A Quote by Lesley Garrett

I also have to support my speaking voice by sitting in a way that engages the diaphragm in the way I would for singing. — © Lesley Garrett
I also have to support my speaking voice by sitting in a way that engages the diaphragm in the way I would for singing.
I worked on my voice for 'Sweet Dreams' but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.
I worked on my voice for Sweet Dreams, but only to match my speaking voice to Patsy's actual singing voice. That was my way into that character.
At Julliard we had some voice classes. It was really just so you could carry a tune. It always just helps with your speaking voice also, when you connect your diaphragm and your breath.
You know, your speaking voice comes back, but your singing voice you use in a different way.
Singing is a kind of sport and a singer a kind of athlete and following this model becoming "vocally fit" - building vocal muscles - should be the point of any form of voice teaching. Other approaches don't work directly on building vocal muscles but instead focus on so-called diaphragm support and breathing, mask singing, breath control, throat relaxation - all of which are useless at best and harmful at worst.
I can support my sound from the diaphragm, I can project and I can enunciate and things like that. But I was definitely singing from a lot younger than that.
Pop music has progressed. The singing voice has changed dramatically in pop music, and people now just sing the way they want to, in their speaking voice, instead of putting on some great transatlantic rock and roll sneer.
Geoffrey's personal style was very different from mine. He has a lovely speaking voice, a quiet speaking voice. But at Cabinet we always reported on foreign affairs - we always had this quiet voice. It was so quiet sometimes I had to say 'speak up'. And he gave it in a way which wasn't exactly scintillating. And you know, foreign affairs are interesting. They affect everything that happened to our own way of life, and they are exciting. And so we just diverged.
I love singing. I've never felt I've had a great voice but I feel I've gotten better. It's funny. I can hear my voice aging and getting stronger. I've relaxed about my singing so I'm hearing it the way I like it.
You start singing by singing what you hear. So everyone, when they first start singing, they naturally are singing like whatever they're hearing, because that's the only way you learned how to sing. So when I was growing up on Lauryn Hill, when I started singing her songs, I literally trained my voice to be able to do runs.
And she [Margaret Thatcher] also had a sort of a way, like a railroad train, of going, taking a breath and starting quite quietly and making a point in a way that you don't really know that this point is going to be made through several examples, and there will be not be a break in the speaking voice at any point.
That to me was really, certainly, the gateway into discovering John, ... I feel I found the speaking voice through the singing voice.
I was trying to do something that seemed very natural and easy but which bridged that gulf between the singing voice and the speaking voice.
There are no words and there is no singing, but the music has a voice. It is an old voice and a deep voice, like the stump of a sweet cigar or a shoe with a hole. It is a voice that has lived and lives, with sorrow and shame, ecstasy and bliss, joy and pain, redemption and damnation. It is a voice with love and without love. I like the voice, and though I can't talk to it, I like the way it talks to me. It says it is all the same, Young Man. Take it and let it be.
My singing voice isn't like my speaking voice.
I feel like the point of being an artist is to have your own voice: to do it the way you would do it and not the way anyone else would do it. If you're a strong enough writer, then that voice is going to come out all the time, and I can't stop it from coming out, no matter what I do.
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