[ SECRET POST #2578 ]

[case]

⌈ Secret Post #2578 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

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Notes:

Secrets Left to Post: 01 pages, 020 secrets from Secret Submission Post #368.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[(Anonymous)]

I agree with that last part so much. Idina Menzal can't siiiiing. She has an absolutely terrible technique, she belts like fuck on the high notes, and obviously musical singers don't sing like opera singers, but she sounds all the time like she's trying too hard to be loud.

[(Anonymous)]

Yes, she's an awful singer, that's why she's been on Broadway for years. Absolutely no vocal talent whatsoever.

[(Anonymous)]

DA

I think she was pretty good in Wicked but I think her voice has gotten really grating with age and lack of use, really. It's difficult to sing high notes for young singers, let alone a woman of her age. Really I think they should have made Elsa's notes lower.

[(Anonymous)]

Yes, because only talented, qualified people ever have careers. There is no such thing as successful actors or singers (or, for that matter, people in other fields) who suck at their job. What world do you live in? oO

[(Anonymous)]

Apparently, in the same bizarro world where people think Idina Menzel can't sing. It's a very sad world. No one has any taste.

[(Anonymous)]

All I said is that success doesn't automatically mean someone has talent and/or skill. A lot of untalented, unskilled people are still successful. And nobody says you can't like Idina Menzel or her voice, but objectively her singing technique is not particularly good. If that doesn't bother you, good for you.

[scrubber]

Can someone please explain belting to me and what it means and what it indicates, because I've tried to do searches and watch videos but I do not GET it. Is it good or bad or what.

[(Anonymous)]

Okay, so I'm not sure how good I am at explaining this, but I'll try. Basically belting means forcing your voice to do things it isn't actually able to do very well. A good, trained singer shouldn't have trouble getting clear notes out in their own vocal range. Belting is usually what happens when someone tries to force out higher notes (or deeper notes, but I think when you do that it would be called something else) or to sing much louder than they are comfortably able to. You put a lot of pressure on your vocal chords for that, you sing a lot louder because you try to do by force what you can't do with technique. The result is that it sounds loud and forced and grating, and that it's extremely bad for your vocal chords. Singing should never hurt and it shouldn't sound like it hurts. If you can't reach a note comfortably, you don't force it out, you slowly work your way up to expand your range (and obviously there are individual limits to how far you can expand it). Any good singing teacher should keep you from doing that, but a lot of musical singers do it for some reason because ... IDK, they think it sounds more dramatic or something? And Idina Menzel really does it A LOT.

I hope that cleared it up a little?

[(Anonymous)]

It's when you sing high notes in your chest voice (instead of your head voice, which is what you would normally do). It gives the voice ...ballsier, stronger sound, for lack of a better way to describe it. It is not part of classical technique (I taught myself to belt by ear as none of my voice teachers would touch it), it's associated with Beltway and pop/rock.

[(Anonymous)]

A lot of aspiring singers also seem to confuse "shouting real loud" with belting, so I get where some of the confusion/bias against that technique comes from.

[(Anonymous)]

SA

You can belt quietly, although it's associated with strength/power and strong emotion (just as singing in your upper register (i.e., singing classically) tends to be associated with stronger emotion), and it's not terribly easy. But yeah, singing loudly != belting, that just means you're you're pushing more. Belting vs. singing in your head voice has to do with where you're placing the voice. And it is kind of unnatural--I get why my teachers didn't like it because when you learn to sing properly (i.e., classically), you're not asking the voice to do something weird. Women and men are meant to sing upper notes in their head voices, it's less...wrenching, I guess, on the voice. (And also, a lot of voice teachers are huge snobs ;) Another more-natural vs. less-natural thing is vibrato (it's natural once you hit adolescence) vs. straight-tone. Pop music plays around all the time with vibrato (sometimes I'll straighten out a note and then sliiiide into the vibrato at the end--it develops the note emotionally. I picked that up from Barbra Streisand ;)but the typical aria is sung with full vibrato. But just because something is less natural doesn't mean it shouldn't be explored. It's all good :)

[hiyami]

It's funny because associated with different anon just above your comment, this makes me realize why I like that kind of singing more than what other anons strive to find in a musical singer.

[(Anonymous)]

SA

What's interesting is when you compare Broadway musicals through the years--listening to musicals in the '50s, singing in your head voice was MUCH more expected back then, it was very much the prevailing aesthetic. Whereas now it seems to sound "fake" or fussy to some people, and Broadway songs (and for all intents and purposes Let It Go might as well be a Broadway song--it's part of a musical, it's a character piece) are written to the belt. There are a couple of possible explanations for this--one is that rock started getting big in the '60s. The rock sound per se never *really* penetrated Broadway much (beyond a few exceptions like Jesus Christ Superstar--even Hair is more pop/Broadway than true rock) but we got used to the sound of rock voices, and grew to value that raw emotionalism (the '60s also placed a premium on "keeping it real") and seemingly less artifical sound (which is funny because as I said in an earlier comment, "classical" singing is actually more natural and uses your instrument more efficiently--belting is *less* natural and harder on the voice).

But another possible reason might be, oddly, the rise of the women's movement--belters are women and a lot of belted songs tend to be emotional anthems. I'm thinking a song like Defying Gravity or Waiting for Life (LOVE that song! This classically trained white soprano just loves doing that one at auditions) might not have such a great reception in the '30s or '40s--there's a lot of overwhelming female emotion there. But that might be too simplistic an explanation.

[(Anonymous)]

Actually, it's singing any note loudly in your chest voice. This can include lower notes that are meant to be sung in your chest.

[(Anonymous)]

Not really, no. That's just...singing in your chest voice.

[(Anonymous)]

I don't really like to watch Idina herself sing live because I always feel like she's about to bust a vocal chord. There's something...not healthy for her instrument, in her singing, I think. I've seen more than one performance of "Defying Gravity" with her where her breathing was awful and it looked like the only thing powering her through the end was sheer force of will.