The Pacific Voice Clinic

Dr. Linda Rammage, a speech-language pathologist, wrote a wonderful little book on vocal health called "Vocalizing with Ease." Here is a link to more information about the book, as well as some important “Do’s and Don’ts” for getting the most from your voice.

If you ever fear that you may have a vocal health issue in need of consultation, use this site as a reference.

http://pvcrp.com/about_pvcrp.php

The Voice and Speech Trainers' Association (VASTA)

The Voice and Speech Trainers' Association (VASTA) is a worldwide organization designed to link voice and speech trainers and to provide a space where lay people can access a trainer. Part of their mandate is to spread the message of vocal health, and this site provides a thorough list of online resources that cover basic anatomy, vocal disorders, and much more.

http://www.vasta.org/

VoiceGuy

Eric Armstrong, a professor with the Department of Theatre at York University, has created an outstanding web-based resource. His website is easy to read with podcasts that take you from relaxing the body, breathing and simple sound, into more intermediate voice practices.

Download all of them onto your iPod and you can have a voice workout wherever you go.

http://voiceguy.ca/

Fillers and Mosquitos

With the heat each summer arrives a bevy of insidious mosquitoes that buzz in our ears and leave big welts on our skin. So each night, my husband has a whole routine that he follows to the letter: all windows and doors are shut at dusk, citronella essential oil is positioned near all drains and then the fly swatter comes out and any remaining mosquitoes are "taken care of". It works beautifully, but only if he performs his nightly routine.

I have had a few requests to discuss the idea of fillers; those "likes", "ers", "ummms" that creep unknowingly and sometimes all too frequently into our lectures, casual conversations and other important interchanges. Linguists disagree as to whether this is a negative or positive aspect of speech but most listeners would agree that by the tenth "ummm" in a two minute time period, we are paying more attention to the "ummm" than the content.

So what can we do to reduce these fillers if we find that they are running amok in our speech?

1. Assess what fillers you use. We each have our own and a good friend, partner or respected student will usually be able to help you out with this (in a respectful manner). Another choice is to record yourself speaking spontaneously on a set topic.

2. Don't be afraid to pause when you sense a filler approach. Sometimes verbalizing the "ummm" is our way to buy time as we develop the perfect wording for our communication.

3. Practice in manageable chunks. Concentrating on fillers all the time may become overwhelming. Choose a brief interchange, a five minute section in your lecture or short presentation where your focus for that moment can be on reducing fillers.

4. Expand your vocabulary. Learn a new word each day and soon the joy of finding just the right word will allow you to resist the general "umm" as you toss "penultimate" at your now intrigued listener.

5. Take time to practice a little bit each day and ask for feedback from others regarding your use of fillers.

Now, we still get a few mosquitoes from time to time, despite my husband's efforts and you will probably find that the fillers will appear occasionally even after all this work. What matters most is that you feel more confident and less held back and restricted in your communication.

Go ahead-- get out that fly swatter and reduce those fillers!

Excerpt from "The Memoirs of Speedy Gonzales"

I love working with scholars who value language and the process of learning as much as the subject matter itself. Dorritta Fong, from the English Department, is a prime example of the thoughtfulness I see so often. I first met Dorritta when she attended a Clear Speech workshop I gave in April and since then I have the opportunity to lead her through several thirty minute private sessions. One of the reasons she had enrolled in the class was because several students and colleagues had commented that her speech was too quick for them to follow. In our first few sessions, I encouraged her to experiment with diaphragmatic breathing to support her speech instead of the upper thoracic or chest breathing she was accustomed to. She reported the next week that her discoveries were both "startling and humbling". The more she concentrated on breathing the easier it became-- until she went back in the classroom and found that she fell right back into her habitual way of communicating. Here's how she described the process:

"Since these modes of speaking are habitual, though, and comfortable, I am learning that I simply need to learn new practices. The work to undertake new habits is, at times, frustrating, and frequently difficult. I am needing to concentrate on my breathing, and trying to listen to my body. Doing such normal and natural things is astoundingly difficult. Breathing is both involuntary, in that we must do so, impelled by the body, but also voluntary, in that we can choose and control how to breathe. However, learning to over-ride what I normally do, with what I need to do, is a struggle. And I am stopping to tell myself to “Breathe!” many times a day. As well, my own sense of myself is that I think in complex, long, complete thoughts, as if I had a ticker tape unspooling iin my head. Thus, I find that trying to be conscious about what I am saying, considering what to emphasise, where to pause, when to breathe, how to place stress, whose reaction to note, and why I am speaking, is very odd. I feel, sometimes, as if my head contains a set of gerbils who have been running along, in tandem, on little wheels, complacently for years, without direction. Now, suddenly, as the über gerbil, or the rodent queen, I am trying to step in, with my little sceptre, and assert, in my squeaky (but eventually majestic) voice—“Okay, you. Breathing gerbil—fill the diaphragm. And you, pitch gerbil—vary things. You, speed gerbil, give it a rest. Emphasis gerbil—make yourself heard.” Trying to co-ordinate all these rodents and keep all the wheels churning along smoothly is exhausting, and I am finding that, to my friends, and to myself, I sometimes sound strange, and stilted. But this is temporary and will pass.

I am proceeding slowly, and am noticing small, but real changes. I am realising that Ms. Turner is helping me to allow myself time and capacity to speak in a considered and effective way. I am finding that I feel less anxious about speaking. I feel less pressure to rush on to the next idea. I am choosing my words more deliberately. I am reacting more thoughtfully to my audience, and registering their comprehension, or lack of it. Most importantly, since I want to speak to be understood, focusing on how I speak will eventually allow me to communicate in a mode other than English as an Accelerated and Incomprehensible Language."

Go Dorritta!

The Gift of Poetry

As I diligently prepare for a full summer of private coachings one of my main tasks is to choose material which the participants can use. Although I search,with minor success, for brief pieces of inspirational prose, I invariably come back to the wealth and abundance of material available in poetry. I return again to the Poetry Out Loud site where I notice they now have included an audio guide. There, numerous famous actors and writers have recorded their favourite poems and discuss their reasons for learning poetry by heart.

Kay Ryan describes a transformational moment from her childhood where her grandmother looked her in the eyes, her teeth crumpling, a quaver in her voice and recited several lines from a Longfellow poem. I was instantly reminded of my University years when my mother and grandmother came to visit. It was a beautiful spring day, the first truly warm day of the year. All of the flowers were blossoming and I was clutching on to my grandmother's soft, arthritic gnarled hands feeling the glow of her contentment. Suddenly, she spoke excitedly, "Sarah, remember how much you used to love that Wordsworth poem,

'I WANDER'D lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;'

Oisie, don't you remember that poem?" she asked my mother while she continued reciting. My mother and I exchanged a knowing smile. For my Grandmother loves that poem; it may well be the only poem she knows by heart. Perhaps it was something she learned as a child.

After Kay Ryan recited the line her grandmother was so fond of, she states that "Poetry is for desperate occasions." I would also add that it is for delicious occasions, when your own personal ability to express the profundity of a moment falls short. In those moments a poet's carefully thought out and inspired description alone seems appropriate, adding weight and verifying the connectedness of human kind over time and space.

It is my Grandfather's 90th birthday in two weeks and we have been ordered, by my Grandmother, not to buy him any presents. So... I think that what I will do is commit that poem to heart and recite it for him. Maybe even record a few other poems to go with it so that he has something to listen to in those quiet moments that come so frequently for him now. Outside of my presence, I can think of no greater gift. So why not try it, choose an upcoming celebration and learn a poem by heart. The environment will thank you, poets will thank you, but most importantly, you will have an opportunity to observe how words can truly be a gift.

If you need some help finding the right poem, start with the list of poems on the Poetry Out Loud website:

http://poetryoutloud.org

The house that cries

"The gift of words is magic," says world renowned storyteller Jane Yolen. After spending a very rich and busy week facilitating a workshop on teaching and learning I am even more puzzled and excited by the conundrum and complexity of words.

As a voice instructor I have spent years encouraging people to trust their instincts and let whatever word instinctively fall out, having faith that the impulses will enliven the body and allow that particular word to be voiced in the most natural and connected way.

Now as a facilitator, and as a teacher, I am also relearning words; words that inspire and invite rather than judge or shut down the listener. What are the words that spark something inside the listener heads and makes them want to delve into a thought, break it apart and search for their own conclusion?

My three year old, after spending a week crying each morning as I left the house, told me on Saturday, "Mom, we can't leave the house, it might cry!" Eight words that powerfully communicated to me his experience of being over the past week.

The challenge is the balance between trusting impulse and creating a knowledge base around words. Ian Raffel, a wonderful voice teacher in the lower mainland, has a real love of language and etymology. Although this may be less thorough than many books on the subject, I found my way to an Etymology On-line Dictionary. Looking up "Breath" alone could keep me busy for days.

http://www.etymonline.com/

After going into great detail on the magic of words in "Touch Magic", Jane Yolen sites research done on children raised by animals. Apparently, in the few cases that are known and studied, it was the acquisition of language that remained the hardest for these children when they were re-socialized in a human community. Is language our greatest gift? Helen Keller would probably answer a resounding, "Yes". So let us continue to explore its powers...