Can You Learn To Belt Like Demi, Adele, or Whitney?

“Can you teach me how to belt like Demi Lovato?”

Well, that depends. What is your natural voice type? Do you have a similar voice type to Demi’s? If yes, absolutely! If your voice type is drastically different, I can teach you how to belt, but your belt will not be comparable to hers. 

When talking about voice types, there are broad categories centered around range (soprano, mezzo-soprano, contralto, tenor, baritone, bass), and then there are sub-categories with more subtle differences. I won’t get into the details of voice classifications in this article. Unless you’re singing opera, the difference between a coloratura, lyric, soubrette, spinto and dramatic soprano is irrelevant. But at the very least, you should know this: Voices differ in natural capacities for range, volume, and flexibility. Sade at her loudest will never be as loud as Whitney Houston at her loudest. Jhene Aiko’s belt won’t sound like Idina Menzel’s belt. Ever. Not even with voice lessons every day from now until 2035. There’s nothing wrong with that. Naturally louder voices aren’t necessarily better or worse than naturally softer voices, they’re just different.

Have you ever seen the musical Dreamgirls? That’s a great example of a production that showcases different voice types. (The 1981 Broadway show does a better job of illustrating this point than the movie adaptation) Dreamgirls tells the story of a 60s girl group, reminiscent of the Supremes.

The members of the group are: 

Deena, the light-voiced head-dominant singer (Think Diana Ross instead of Beyoncé) 

Effie, the gospel style belter

and Lorell, the soprano who sings in a bright mix (Patti LaBelle type)

The differences in voice type are significant because Deena and Effie’s vocal abilities are pitted against each other in the story. When filtered through a “louder is better” lens, it feels like an injustice when Deena is chosen to sing lead over the powerhouse belter, Effie.

Every time I’ve auditioned for productions of Dreamgirls, I’ve been cast as Deena. I could never, ever play Effie and that’s okay. I know my lane and I stay in it. I’m a light lyric soprano (my voice is on the higher, lighter, softer side), so I learn Deena type repertoire and audition for Deena type roles. Even when I sing R&B/pop music, I’ve started to lean towards covering lighter-voiced singers.

Trying to force your voice outside of its “happy place” can lead to problems. Softer-voiced singers often blow their voices out trying to sing huge songs with huge instrumentation. Singers with naturally louder voices often create vocal tension when trying to hold back their volume to blend with softer voices. Neither is necessary. Figure out what you do well and play to your strengths!

As talented as they are, if Jennifer Holiday or Jennifer Hudson (who both played Effie) took a quiet, contemplative Sade song and belted it out with gospel growls and squalls, it would have the same jarring effect of Miss Lake Dardenelle's famous 2010 performance of “And I Am Telling You (I’m Not Going)”. To put it nicely, neither is stylistically appropriate.

(Note: If you want to put a unique spin on a song that's outside of your voice type, you can absolutely do that! However, I would highly recommend changing the instrumentation/production/arrangement to match your new interpretation of the song. That way, it sounds intentional and not like a mistake.)

In both musical theater and contemporary commercial music, there’s an audience for every type of singer. Whether you’re a belter like Demi or Aretha, a crooner like Nat King Cole, or your voice is super soft, like Billie Eilish, there’s an audience for all of it. There’s no need to try to contort your voice into something it’s not. Embrace your natural gifts and lean into them.

A word of caution, regardless of where you lie on the volume spectrum, you won’t be able to please everyone. There are people who “wish Fantasia would stop all that screaming” and there are others who think that “Diana Ross’ voice isn’t strong enough”. Everyone is entitled to their opinion, but you are also entitled to ignore all outside opinions from the peanut gallery and thrive exactly as you are. 

This is not to say that you can't strengthen your voice and increase your volume. You absolutely can, and should! It’s something that I work with all of my students on. However, as you set your vocal goals, aim to be the best possible version of YOU, not someone else. As you choose your repertoire, be sure to choose songs that present your voice in the most flattering light. It takes the struggle out of the equation and leaves room for you to have fun and be expressive. That's really the point, right?

How To Pass A Performing Arts School Audition

It's almost audition season for performing arts programs on various educational levels. The competition is fierce, so let's talk about how to make the most of your auditions and increase the chances of getting into the school of your choice! With students who have passed auditions for Mark Twain Junior High School, LaGuardia High School, Murrow High School, Repertory Company High School, Talent Unlimited High School, University of North Carolina at Chapel Hill, and University of New Haven, I've got several tips that will help you do your best:

1. Get help from a qualified music teacher. There are a LOT of kids who enjoy singing and are very talented. Hundreds of students, if not thousands, will be auditioning for these arts schools. LaGuardia, for examples, estimates that they accept less than 20% of their applicants. The best way to give yourself an edge is to study with a great teacher. Students with a background of focused music study will automatically stand out to audition judges. These students make informed song choices. They tend to have better posture and their performances tend to be more poised. There's an obvious attention to detail with diction, breathing, and phrasing in their auditions.  

2. Start taking lessons EARLY. Don't wait until a month before the audition to start preparing! There's a lot of muscle memory involved in creating music, whether it's singing or playing the piano. The body needs time to break bad habits and reestablish helpful habits. I would recommend an absolute minimum of 3 months of preparation, and that's cutting it close. 

3. Do your due diligence. Research the program you're applying for. Is this school a good fit for you and your goals? Is this a classically based program? Is there an emphasis on musical theater? Be sure to read all audition directions, guidelines, and repertoire lists that are posted on the school's website. Attend an open house at the school. Ask questions about what will be covered in the audition. This will help your teacher make sure you're adequately prepared.

4. Choose an audition song that fits with the program and the suggested repertoire list. If the program is based in classical music and their song list consists of classical art songs, classical arrangements of folk songs, and legit (more head voice dominant) musical theater selections, this might not be the time to show off your best Beyonce or Ariana Grande rendition. Is it possible to pass the audition with a creative song choice? Probably, especially if you're undeniably freakishly talented. However, as a general rule, you want to make it easy for the judges to choose you. Allowing them to hear you sing in the style that you'll be singing at the school removes their need to wonder if you can handle it. 

5. Plan to audition for multiple schools. The audition process can be scary. Knowing that you're being judged and knowing that the audition will affect the next few years of your life can invite pressure and anxiety to creep in. Experiencing the audition process multiples times, will allow you to practice working through your nerves. Each time it becomes easier and easier. So set up a few extra auditions, perhaps some you might not even care about, just for the experience. 

6. Practice singing your audition piece in front of small groups of people. For many performers, it feels different to perform in front of a large crowd and a small, intimate group. Your audition will likely be in front of a small committee.  You'll probably be able to see faces and facial expressions. Practice this in advance so the feeling isn't completely foreign to you. The more experience you have with this, the calmer you'll feel during your audition. 

To delve deeper into audition technique, choose the perfect song for your voice and polish your performance, set up a consultation here.

Sorry, Not Sorry!

I've got a list of phrases that I discourage my students from using in their music lessons. 

At the top of the list is "I'm sorry".

Played a wrong note or rhythm? Don't be sorry! 

The fact that you can even recognize that you played an incorrect note or rhythm shows that your musical ear is working properly. Look, it happens! The more you practice, the higher your level of accuracy will be. No apology necessary. 

Ran out of air while singing that phrase? Don't be sorry! 

Your lungs did the best they could in that iteration of the exercise. We'll continue to work on posture and breath management and it will get better over time. No apology necessary. 

Voice cracked? Don't be sorry! 

The muscles in your throat did the best they could do while trying to negotiate that register shift. We'll continue to do exercises to help you with the transition between chest voice and head voice and it will get better over time. No apology necessary. 

Apologizing for being human is simply not a good use of your time.If your body could have done more in that moment, it would have. Be kind to your body. Be comfortable with being perfectly imperfect.

Does this mean that we're glorifying mediocrity here? Of course not. We're always striving for excellence. But excellence doesn't doesn't come from beating yourself up and apologizing for your best effort. It comes from failing confidently and trying again and again. It comes from small incremental improvements that eventually become huge shifts. 

The other problem with "over-apologizing" is that it's often a tell-tale sign of anxiety, people-pleasing, submissiveness, low self-esteem and/or a lack of self-trust.

This lack of confidence will create a barrier between you and your honest expression of the music.

The other nasty side-effect of self-deprecation is that it makes you an easy target for narcissists and other corrupt individuals. It's like wearing a big red sign on your forehead that says "I'm not sure of myself. Prey on me!" (Yes, I'm speaking from experience here.) Quite frankly, confidence is saferthan sheepishness. 

Confidence doesn't have to be loud or brazen. It's simply an attitude that says "I know who I am. I'm comfortable in my skin. I love myself. I make no apologies for who I am. I don't need your approval." 

Think for a moment about how that attitude will change your performance. Then think about how an increase in confidence will change your life. 

The next time you're inclined to say "I'm sorry" in your music lesson, stick that apology in your back pocket. I'm sure it'll be useful some other time, when you're genuinely seeking forgiveness for some transgression. 

If you'd like to work with me on your confidence in singing or piano, schedule a consultation session today!