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Vocal belting refers to a specific technique of singing.

The term "belt" in music is misunderstood by some to mean the use of "chest" voice in the high register of the voice, rather than using the "head voice," etc. This is a misconception. The proper production of the "belt voice" is accomplished in the upper range by a modulation (music) of vowels and change of typical placement of the voice sound in the mouth. In a higher range all vowels are modulated to one of two vowels: "eh" as in "ape" or "ah" (bright vowel) as in "ChicAgo." Depending on the range of the singer, the vowels will be more or less modulated. Hence, in a male voice, a belted A-flat might not have the same amount of modulation as a belted B-flat.

In addition to the modulation of vowels, the belt voice sound is produced by properly placing the sound in the mouth. The soft palate is raised and the vowels brightened toward the front of the mouth. The jaw is open (but not fully open) so that a few teeth are typically showing on the top and bottom of the mouth. There are various techniques and vocalises to accomplish this sound. The result is a kind of "soft yell."

Despite the sound being somewhat of "soft yell," if produced properly it does not require straining and it is not damaging to the voice. Though the larynx is slightly higher than in classical technique, the vocal cords are not harmed. It is thought by some that "belting" will produce vocal nodes. Nodes can show up when the vocal cords are unhealthily slapped together in a "glottal attack." Belt pulls the vocal cords very close together, but air can still pass through safely without causing a "glottal attack." In fact, belt technique can be used as therapy for vocal cords. However, improper technique can be quite dangerous.

It also worth pointing out that some singing teachers regard belting as intrinsically damaging to long term vocal health. The subject is a matter of heated controversy among singers, singing teachers and vocal coaches.

Both classical and belt sounds can be produced by the same person. The belt sound is easier for some than others, but the sound is possible for classical singers, too. While it is most often used by females - its best known exponent being Regine Velasquez. It requires strong diaphragm support and strong vocal cords - hence, it may take time for a singer untrained in belt technique to reach a true belt.

Examples of belt technique can be heard from:

These singers are widely known for their sustained belting and can go through vocal acrobatics while hitting very high notes at high pitches. For more examples of belt and for more information on the technique, see the book "The Phenomena of the Belt/Pop Voice, The Technique for Safely Producing the Vocal Sounds of Today" by Jan Sullivan.

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 Despite the sound being somewhat of "soft yell," if produced properly it does not require straining and it is not damaging to the voice. Though the [[larynx]] is slightly higher than in classical technique, the [[vocal cord]]s are not harmed. It is thought by some that "belting" will produce vocal nodes. Nodes can show up when the vocal cords are unhealthily slapped together in a "glottal attack." Belt pulls the vocal cords very close together, but air can still pass through safely without causing a "glottal attack." In fact, belt technique can be used as [[therapy]] for vocal cords. However, improper technique can be quite dangerous.
+It also worth pointing out that some singing teachers regard belting as intrinsically damaging to long term vocal health. The subject is a matter of heated controversy among singers, singing teachers and vocal coaches.
 Both classical and belt sounds can be produced by the same person. The belt sound is easier for some than others, but the sound is possible for classical singers, too. While it is most often used by females - its best known exponent being [[Regine Velasquez]]. It requires strong [[diaphragm (anatomy)|diaphragm]] support and strong vocal cords - hence, it may take time for a singer untrained in belt technique to reach a true belt.