THE IMPORTANCE OF FINDING YOUR “TRUE” VOICE

In working with singers, actors and speakers over the years, it has become increasingly obvious just how important it is to use one’s true voice.

What is one’s “true” voice?

A true voice is one that is comfortable and easy. A voice that carries and modulates over a wide range of pitches for expression, and one that is centered around a person’s optimum pitch. A voice that has a natural buzz or ring brought about by proper placement, and a voice that is well supported with the use of diaphragmatic breathing. All of these elements combine together to create one’s true voice.

If any of these elements are missing, the speaker, actor or singer could find themselves facing unnecessary vocal difficulties. Left unattended these difficulties could be anything from fatigue to strangled voice.

Difficulties sometimes arise for actors (even if their normal voice is their true voice) when they are required to do a character voice for a long or sometimes even short period of time. This is a common requirement for character actors and voice-over artists. Incorrect vocal production used for a character voice can begin to seep into one’s regular voice and difficulties arise.

The key in such situations is to strengthen the true voice through exercises which include making the artist keenly aware of their true voice and how to find it at all times. This gives the artist a frame of reference from which to work out their character. We also look for a totally safe way for them to produce their character to help prevent vocal damage. If an actor can create a character voice with the correct elements in mind, they can have a solid character without abusing their voice.

Recently Michael worked with a wonderful actor who was doing the lead voice in an animated feature for DreamWorks. Working in this way for two weeks prior to the recording session and in the studio during the recording session enabled the artist to create a character voice that was not damaging. It also helped him make it through the rigorous recording schedule that was sometimes many hours a day.

Many character voices however, are innately abusive. In these instances, it is important that the artist know their true voice so that between takes they can get back to healthy speaking. Getting back to one’s true voice is therapeutic and in some cases even better than vocal silence.

SOME COMMON PROBLEMS:

NUMBER ONE: A voice produced from the lower throat is abusive and will lead to vocal fatigue at best.

NUMBER TWO: A voice that is too nasal is not as abusive and usually won’t pose as many problems as the lower-throat voice. However, it is not pleasing to the ear and will not command respect as readily as one’s true speaking voice properly placed in the mask with an authoritative ring, buzz and carrying power.

Michael once worked with a character actor who was in his 70’s. He had lost an acting job on a major TV show because his speaking voice was breaking up and was not clear. He would fatigue easily and his voice would crack on and off. When they first spoke over the phone the actor said he had really never had trouble with his voice until he’d developed pneumonia and had a long-lasting cough as a result. Still months after the cough disappeared his voice was left in very bad shape. His return to the doctor brought him no relief as the doctor told him his voice was failing him because of his age. Not believing for a minute that it was the man’s age Michael suggested he come in for a session.

When they met the actor was found to be vital and young at heart but with a bit of a broken spirit and a voice that was failing him. Immediately, Michael noticed that his voice was being pushed from the lower throat and his breathing was incorrect. The cough had been abusive to his vocal cords and in an effort to take the pressure off his voice he changed his breathing and dropped his voice lower. Of course, this only made matters worse.

Michael coordinated his breathing, helped him find the correct voice placement and optimum pitch and there was immediate improvement. Then he employed some singing exercises and the result was a vibrant, solid singing voice that had a quality of a man significantly younger. His sound was rich and he had a beautiful vibrato.

His vocal problems clearly had nothing at all to do with his age. They were simply a result of incorrect speaking habits brought about by the effects of pneumonia. This was a simple case of bad vocal habits being developed as a result of an abnormal condition. These habits then became the normal speaking pattern long after the abnormal condition was gone. Understanding proper vocal principles with regards to one’s speaking voice can help avoid such difficulties.

“Both music and language are about, highly organized steams of sound.” ~ Robert Jordain