In this section you are going to create some images that will help you keep the head focus of your voice when you move from one note to another. But first, a word about visualisations.
In the exercises you will be using visualisations of how your voice is working. This may not (or may) be an accurate description of what is actually happening physiologically, but does not need to be. Just know that they work.
The great power of imagination and visualisation in creating desired outcomes has long been understood by successful people, and is increasingly being recognised by mainstream science. Visualisation works partly because the subconscious mind – which is responsible for the vast amount of vital stuff that goes on outside our conscious thoughts, and to a large extent is running the show – thinks in pictures, not words. Also, your body can’t distinguish between a vividly imagined scene and one that is actually happening.
Different people’s brains work in different ways, and visualisations come much more naturally to some people than others. You can’t change that, but even if you’re someone who finds it more difficult to see images in their ‘mind’s eye’ try not to give up on visualisations entirely. With time and practice your ability is likely to improve.
You can exploit visualisations in two ways to develop your Better Voice:
To help you think horizontally when changing from one note to another, imagine that the range of notes in your voice stretches out in front of your face, level with the imaginary on/off switch in the middle of your forehead just above your eyebrows.
The note that is lowest in pitch is closest to you and the highest pitched sound you can make is the furthest away.
Thus, at its simplest:
(It’s actually slightly more complicated than that, but for now the description above is adequate.)
Also:
If you think vertically when moving from one note to another you’re very likely to be using your throat to control the move, which is exactly what we want to avoid.
As already mentioned, the feeling of going up or down to notes can manifest physically as a chin tilt – usually more marked in singers but seen in some speakers too.
Tilting your chin up when ‘reaching’ for a higher-pitched note is particularly damaging because it tightens your throat. Feel the effect yourself by putting your fingers on your throat as you raise your chin.
The following video demonstrates the audible effects of thinking vertically and tilting the chin. It exaggerates to make the point, but do check (via a mirror or a friend) whether you do a reduced version of this when talking. Even a small backward tilt can have a large negative effect.
There’s more about balancing your head in Section 3.5. For now, while ideally your head should be level, as we said before it’s better for your chin to be pointing down slightly rather than up.
In this section you are going to create some images that will help you keep the head focus of your voice when you move from one note to another. But first, a word about visualisations.
In the exercises you will be using visualisations of how your voice is working. This may not (or may) be an accurate description of what is actually happening physiologically, but does not need to be. Just know that they work.
The great power of imagination and visualisation in creating desired outcomes has long been understood by successful people, and is increasingly being recognised by mainstream science. Visualisation works partly because the subconscious mind – which is responsible for the vast amount of vital stuff that goes on outside our conscious thoughts, and to a large extent is running the show – thinks in pictures, not words. Also, your body can’t distinguish between a vividly imagined scene and one that is actually happening.
Different people’s brains work in different ways, and visualisations come much more naturally to some people than others. You can’t change that, but even if you’re someone who finds it more difficult to see images in their ‘mind’s eye’ try not to give up on visualisations entirely. With time and practice your ability is likely to improve.
You can exploit visualisations in two ways to develop your Better Voice:
To help you think horizontally when changing from one note to another, imagine that the range of notes in your voice stretches out in front of your face, level with the imaginary on/off switch in the middle of your forehead just above your eyebrows.
The note that is lowest in pitch is closest to you and the highest pitched sound you can make is the furthest away.
Thus, at its simplest:
(It’s actually slightly more complicated than that, but for now the description above is adequate.)
Also:
If you think vertically when moving from one note to another you’re very likely to be using your throat to control the move, which is exactly what we want to avoid.
As already mentioned, the feeling of going up or down to notes can manifest physically as a chin tilt – usually more marked in singers but seen in some speakers too.
Tilting your chin up when ‘reaching’ for a higher-pitched note is particularly damaging because it tightens your throat. Feel the effect yourself by putting your fingers on your throat as you raise your chin.
The following video demonstrates the audible effects of thinking vertically and tilting the chin. It exaggerates to make the point, but do check (via a mirror or a friend) whether you do a reduced version of this when talking. Even a small backward tilt can have a large negative effect.
There’s more about balancing your head in Section 3.5. For now, while ideally your head should be level, as we said before it’s better for your chin to be pointing down slightly rather than up.
