de la voz de canto, producido por el uso dominante del musculo tiroaritenoideo. El término "belt" a veces se describe erróneamente como el uso de voz de pecho en la parte superior de la voz. La voz de pecho es un término general para el sonido y las funciones musculares de la voz que habla, canta en el rango inferior y la voz que se usa para gritar. Cada una de esas funciones requiere un cierre más grueso de las cuerdas vocales y el apoyo de los músculos que las rodean. El término "voz de pecho" es, por lo tanto, un malentendido cuando describe el trabajo muscular en el área del pecho del cuerpo, o una resonancia en el mismo. La producción adecuada de la voz de lazo (belt), de acuerdo con algunos métodos vocales, implica minimizar la tensión en la garganta y un cambio en la ubicación típica del sonido de la voz en la boca, llevándola hacia el paladar duro, aunque Las técnicas varían según el estilo pedagógico.
Es posible aprender métodos vocales clásicos como bel canto y tambien ser capaz de poder usar voz de lazo; de hecho, muchos roles ahora lo requieren. Vocalists trained in a wide berth of styles describe vastly varying experiences in learning belt technique. Some claim that it comes naturally, while others struggle to access chest register other than while speaking. Style of music does not seem to be a related factor, other than in a singer's exposure to material.
La técnica de belting requiere una coordinación muscular que los cantantes de formación clásica no aplican fácilmente, ya que el músculo tiroideo es dominante (a diferencia del canto de registro de cabeza en el que domina el músculo cricotiroideo), lo que puede explicar por qué algunos cantantes de ópera encuentran difícil aprender a usar la técnica de belting.
In order to increase range and stamina, one must practice, however physiology and physical limitations should always be taken into consideration in a realistic approach. Since belting can be harsh on the vocal mechanism if care is not taken, supervision by a teacher experienced in working with belters is recommended in order to avoid developing lifelong pathologies that could be otherwise avoided. Others recommend repeatedly attempting to hit a note in a melody line, or by using vocalise. Many commercial learn-to-sing packages have a set of scales to sing along to as their main offering, with which the purchaser must practice often to see improvement. However, these packages do not offer a user feedback in terms of posture, breath support, muscular constriction, or any assistance with difficulties that a singer may encounter. Since this is not a separate instrument but a part of the human body, care must be taken not to damage it in a way that may later require surgery, so learning to belt without proper supervision is not advised.
'Belters', as well as other singers, should balance their registers and develop a strong head voice, in order to facilitate muscular coordination and avoid constriction. Some singers, particularly if their chest registers are underdeveloped, find that after a period of time focusing on the belt, the head voice will have improved. Likewise, for a singer with an underdeveloped head register, after a period of time focusing on the head voice, the belt may be found to have improved.{{Or}}
Physiology[editar]
There are many explanations as to how the belting voice quality is produced. Under a scope, the vocal folds visibly shorten and thicken, and they undulate along more of their vertical surface area than in head register when a smaller segment of their edge must undulate to produce sound.
One researcher, Jo Estill, has conducted research on the belting voice,[3][4] and describes the belting voice as an extremely muscular and physical way of singing. When observing the vocal tract and torso of singers, while belting, Estill observed:
- Minimal airflow (longer closed phase (70% or greater) than in any other type of phonation)
- Maximum muscular engagement of the torso (in Estill Voice Training terminology this is known as Torso Control or Anchoring)
- Engagement of muscles in the head and neck in order to stabilize the larynx) (in Estill Voice Training terminology this is known as Head and Neck Control or Anchoring)
- A downwards tilt of the cricoid cartilage (an alternative option would be the thyroid tilting backwards. Observations show a larger CT space)
- High positioning of the larynx
- Maximum muscular effort of the extrinsic laryngeal muscles, minimum effort at the level of the true vocal folds.
- Narrowing of the aryepiglottic sphincter (the "twanger")
Possible dangers of belting[editar]
Belting without proper coordination can lead to constriction of the muscles surrounding the vocal mechanism. Constriction can consequently lead to vocal deterioration.[5] Correct use of the technique and, most importantly, retraction of the ventricular folds while singing is vital to safe belting. Without proper training in retraction, belting can indeed cause trauma to the vocal folds that requires the immediate attention of a doctor.
Some proponents of belting say that it is a "soft yell," and if produced properly it can be healthy. It does not require straining and they say it is not damaging to the voice. On the other hand, it is thought by some that belting will produce nodules. This may be true if belting is done incorrectly. Many in the musical theater industry like to quip, "belting is not bad; bad belting is bad."
As for the physiological and acoustical features of the metallic voices, a master's thesis[6] has drawn the following conclusions:
- No significant changes in frequency and amplitude of F1 were observed
- Significant increases in amplitudes of F2, F3 and F4 were found
- In frequencies for F2, metallic voice perceived as louder was correlated to increase in amplitude of F3 and F4
- Vocal tract adjustments like velar lowering, pharyngeal wall narrowing, laryngeal raising, aryepiglottic and lateral laryngeal constriction were frequently found.
References[editar]
- ↑ Henrich, D. N. (2006), «Mirroring the voice from Garcia to the present day: Some insights into singing voice registers», Logopedics Phonatrics Vocology 31 (1): 3-14, doi:10.1080/14015430500344844.
- ↑ Singers such as Christina Aguilera are known for their signature styles of belting Soto-Morettini, D. (2006), Popular Singing: A Practical Guide To: Pop, Jazz, Blues, Rock, Country and Gospel, A & C Black, ISBN 978-0-7136-7266-4.
- ↑ Estill J (1988). Belting and Classic Voice Quality: Some Physiological Differences. Medical Problems of Performing Artists, 3:37–43.
- ↑ Yanagisawa E and Estill J (1989). The Contribution of Aryepiglottic Constriction to "Ringing Voice Quality. Journal of Voice, 3:342–350
- ↑ The Oxford Dictionary of Opera by John Warrack and Ewan West (1992), ISBN 0-19-869164-5
- ↑ Metallic voice: physiological and acoustic features
[[Category:Singing techniques]]