Kate's Voice

Everyone has a gift to bring to the world.  We are all unique with unique talents and perspectives.  We are part of the whole, and as such, we are all important.  This is what I believe, and it influences my work with voices.  I am not interested in helping people develop a sound that is a cookie cutter of someone else, even if that someone else is a magnificent orator or singer.  I look for individual strengths and character, and encourage my clients to create a voice that is authentically theirs so that they can bring their gifts to the world.  However, voices are created, so if you can create any voice you want, how do you create…or rather reveal one that is authentically yours?

Authenticity in intention:
Intention is an aim that guides action.  There are many possible intentions for getting up in front of an audience or for having a conversation.  However, being genuine means that your intention is clear and you are aware of it, expressing your message in complete alignment with that intention. Getting clear about intention is an exercise in and of itself, but one well worth taking on.

Connection to your content:
You have to be aware of what you are saying or singing.  What are you talking about?  What is the story?  How do you feel about it?  Pay attention to expressive words and phrases.  One way to do this is to use emotional recall to connect with your feelings.  This connection is not acting.  It is a connection to your own memories and very real feelings that may be in the past, but are nonetheless a part of you. You can call on them to express genuine feelings today.

Speech level speaking and singing.
Last time, I wrote about singing like you speak and speaking like you sing.  Unless you have a completely affected speaking or singing voice, this approach will help you develop a genuine delivery that is comfortable.  As for affectations, it is even possible to be genuine with an affectation if you are in alignment with your intention.  People who imitate others well usually do so with the intention to entertain or have fun.

You don’t need to be someone else in order to be you.  The world needs what you have to offer and will hear it best if you say it in your own very special, unique voice.

Elsewhere online:

Denise Graveline has a related post called “Finding Your Voice as a Speaker.”

Erin Reel is a guest on Rachelle Gardner’s blog and addresses the topic from a writer’s perspective, “Finding Your Authentic Voice.”

And from Decker, Faith in Your Voice.

And here’s an interesting pole on authenticity.  Where do you stand?

Years ago, I studied voice with Seth Riggs, a teacher who had a profound impact on my teaching.  He taught me that the voice is the same instrument whether you are singing or speaking.  Today, when I teach singing, I teach people to find their “speech level.”  When I work with speakers, I listen for dynamics, tone, and phrasing, just as I would if they were singing.: The same physiology with slightly different applications.

This is why I was fascinated to read about Brian Eno’s latest project.  The composer’s new album is poetry read and set to music. ” ‘We are all singing. We call it speech, but we’re singing to each other,” Eno said (sang?) from London .’I thought, as soon as you put spoken word onto music, you start to hear it like singing anyway. You start to develop musical value and musical weight, and you start to notice how this word falls on that beat, and so on.’ ”

About a year ago, this relationship between singing and speaking was discussed in an article in Scientific American.  There is evidence that humans learned to speak because of music, and that we love music because it reminds us of speech.  Or is it the other way around?  My own experience is that whichever it is,  music and speaking are connected.  Now, I ask you, my readers, how is your speaking voice like your singing voice and vice versa?  Have you ever thought of this?  If you have, I would love to hear from you.  If you haven’t, here are some ideas to start the exploration:

As a speaker, consider that your voice is a musical instrument.  As a musician, you can apply dynamics, tone, expression, phrasing, and pitch, volume, and many other aspects of sound production and expression to what you are doing.  If you play an instrument already, you are already trained to take this approach.  Try it.

As a singer, your speaking voice is a guide for your singing voice.  Try speaking phrases before singing them.  Notice how your production is similar and how it is different.  Strive to speak on pitch and to be aware of how you may be affecting the sound to create a pretty voice, or a pop voice, or a “legit” voice.  Style is closely related to registration.  Basic vocal production as a singer is akin to “Xtreme” speech.  If you want to know more about this, let me know.

To read more about Brian Eno’s project, Drum Between the Bells, please see this Los Angeles Times’ article .

And for more thoughts on this topic, please see The Eloquent Woman.  (Great minds think alike!)