Belt Your Face Off!


A How-To Starter Guide For
Broadway Belt Singing

Felicia Ricci

Five-Trick Pony  Wayne, Pennsylvania

Introduction

Welcome to the whimsical e-book guide Belt Your Face Off!, in

which you will learn to belt your face off! Meaning, sing in a
belt sound—a kind of singing that's currently very popular in
Broadway shows and pop music.

This e-book is a precursor to my complete online belting

course, which features extensive video, audio, and text that
systematically teaches you how to belt. You can check it out at
www.BeltYourFace.com!

Who Am I? I'm Jean Valjean.

Actually, I'm Felicia Ricci—singer, performer, author, and

voice teacher. I was standby to the role of Elphaba in the San
Francisco company of Wicked, where I got to perform over
forty times.

In order to sing Elphaba's songs, I really had to master

my belting technique, not just to reach the notes, but
to do so over and over, in a healthy, sustainable way.

I developed Belt Your Face Off the e-course because I wanted to

share all of my secrets and techniques so that anyone could
learn to belt.

I've been a voice teacher for many years, coaching students all
over the country, honing my teaching style to be as
communicative as possible through interactive and easy-to-
follow lessons.
Belting. What is it?

Technically speaking, belting is when you apply a full,

“chesty,” resonant sound to a high range of notes that
typically reside in the lighter soprano-falsetto space of your
voice.

Both men and women, while they have different places

where their voices “break” or transition from chest to
head, have the tools to belt. Singers of all ages can learn to
belt, as long as they’re simultaneously exercising good singing
technique and the patience to expand their ranges gradually,
as opposed to shoving sound out or screaming.

Belting is not screaming. It doesn’t hurt. It isn’t “wrong.” It’s

basically your body acting as an instrument, using its
resonant space (your face, and the back of your throat) to
“pluck” notes out from a very small portion of your vocal
cords.

Confusing? No worries. Let’s back it up.

You know belting when you hear it. It’s loud and proud,
hefty, and seems to ring out like a screaming child in a
cathedral.

Belting is 100% safe if done correctly. As I mentioned just

now, the healthy belter must learn to use a small amount of
his or her vocal cord, relax their larynx, apply just the right
amount of breath support, popping out a sound that resonates
in their pharynx, which is behind your nose.

That’s the technical side. There’s also a huge mental

component—lots of silent visualizations that accompany the
physical process. Among them:

Picture the shortening of your vocal cord.

Think DOWN to the ground. (You might even squat, or tighten
your butt while you think this.)
Picture the sound floating in your face.
Picture a piece of paper slipping under a door.

The above are good examples of super weird but effective

approaches that help you relax into the feeling of belting,
which we delve into a lot in the online course, and a bit in this
e-book.

Why is belting “hard?”

The thing is, it’s not. Not really.

For some lucky people, belting comes naturally because their

voice is pitched naturally in a more resonant space (the
pharynx) or behind their faces. People with big mouths
typically have it easier, too.

For others, it's more of a struggle. The top three reasons you
might have whack belting technique is:

(1) Your singing anatomy is stiffer and less flexible than

other people’s, and you need to work on a daily basis to flex
your “singing muscles” (through warmups and exercises)—
which typically means stretching out your soft palate, your
pharynx (the space behind your nose), and gaining more
control over your vocal cords,

(2) you have a lot of tension that you need to release, in your
tongue, jaw, palate, and body,

(3) you have a mental block that makes you think you can’t
belt something, when in fact, you can!

Those are the main hurdles we need to jump.

Number 3 (mental block) is probably the most crucial one to
defeat.

In order to sing—and especially in order to belt—you

need to BELIEVE you can belt.

And then, in the words of Natasha Beningfield, “release your

inhibitions.” Then feel the rain on your skin, etc.

The truth is, belting is simple, once you get out of your own
way.

It’s a collection of fundamental singing techniqes you just

need to learn, hone, and make second nature through
practice.

Those fundamentals are:

1. Breath.
2. Palate shape.
3. Tongue.
4. Resonance / pharynx.
5. Larynx (or voice box).
6. Body alignment.

There you go. The pillars of belting. (These also happen to be

the pillars of singing. Coincidence? I think not.)

Breath

Breath creates the actual sound of singing, in the same way a

musician must blow into his oboe in order for it to play a
melody.

Aside from the fact that you can't physically sing without
breath—any more than you can start a car without an engine.
Breath also works to shape your sound depending on how you
release, or exhale, the breath—with what speed or intensity,
or how much of a breathy sound you let seep into your tone.

(Want an example of breathy singing? Think Britney Spears

singing anything, ever -- that's breathy singing.)

Breath contributes to pitch (high or low), dynamics (loud or

soft), vocal quality (tone, color) and a whole other bunch of
stuff.

And it’s super important if you want to belt.

So, aspiring belters, you should work on breath a lot. A lot a

lot.

Start with: 15-30 minutes a day every day for at least a week
or two before you start getting into the nitty gritty of belting.

How will you work on this? I’ll suggest some exercises at the
end of this e-book. In the meantime, you can check out my
YouTube channel at www.youtube.com/user/madameunreality
for free singing exercises. There’s a video there about
breathing that I suggest you watch!

Palate Shape

Your hard palate is what holds your teeth in place, also known
as the roof of your mouth. You use this hard palate in singing
when you bounce sound off of it (or resonate).

But the trickier, more interesting one that I want to talk about
is your soft palate, which is behind your hard palate, closer to
your trachea and esophagus (windpipe and food pipe thing).

Your soft palate is flexible, meaning you can manipulate

it and move it around.

Here's proof.
Yawn for a second. Really open that mouth and let that yawn
rip! There—right there! You're lifting your soft palate!

Look in the mirror and shine a flashlight into your mouth.

Try to recreate the sensation of yawning. Once you do, you'll
see your soft palate rise up and, most likely, your tongue
depress down.

Pretty weird and cool, right?

You want your palate to always be lifted when singing.

You especially want it to be lifted when belted. It creates
beautiful space for your sound to resonate.

Keep practicing that, and get to know your soft palate. You’ll
become fast friends—he's a real softie.

[And, scene.]

Tongue

Your tongue likes to taste stuff, and it also likes to create

vowels while you sing.

For instance, if you were singing Aaaaaaveee Mariiiiiiiiiia

("Ave Maria") you would have to adjust not just how wide your
jaw is open, where your soft palate is, but also the shape of
your tongue. On the /ah/* of Aaaave your tongue is
(hopefully) laying flat. But on the iiiii (or /ee/) of Maria, your
tongue is propped up slightly in back, which helps to
differentiate these sounds, ultimately forming lyrics.

Ta-da!

Here’s the bad news about your tongue.

TONS OF SINGERS hold tension in their tongue, which
seriously impedes their ability to belt.

It takes some artful vocalizing and technique work to get Mr.

T to lay flat when he's supposed to, and stand at attention
when he's not, without hampering sound production or
getting in the way.

Want to start with a quick tongue stretch? Stick out your

tongue as far as you can, then bring it in. Do it again, about
ten times. The last time, leave your tongue out, then move the
tip up and down up and down (you’re doing “tongue
pushups”).

This is the most basic way to start relaxing your tongue—

through stretches. There are various vocalizations and
exercises you can do while singing to help get your tongue
down, too, which we go into in the Belt Your Face Off! Video
course.

*The IPA, or international pronunciation alphabet, was designed to

get everybody on the same page about vowels and how to pronounce
them. If you're a serious singer you should buy a book on it and learn
the different symbols, as tiny variations of vowels can contribute to
big changes in terms of singing technique and improvements. In the
meantime, however, I'll be spelling things out phonetically.

Resonance

At this point we're going to get more nuanced in terms of

talking about the physical process of singing and, ultimately
belting.

I keep mentioning resonance, because it’s really important.

But first let me define it more clearly.
Resonance refers to the act of your voice vibrating or
reverberating off of your actual body, creating a more
powerful sound.

The thing is, much more to singing than your vocal cords. In
fact, your vocal cords are almost the least important part, in a
way.

Sound doesn’t just stream out your mouth directly you’re

your cords. First, it touches, bounces, resonates, off your
body, like you’re a human guitar.

What I'm trying to say is: your vocal instrument—like most

other musical instruments—relies on your body (chest, face,
head) in order to produce sound and resonate.

Where sound resonates is where I like to think that it launches

and lands after you produce it. It's where the sound goes so it
can vibrate and reverberate off of your body.

It's where the terms "chest" and "head' voice come from:
lower, chestier sounds, resonate on your chest, while higher,
lighter, airier soprano sounds resonate on your head.

The thing is, vocal resonance can’t be created by any

direct effort, but is rather a full system—an interaction
achieved through letting go and forming a space to let
the breath and sound find their sweet spot.

When you belt, it’s crucial to know where you're "aiming"

your sound for it to resonate properly. You need to have a
mental and physical direction to which you're aiming in
order to reel in and control what could otherwise feel like an
unwieldy and uncontrollable practice of "yell-singing."

Like an archer at target practice, aiming your resonance helps

refine your craft and ensures that you're not popping out
notes all over the place in a super inefficient (and
dangerous—in the case of the archer) manner.

As I said earlier, belting is not actually a giant sound. We use

tons of breath and breath compression, but the actual amount
of sound we're creating is very focused like a laser—and
knowing where in your body that laser is pointing is key.

Larynx

Your larynx is your voice box—the thing that holds your

vocal folds, or vocal cords. Let’s locate where this is on your
throat. For dudes, it’s where your Adam’s apple is. For ladies,
it’s where that little ridge on your neck is, which is like a mini
lady Adam’s apple, and moves up then down whenever you
swallow.

While belting, it’s important that you maintain a neutral

larynx, meaning that it stays down and doesn’t ride up as
your pitch gets higher.

In general, this can be achieved through releasing tension or

thinking the vowel /uh/, which relaxes it naturally.

One way to encourage full-body and larynx relaxation this is

by channeling your energy down into your diaphragm, butt,
and feet.

Think of it like a counterweight: you place an emphasize on

the sensation of being pulled down, as sound floats freely
within your larynx. This helps you to relax and not pull up
into your shoulders, neck, and throat.

Body Alignment and Releasing Tension Even More

The last pillar of belting is knowing what the heck to do with

your body, and appreciating that singing isn't an isolated
process that occurs from the neck-up and then we're done
with it.

On the contrary, singing is a full-body experience. The whole

body, head to toe, is engaged.

This is why many effective warmups and techniques involve

getting the whole gang (meaning body parts) involved. And
I'm not just talking about using your diaphragm—although
that is extremely crucial, and is frequently inhibited by
tension in your body—I'm talking about posture, stance, and
using your butt. That's right: your butt.

In terms of posture, a common problem is that people

thrust their heads forward like they're chickens pecking at
the air, while meanwhile their chest region is collapsed with
their shoulders rotated inward.

This is bad! Bad bad bad! Look in the mirror when you sing.
Do you do the chicken peck? This could be one of the most
detrimental things for your singing technique.

The chicken-peck blocks breath and makes singing a bajillion

times harder. So please, even as you're just beginning, get into
the habit of using proper alignment while singing.

“Proper alignment” means:

Stand up straight. Shoulders back. Chest raised.

Chin back, tucked into the neck, sort of like if you were trying
to make a double chin (lookin' cute). You don't have to go too
crazy, just get that chin back.

Also imagine that you have a string pulling at the back-top of

your head ever-so-gently. F
eet should be firmly planted, rooted to the ground, like you're
a damn tree! It's important that you don't stick your butt too
far back or too far forward. Occasionally, when you're really
working on belting and diaphragm compression, it's helpful
to tighten your butt muscles and really get you to crank out
the kind of breath that's going to allow you to focus your
sound.

Time to Practice

In this next section, we'll talk about effective practice and

what that looks like. It's tricky to impart the best approaches
via a book—as singing is very much a trial-and-error, show-
and-tell type process—but I'll do my best to leave you with
some beginner exercises and stuff you can try to get the ball
rolling.

The best way to get serious about this stuff is to check out the
video and audio components of my lesson course so you can
see me looking bug-eyed and demonstrating a bunch of really
helpful exercises that will get you to sing properly—and belt
your face off.

Exercises To Get The Ball Rolling.

Breath: Activate Your Diaphragm

What is this mythical diaphragm I keep mentioning? If you

watched my free YouTube video on breathing, then you know
by now. If not, here’s a summary:

Your diaphragm is in your gut. It's a muscle that expands and

contracts with you as you breathe, working essentially like an
expanding balloon to help fill you up with air. Of course, your
lungs do the actual air exchange, but shallow, limited breath
that feels like it starts and ends in your lungs—often
accompanied by a puffed-up chest, or raised shoulders—is the
bad kind of breathing that's detrimental to singing.
Take a deep breath right now. It's okay if your chest swelled a
little, but in general the upper part of your torso (i.e. chest)
should have remained almost completely stationary. And your
shoulders? Those bad boys should have remained relaxed and
unmoving.

So what should have moved?

Your diaphragm!

It's all about the 'phragm, baby.

The way a diaphragm works is that it balloons, or gets bigger,

as you breathe in (meaning, you stick your stomach out, like
after a big meal) and it deflates, or gets smaller, or contracts,
as you breath out (meaning, you stick your stomach in, like
you're sucking in your stomach for a photo shoot).

Technically the getting bigger/small thing happens in a

complete 360 degree circle (including your sides and back) but
when you're starting out it's easier to track and gauge the
movement by focusing on your belly.

Some people find the breathing and movement of a

diaphragm counterintuitive, but just think about it.

Ballooning out means you're filling up with air. If it seems

counterintuitive or weird, try lying down on the ground or
your bed on your back. Try to relax as if you're falling asleep,
even though this book is riveting and you're at the edge of
your seat.

Really get into the rhythm of breathing easily and deeply.

Don't think about it. Just think about something fun or
relaxing like going to the beach, and or going to the beach
and seeing Channing Tatum by the water, shirtless.
Are you breathing okay? Good. Now peek down at your
stomach.

If you're (really, truly) relaxed and not in your head about it,
your stomach will be rising (expanding, or sticking out) as
you breathe in, and falling (contracting, or sucking in) as you
breathe out.

This is the sensation that you need your body to memorize.

It's pure diaphragm action, working to fill you with breath
efficiently and powerfully, and also to help you to release it in
a controlled and deliberate way so you don't run out of juice in
the middle of a note or phrase.

Once you feel like you've mastered it on the floor, gradually

transition to standing. Then focus on adding some sound.
Instead of worrying about singing while breathing in this new
way, you could release your breath on a simple, sustained /s/
sound, like a singing-snake.

The more you practice, the longer you should be able to

release your breath, with your diaphragm, on the s sound.
Keep practicing. If it feels weird, keep doing it. This needs to
become automatic.

There are many other breath control exercises, designed both

to activate your diaphragm and learn how to control it during
release. It's important that your practice becomes gradually
more challenging.

After you've learned to control the release of breath to create

the /s/ snake sound, try to do a lip trill, which means letting
your lips vibrate while you hum a sound (this exercise is
actually difficult to describe on the page – Google search "lip
trill" and check out a YouTube video if you don't know what
I'm talking about).
Since you can create a lip trill sound on a pitch, what I
typically do (and what I guide you to do in my singing course)
is create a simple sequence of vocal warm-ups sung as lip
trills—each of them getting progressively longer. As you
work on your breath control and capacity, you can continue
to increase the duration of these vocal exercises, thereby
testing your progress and continuing to challenge yourself.

If you think you've maxed on the amount of breath you

can take in—or how deeply you can compress your
diaphragm to squeeze out the last bit of breath—you're
probably wrong.

You can always go further. Always. Until you explode. Try not
to hurt yourself, though. Just, be reasonable. But also, keep
going. Keep going!

Get Over Your Fear of Belting

When it comes to belting, the number one thing that will

hold you back is fear. In the words of FDR: "We have nothing
to fear in belting, but fear itself." Except he didn't say "in
belting,” but that’s what he meant.

What are you afraid of?

Letting go. Cracking. Hitting the note. Releasing the sound.

Hurting yourself.

Ironically, these fears—which causes constricting, and

tensing—will be what ultimately make it impossible to belt.

Say to yourself right now: “I can belt. I was born with

the tools to do it, and thinking I can’t is just a trick my
mind plays on me.”

Also Important: Practice in a Room with Good Acoustics

It’s important to sing in a place where you feel comfortable,
and it’s even better if it has good acoustics. So if you're used to
practicing in an acoustically dead room where you voice seems
to evaporate the second it leaves your mouth, this will most
likely contribute to your straining to hear yourself or produce
a fuller sound.

Try to go where there's a bit of reverb/echo, or where you can

hear yourself clearly.

Believe me, it really, really helps.

Breathing while Belting

Even though you need to use a lot of breath to load up your

lungs for those long held notes, while belting you are actually
applying a thinner, more focused "string" of air through your
cords than you think.

A lot of people falsely believe that the "bigger sound" you can
create through belting means engaging more of your cords
and, in a lot of cases, bringing your larynx high up in your
throat (a somewhat advanced concept, which we'll touch on
briefly), but what allows you to get up there is not by muscling
or forcing or dragging your way up to the higher notes, but by
being way more deliberate, focused, and relaxed.

Crazy, no?

The key to breathing while belting is to load up on a sufficient

amount of air (usually more than you think) and work on
compressing that air with your diaphragm to create a super
focused, strong, controlled (i.e. consistent) laser pointer of
breath, which translates into laser-pointer sound, which
allows you to "float" notes in a chestier-sounding register,
which ends up being belting.
It’s important that you don't tense your stomach muscles
unnecessarily. You want to apply pressure underneath your
ribcage, but you don't want to feel like you're going to die. In
the earlier phases of learning the sensation of diaphragm
breathing, you might squeeze your belly more than is
ultimately necessary—so please bear in mind that what is
most important is the act of compression, not that you tense
all your muscles (tension, in nearly all cases, while singing, is
not good). A firm, steady, strong compression helps to funnel
the air from your diaphragm-balloon upward and support the
sound, but it shouldn’t leave you feeling tense.

Jaw while Belting

When it comes to your mouth and jaw while belting, the

bigger the space you can create, the better.

Meaning, you gotta open that mouth!

I have a pretty small mouth, so this part of belting has always

been challenging for me.

In terms of specific prompts, work on "unhinging" your jaw,

or letting it drop downward to create space. For some, the
image "like you're biting into an apple" helps communicate the
desired position. Another prompt it that you're creating a
"C" shape with your jaw, which also means creating a space
in the back of your throat (remember that feeling of a yawn
we talked about, with your tongue down and your soft palate
raised?).

Practice making space. If you have jaw tension, massage your

jaw before your singing warmups. And the more relaxed and
released you are in general, the looser your jaw will be.

Resonance while Belting

While belting, you're not creating a ton of forceful sound
through your cords. You're making that laser beam of
sound and placing the sound's resonance in very
deliberate ways.

You want your sound, ideally, to resonate on your face and

behind your nose in a space called the mask. It is important to
guide (or "aim") the resonance forward, but not so forward
that it become nasal, or so that you "knock" the sound out of
commission and deny it its full resonance in the back of your
pharynx. (Your pharynx is the cavity behind your nose and
mouth that has a bunch of membranes and connects the
mask section of your face to your esophagus. I know:
yummy.)

Sometimes it's helpful to think of the sound as

spinning, and moving "through" your head until it
slices, boomerang-style, your nasal cavities, mustache
area, and sides of your cheeks (your pharynx).

In order to capture this feeling, it's helpful to try to subtly

smile inward. Smile behind your face. Picture your eyes tilting
from this internal tilt.

The subtle tilt and lift you get from smiling inward helps you
to place your sound in the mask.

Practice this while looking in the mirror—and remember to

keep that jaw lowered and "unhinged." You might look creepy
at first, smiling at yourself in a mirror, but who even cares?
You’re like a scary clown, but damnit you’re a scary clown that
can belt.

To memorize this internal smile sensation and help

channel the sound forward, we work with vowels that
are "nasty."
Vowels like /nah/, but said in a voice that sounds like Fran
Drescher from The Nanny. It's also helpful to add a "gn" to the
beginning of it—as in the word "gnocchi,” the pasta—which
helps to spin the sound into the mask.

It's also helpful to perform warmups that use the /aa/ vowel,
as in "apple" or the second /aa/ in "banana." What we're trying
to reinforce here is a vowel that will encourage, as oppose to
discourage, a more forward, masky, somewhat "nasty" sound.

It's okay to get nastier in warmups than you eventually will in

performance. The purpose is not to try to create a
performance-ready sound right off the bat, but to take this
resonance technique to a sort of extreme place, so that you
can memorize the sensation before dialing it back into a more
"normal" or balanced sound.

Larynx while Belting

As I said, it’s important to maintain a neutral larynx while

you’re popping out high notes in a chesty voice. One way to
access this feeling is to think or sing /uh/, which will
naturally float your larynx down.

Another way to get your larynx to relax while singing is doing

something called vocal fry. Vocal fry can be performed on an
exhale, or inhale, and on a voiced pitch.

It’s difficult to demonstrate vocal fry technique via e-book, but

I talk about this strategy in the video component. If you’re
curious to hear what a vocal fry sounds like, you can check
out one of the videos on my YouTube page called “Top 3
Things You Can Do To Improve Your Singing.”

Posture while Belting

Posture for good belting is no different from posture for good
general singing, but it bears repeating.

You want to keep your rib cage and upper torso high and
upright and not collapse or compromise this position
(which is why it’s so important that you master
diaphragmatic breathing). You want to keep breathing low,
and beneath this upright section of your body, inflating your
diaphragm balloon beneath this stable cage without
compromising it.

Back is upright, lengthened and widened, as the back of the

neck is long and free. As I said, try to give yourself a double
chin, a process I know well, coming from a long line of robust
and sanguine Italians. This posture is always crucial, but it
becomes even more crucial as the notes you sing become
higher. Again, make sure your head is not thrust forward as
this will compromise the straightness and integrity of the
“elevator shaft” that produces sound through your larynx and
pharynx.

Make sure your butt and hips are not too tucked under or too
far extended back, as neither is good.

Also, I encourage singers to clench their butts.

Believe it or not, if you clench your butt when reaching a high

note, your belting will suddenly seem way more effortless.

But clenching keeps you grounded and also to help activate

your diaphragm. Thrusting your focus down, to your butt,
also helps to keep you from tensing and thinking "Oh God!
This note is so high!"

Now, We Practice!

It's somewhat difficult to convey vocal warmups via e-book.

However I'm going to take you through the basic structure of
an effective warmup and suggest some ways to mix it up in
order to access your belt.

1) Start with breath. Remember our breath activation

discussion? Humming or lip trills are a great way to warm up
the breath and diaphragm without using too much sound or
engaging too much of your vocal folds. And it's always great
to start small. There are lots of ways to work on breath, many
of which I touch upon in my video series, but you can begin
with basics and see a marked improvement in just a few days'
time.

2) Try a warm-up that brings you from a hum into an

easy, open vowel, like /ah/. There are a variety of ways to
do this (as detailed in my course) but the key here is
progression. We're taking a smaller sound and slowly opening
it up, all while supported by the right amount of breath.

3) Think of warming up as stretching before a workout,

with the stretches getting a bit deeper and more
comprehensive the longer you go about it. Start to expand the
range of notes you're working on. Don't go crazy—but if you
started mid range, try an exercise on a simple /ah/ that takes
you into your head voice or, conversely, takes you down into
your chest. (Don't strain, just get things warmed up!)

4) Get nasty, and move into the mask or pharynx! It's

important to find a vowel that lets you create the kind of
palate and mask shape we were talking about—encouraging
your sound to resonate toward your face. Again, I like to
choose words that incorporate the somewhat nasal, annoying
/aa/ or /nah/ or /gnah/ sound—like you're teasing a kid in a
playground. "Nah, nah, nah, nah, nah, you can't get me!"
Sustain this /nah/ vowel and carry it through a simple run,
like a scale.
5) The more confident you feel creating this kind of /nah/
or /gnah/ vowel, the easier time you'll have applying this
focused, controlled technique to higher and higher notes.
Hence, belting!

And that, my friends, is the basic progression of a warmup.

It’s important to expand your warmup repertoire and to

consult my video guide to give you specifics about what
exactly you should be doing. But this is the basic approach to
warming up before belting.

Here Is A Ridiculously Important Secret About Belting

Check it out.

In order to be a successful belter, all you need to do is

master belting one vowel. That’s it. Just one.

Find your best vowel. For me it's something like /nah/ with a
bit more of an open /ah/ while I think /uh/ to relax my
larynx.

Once you know what that vowel is, later—through "singer

voodoo," so to speak—you can modify and alter lyrics and
words to let you play up your strengths and employ this
vowel, or some variation of it, in all cases.

(Check out my YouTube videos on How to Sing “Defying

Gravity” from Wicked and How to Sing “Let It Go” from
Frozen for some examples of vowel modification.)

Of course, the more versatile you are, the better. But what I'm
saying is: as long as you have these basic tools in your tool
kit, you're going to be belting like a Broadway star in no time.

Now, we belt!
If you like my teaching style, or merely tolerate it, and/or
found this e-book helpful, please enroll in the video course at
www.BeltYourFace.com. We go into all these topics in great
depth and I guide you through every step of the way.

Enrollment in the video course gets you:

• lifetime access to 3.5 hours of intensive video instruction

• over 30 vocal warmups
• a free e-book
• text summaries of all lessons
• audio files for learning on-the-go
• tons of insider tricks and secrets that took me years and
years to perfect
• a live Q&A feature that lets you ask me any question, at
any time.
So far there are 266 BYFO students of all ages and levels, and
we’re having a blast!

(If you’re interested, shoot me an email at

Felicia@FeliciaRicci.com to ask if there are any current
promotions to get a discount on your enrollment—there
usually is something going on.)

I promise we'll have fun and you'll experience incredible

improvement.

Thanks for reading, folks! Now go belt your faces off!

Love and singing,

Felicia