Tuesday, October 26th, 2010
The title of this article may seem a little contradictory, but it’s not. In order to sound comfortable, relaxed and effortless as you speak, you may need to do some work.
What kind of effort leads to effortless sounding Speech? Learning to listen to, and observe yourself, in daily communications. Then, taking appropriate action. Let’s consider the following areas and see how aware, or unaware you are of your own communications:
1. Vocal Tone Quality. Are you consciously aware of the sound of your own voice? You need to be. You should regularly consider whether you are speaking at too high or too low a pitch or too loudly or softy for any given situation.
We will look at those one at a time, but first I need to define a term I will be using. Optimal speaking pitch is the pitch area at which your voice can easily produce speech. It is primarily determined by the size of your relaxed vocal folds. It is easily found by spontaneously saying, “Um Hm,” as you might in response to a simple question such as, “Are you having a good day?” Instead of saying, “Yes,” say the more informal, “Um Hm.” Do this several times and find the pitches where you say the, “Um Hm.” It will often be over a 4-note range. Once you know that general pitch area you will know where you should probably be doing most of your talking. This is a general rule, but when being very expressive you will expand that range higher. Having experimented with your optimal speaking pitch, consider the following:
2. Posture. The way you carry your body has considerable influence on the message you are giving. If you look tired, bored or uninterested that is how you will be perceived whether you are, or not. In other words, posture colors and modifies what you are saying. Be posture-aware, and make sure your posture and message are in agreement.
3. Face. Just like posture, your facial expression needs to agree with your words. If you’re genuinely excited but have trouble showing it, practice being excited in the mirror. It may just be that your facial muscles don’t know what to do. On the other hand, if you tend to over-express yourself to the point of alarming the listener, don’t hesitate to practice being less physically expressive while still sharing your message.
The bottom line is this: If you will put a little effort into listening to and watching what you’re doing in your spoken communications, it can make a huge difference. Making just a few needed adjustments will make you a more successful communicator. If you’re really daring, set up a camera in the corner of a room where you’re talking to people and then study what you do in real life. If you’re fortunate enough to have a skilled public speaker in your arena of friends, ask them to honestly evaluate your “daily speech” performance. This assumes, of course, you are ready and willing to do something with the input.
Finally, remember that speaking, just like singing, takes moisture from your body. Therefore, the more you talk the more water you need to drink. A passionate singer can lose as much as a gallon of water in a two-hour concert. If you talk on the phone throughout the day, host frequent meetings, teach classes or heavily use your voice in any way you need to stay hydrated. The minimum you need is half your body weight in ounces of water a day (160 lbs=80 ounces of water.) If you’re in a noisy environment, or dried out from air conditioning or heat consider using the topical moisturizer Entertainer’s Secret. We have used and sold it for years and know it really works. It now comes with a new and more effective spray nozzle. Click here to check it out.
Comments or questions? Let me know at chris@vocalcoach.com. My goal is to provide answers to your questions.
Tags: chris beatty, chris beatty vocalcoach.com, expression, improve speaking voice, speaking voice, vocal health, vocal training
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Monday, November 9th, 2009
As Vocal Coach moves to our new BLOG format I wanted to feature a previous article that addresses a key to being a successful singer. When you sing there needs to be a coordinated effort between a number of parts of your presentation. If not the distractions and filters between you and the listener can completely block your message from getting through.
CONSIDER THESE KEY ELEMENTS AND HOW YOU NEED TO PREPARE:
The Sound/Tone Quality
Think about it. Does the message invite a full rich, vibrant tone quality or a softer, almost airy sound? Is it a declaration or conversation? Are you testifying or asking questions? You need to answer this question then practice the various possibilities. If you can’t think of any, try listening to accomplished singers and imitate what they do for various kinds of songs. Then, begin in integrate some of these qualities into your own vocal sound. A caution: I said integrate, not copy. You still need to be you, just with more possibilities of sound.
Treatment of Diction
If you’re singing a hymn or English art song, the way you pronounce the words will be handled differently than in a worship song, or a contemporary/pop style of song. If I’m singing, “My Jesus, I Love Thee,” I’ll treat the words differently than when I sing the Broadway song, “To Dream The Impossible Dream.” If I don’t, I will be putting up walls between myself, and my audience. Again, listen to the pros, imitate and play with the different options. Build some choices into your diction options. It’s the only way to keep things real and really communicate with the listener.
Phrasing & Expression
Going back to the earlier example of the difference between “My Jesus, I Love Thee,” and “To Dream The Impossible Dream,” let’s consider phrasing and other tools of expression. To begin with, most hymns will have built-in phrases that invite breathing at certain places. And, though you may make things more interesting by stretching that a bit, you are still at least partially limited unless you are doing a real pop arrangement.
With other songs, however, you have more options as to where you might breath, pause, or bring attention to a word with more or less volume or a dramatic and sometime sudden change of tone quality. The options are many and best learned by listening to those who do it best, then imitating them to feel and hear you and your voice doing it. That’s how a singer builds a repertoire of creative options. If you have never heard and felt yourself do it, you are not likely to draw on that option any time soon, even when it would be the perfect solution.
Summary: Get inspired by those who do it well in the same way you get inspired by watching an excellent, experienced athlete. Observe, analyze, imitate and integrate. And, remember throughout that to do this safely you must maintain the foundations of posture, breathing, tone, diction and expression. It’s a lot of work . . . with a lot of rewards.
Tags: chris beatty, coaching voice, expression, performance training, vocal coach, vocal coaching
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