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Thin,-Hooty,-Weak,-Lifeless,-Nasal-And-Edgy-Proble72
Thin,-Hooty,-Weak,-Lifeless,-Nasal-And-Edgy-Proble72
Thin,-Hooty,-Weak,-Lifeless,-Nasal-And-Edgy-Proble72
Thin,-Hooty,-Weak,-Lifeless,-Nasal-And-Edgy-Proble72
Thin,-Hooty,-Weak,-Lifeless,-Nasal-And-Edgy-Proble72
Thin,-Hooty,-Weak,-Lifeless,-Nasal-And-Edgy-Proble72
Thin,-Hooty,-Weak,-Lifeless,-Nasal-And-Edgy-Proble72
Thin,-Hooty,-Weak,-Lifeless,-Nasal-And-Edgy-Proble72
Thin,-Hooty,-Weak,-Lifeless,-Nasal-And-Edgy-Proble72
Thin,-Hooty,-Weak,-Lifeless,-Nasal-And-Edgy-Proble72
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Thin,-Hooty,-Weak,-Lifeless,-Nasal-And-Edgy-Proble72

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  • 1. Thin, hooty, weak, lifeless, nasal and edgyproblem voices all have one thing in common- the "resonance cave" of the voice is not completely open.hire voice over talent
  • 2. These vocal sounds are not nearly as listenable as the rich, clear, bell-like,multi-textured musical sounds of a voice when the throat is open Sometimes aperson is so used to speaking or singing with a small, pinched voice, they donteven know its possible to change it But with vocal training to open the throat,you will be amazed at how great you can sound The "resonance cave" of thevoice involves a forked channel The channel goes from the larynx in the throatupwards where it forks into the mouth and the nasal and sinus passages Thenose is actually huge inside
  • 3. The top of the nasal membrane goes all the way up to the eyes Resonance iscreated and modified by the state of this channel Heres how it works: * Thevocal cords vibrate the larynx * Sound waves coming off the larynx go throughthe channel to bounce against other tissue surfaces and cavities in the throat,mouth, nose and some sources say even down the trachea * Thesealternative resonation zones add their own character to the sound waves * Ifthe channel is open, more vibrations can reach more surfaces, and theresulting sound gathers and comes out the mouth much richer than when thechannel is constricted anywhere
  • 4. Another very important point is that different pitches need to vibrate throughdifferent resonation zones If your throat is tight anywhere, that will keepvibration from freely traveling and you will experience limited range, thin voice -and vocal strain - if you try to hit inaccessible notes Here are some tips toopen your throat and gain resonance you never thought possible: First of allrecord yourself speaking or singing something so you have a baseline fromwhich to assess your progress If you have what is commonly known as a"nasal voice", the nose is actually constricted - like when you have a cold
  • 5. Paradoxically, to get away from the nasal sound, you need to sing through anopen nose - not just your mouth! Try singing or speaking with a flared nose tosee the difference Another thing that can help open the nasal portion of thethroat channel is to use your eyes! Try counting to five, LOUD, with your eyessmall and zombie-like Then count again with your eyes wide moving likeyoure communicating to a baby or a puppy Notice the difference? To openthe throat channel where it forks into the mouth, articulate your words in thefront of your mouth
  • 6. NOT AT THE JAW! This will invariably sound thin and lifeless You may notrealize youre speaking from the jaw so try this: Put your knuckle in your mouthand try to speak Then hire voice over talent take your knuckle out but try tospeak like its still in there Sometimes it helps to rock the jaw slightlysideways to keep from locking it on a note or passage Try speaking orsinging while imagining that a ping pong ball is on the back of your tongue Toopen the channel at the top of the throat and back of the mouth: Dont holdyour head forward! This frequently leads to a hollow, hooty voice
  • 7. Try doing wall work: Stand against a wall (head and heel against the wall,flexible spine, chin level and floating) and speak or sing Notice and/or hear adifference? When using a mike, pull your mouth back from the mic like youreplaying tug of war Dont go too far, just a little stretch Your head should goback and to the side a bit, and keep your chin flexibly level Important: Yourneck should never lock to your shoulders And one last point
  • 8. sometimes the throat tightens to try to defend the vocal cords from too muchbreath pressure Thats why I emphasize the three cornerstones of Power,Path & Performance vocal training - studying breath technique along with openthroat and performance communication Put them all together and you have
  • 9. GREAT VOICE! For information on this amazing vocal training method,contact
  • 10. hire voice over talent

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