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One Genius Method to Shape Your Feminine Voice.

June – the month of solstices, weddings, gay pride, Venus transit and … RESONANCE.

This month we will explore the element of resonance and you’ll learn to play with your mind and experiment with your thoughts as a method to shape your resonators to sound more feminine.

I know you all want the secret trick, the magic juju, the single strategy that would blast you into a perfect feminine voice.  But…

…it doesn’t work that way.

In my experience, slow and steady wins the race.  Motor patterns or habits are developed and perfected over time.  It will likely take you a year or more to:

  1. Fully understand the concepts and mechanics of the skills,
  2. To set aside time for your daily practice routine; and
  3. To actually practice twice daily, every day.

A Simple Definition for Resonance:  reverberation of sound in a medium.

When the vocal folds are set into motion (remember the aerodynamic nature of phonation) that sound reverberates in the chambers of the throat, mouth and nose.  These three chambers are of particular importance when you endeavor to feminize your voice.

A thought experiment (Gedankenexperiment; from German) considers some hypothesis, theory or principle for the purpose of thinking through its consequences or outcomes. The common goal of a thought experiment is to explore the potential consequences or outcomes (actions) of the principle in question.

Einstein was famous for his thought experiments.  He is said to have begun them at the age of 16.  Einstein’s Theory of Special Relativity was derived employing this method.

While you don’t have to be an Einstein to make use of this strategy, you can use this logic to weave your way through the complexities of voice feminization, specifically our discussion here of resonance.

Our Thought Experiments

Let’s begin with two assumptions or problems:

  1. Size DOES matter.  The resonating chambers of your mouth and throat are larger than those chambers of a GG (genetic girl) who is your same physical height.
  2. Bright vs Dark Tone Focus.  You already know that creating a feminine voice is more than just speaking in the “right” pitch register.  The perception of voice femininity is perfected by how you shape the resonant frequencies of your voice.

Virtual Piano: You’ll need to provide yourself the A3 pitch for these experiments.  Try this [CLICK HEREvirtual piano.

NOTE: These are thought experiments; try to work them out in your mind.  Listen to the A3 pitch before working with the experiment (unless you’re very experienced with pitch tuning).

Experiment One: Sensory Perception of Space and Resonance.

In Your Mind: Sit tall with your lips together.  Now clench your teeth, pressing your tongue hard to the roof of your mouth (hard palate) and hum at the A3 pitch (for just a few seconds).

Question: What happens?

Answer: The sound comes out your nose.  The sound /m/ is one of the three nasal sounds (in English).

Question: What else happens?

Answer: The resonance is restricted or muffled (dampened) because of the constriction in your throat and the tissues in the nose.

Question: What would happen if instead of clenching your teeth and tightening your jaw and constricting in your mouth and throat, you were to hum the A3 pitch while keeping your lips together, yet your mouth wide and your throat open (as if you were yawning with your lips together; I’ve heard it referred to as a “corporate yawn”; what you might do if you were trying to suppress a yawn during an important meeting at work)?

Answer: There would be lower resonance frequencies (compared to the clenched condition) even though you are still humming A3.  Can you hear (in your mind) that the sound is lower or deeper and that there’s a slightly different vibration in your throat?

Experiment Two: Sensory Perception of Space and Resonance.

In Your Mind: Sit tall with mouth fairly wide open.  While “singing” (in your mind), the syllable “ha” on the A3 pitch.  Play the pitch again on your virtual piano if you need to. Your mouth should be wide enough to fit the thickness of your first two fingers between your upper and lower teeth. Now sustain “ha” A3 pitch (for just a few seconds).

Question: What happens?

Answer: The resonance frequencies for the “ha” are quite different than for the “hum.”

Question: What do you imagine you would feel?

Answer: The sound is coming out of your mouth, not your nose.  There’s not much of a sensation of vibration (or buzz) in your face or lips and certainly not your nose.  It’s difficult to feel anything in the mouth.

Experiment Three: Sensory Perception of Space and Resonance.

In Your Mind: In this third experiment you’ll repeat the steps above combining the hum and “ha” sounds with tight/clenched and wide open jaw positions.  As in Experiment One, clench your teeth, press your tongue hard to the roof of your mouth (hard palate) and hum at the A3 pitch for just for a few seconds, then open your mouth just slightly and sustain “ha” at the A3 pitch.  Now, repeat the hum and the “ha” in rapid succession like this:

mmm-haaa; mmm-haa; mmm-haaa

Question: What happens?

Answer: Your soft palate lowers for the /m/ and the sound it directed out of your nose and you and feel the buzz in your lips and nose (and eyeballs and forehead).  Your soft palate raises for the “ha” and the sound is directed out of your mouth. The buzz sensation is less obvious, but with practice you’ll learn to use this image of buzz to direct the resonance of your voice forward.

Question: What would you hear?

Answer: There would be no change in pitch, but you would hear a different sound. That different sound is a shift in resonance.  As you train your voice, and learn to notice these subtleties, you’ll arm yourself with the tools to make a huge difference in your voice.

Experiment Four: Bright vs. Dark Tone Focus.

There are ways to “brighten” your tone. Listen to this song from the Little Mermaid TV show before beginning this thought experiment.

The Little Mermaid TV Show – Daring to Dance 2

In Your Mind: Sit tall and draw upon your imagination to sense a buzz in your lips, nose, cheekbones, eyes and forehead.  Pull sharply into the focus of voice of the actress/singer from this video and hear (in your mind) youself singing as you “sing-count” the words “one, two, three”.  Repeat (in your mind) as many times as you need to so that you’re imaging that you sound like this singer.  Listen to this song as many times as you need to memorize the sound (in your mind).

Question: What happens?

Answer: The brightness of this voice is a result of a very forward placed voice.  A dark voice is produced in the back of the throat, like in Experiment One when you opened your throat as if to yawn while humming/singing “ha”.


I know it’s very difficult to notactually conduct these experiments, so go for it.  What is your outcome?


Step 6:  Resonance

For the month of June, your goal is to play with these thought experiments. Spend some time each day working them through in your mind.  You don’t have to be a theoretical physicist to be successful with these.  And, you’ll find that the mystery of resonance—I get a lot of questions and comments that this element is very difficult, even elusive—is yours to discover.

I’d LOVE to know how you’re doing with Step 6. Stay in touch over the month.

Keeping you and your voice close to my heart,


Denver, Colorado

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Step 11 November Fluency

 Fluency – Marvelously Mellifluous You!

When you speak, whose voice do you hear? Whose voice do others hear?

Our voices are so closely tied to the essence of who we truly are. Heart and soul and voice are one! In fact, here’s a curious little phonation fact; The left vocal cord nerve dips down into the chest, loops around the aorta, then courses back upward into the larynx. So, literally, our voices are connected to our hearts!

Fluency is the last of the “Nine Elements of an Exceptional Feminine Voice.” Let’s take a few moments and recap just what these are. You know more than anyone how difficult it is to change your voice; that’s why having a tried-and-true system makes all the difference.


The Nine Elements of an Exceptional Feminine Voice

  1. Pitch: The speaking pitch of the average adult male is 100-150 Hz; the speaking pitch of the average adult female is 200-250 Hz. I’ve provided many tips and strategies in other posts and YouTube tutorials to help you with this element.
  2. Voice Quality: The quality of the voice–whether it’s raspy, breathy, strained or weak–can provide insights to our physical health, moods and mental focus. Many transgender women produce a very feminine voice in order to sound feminine, but that’s not really an effective strategies.
  3. Loudness: The loudness of a voice isn’t inherently feminine or masculine. But there does seem to a shift toward a more feminine sound when the power is turned down a few notches.
  4. Resonance: The reverberation of sound in a medium, i.e., the throat, mouth or nose, shapes the tone into your own unique voice. Transitioning your voice requires significant re-programming of the small muscles of the throat and mouth to bring your vocal tone into a clear feminine ring.
  5. Articulation: There are some subtle, but important differences in the way men and women speak. Clear, crisp consonants add femininity to your expression.
  6. Phrasing: Studies suggest that women tend to speak in longer phrases than men. Try adding more descriptive adjectives to your expression.
  7. Pacing (tempo): While women tend to speak more quickly than men, it isn’t necessary to speed up your pace to sound more feminine.
  8. Melodic Intonation: The pitch variability of gliding up and down is a much greater range in women. Place more emphasis on certain syllables in a phrase.
  9. Fluency: “Smoothly flowing like golden honey” is the way I think of how a very feminine woman might speak. Speak mellifluously! Dance with your words!Fluency refers to the smooth vs choppy way you might speak. In musical terms, fluency is similar to rhythm. Rhythms may consist of a sense of easy flow (legato), which mean that notes are blended or connected. Staccato rhythms are halting or sharp.Listen to this short Bela Bartok piano piece. Pay close attention to the fluency, or connection of notes. Notice the abruptness of some of the notes compared to the flow of others.

Fluency refers to the smooth vs choppy way you might speak. In musical terms, fluency is similar to rhythm. Rhythms may consist of a sense of easy flow (legato), which mean that notes are blended or connected. Staccato rhythms are halting or sharp.

Step 11 Mellifluous


Listen to this short Bela Bartok piano piece. Pay close attention to the fluency, or connection of notes. Notice the abruptness of some of the notes compared to the flow of others.

Staccato = abrupt

Legato = smoothly flowing


Can you discern the legato vs staccato rhythm? In my (and others) observations of speakers, I hear men speak in a choppy, halting manner, whereas women speak in a smooth, flowing manner. Although women often speak quite rapidly, we do speak fluently.


Angelina Jolie is one of the most elegant and feminine women in the world (in my opinion). I love her voice and the smoothly flowing way her movements match the fluency of her voice. Notice the contrast to Ellen Degeneres, who has a more staccato style of speaking.

So, what is fluency exactly and why is it important for you as a transgender woman? It’s one of the elements that will complete you.


Three Tips to Feminine Fluency

Dance with Words

I was working on fluency with a client the other day, and out of the blue she said, “It sounds like we’re dancing with words.”

Dance with these words. Find the flow. Experience the melody. Absorb their essence.

  • The rushing stream washed the soil along with it.
  • The sun sank slowly and was followed by darkness and a foggy chill.
  • There is another alphabet, whispering from every leaf, singing from every river, shimmering from every sky.

Connecting Consonants

Those of you reading this, who know my method well, understand that one of the major practice strategies I employ is proprioception–being aware of the physical sensation/feelings of your speech and voice when you speak. Speech sounds can be categorized in several ways. For this exercise, let’s look at those consonants that we might call “stretched” consonants. Their properties allow them to stretch as you produce them, they include–s, z, sh, h, l, m, n, ng, etc. Conversely, can you think which consonants might be classified as “quick”?

Here’s a practice exercise: Cue yourself to notice the stretched consonants in these words. Then try using each word in a sentence and notice proprioceptively (the sensation of the sounds) the feeling of the stretched consonants.

  • Susurration
  • Feather
  • Eschew
  • Soliloquy
  • Syrup
  • Exquisite
  • Halcyon
  • Euphoria
  • Serendipity
  • Sonoluminescence

Elegant Elongations

Just as there are quick and streteched consonants, there are “short” and “long” vowels. Think back to your primary education; can you come up with three “short” vowels? How about three “long” vowels?  In nearly all of the training routines that I provide in my voice training programs, we vocalize using these three syllables, “hee,” “haa,” and “hoo.” Each of these is a “long” vowel, which by definition, means the vowel duration and voice onset time are longer (in time) than “short” vowels, like the /I/ in the word “hit.”

Now, as an exercise: Cue yourself to stretch the “long” vowels in these words more than you normally would the consonants in these words. Then try using each word in a sentence and notice proprioceptively how the vowels feel in your mouth.

  • Steep
  • Steel
  • Squeeze
  • Speech
  • Seen
  • Fleet
  • Seem
  • Sweet
  • Teem
  • Tree
  • Weed
  • Wheel
  • Wheeze
  • Freeze
  • Seethe


Step 10: Fluency

Bring your feminine voice into her glory. Dance with your words! Taste the sounds! Stay in touch.  I’d LOVE to know how you’re doing with Step 11.


Keeping you and your voice close to my heart,

Blue HeartKathe

Denver, Colorado



September:  the harvest moon, crisp autumn nights, thoughts of sweaters and home-cooked soups.

As was mentioned last month, the naturalizing elements–phrasing, pacing, melodic intonation and fluency–when used together, help you create an authentic feminine voice…something we all want, right?

September is Step 9–Pacing.  Think of all the things you do that you have a pace for:  walking, biking, jogging, driving, and speaking.  We establish our pace for these activities based largely on our own internal sense of tempo.

Music theory helps us understand pacing a bit more.

Let’s consider beat.  In its simplest definition, beat is tempo, pace, or the time it takes to play a piece. In Western music, beat is often demarcated by a metronome, a device that produces a steady pulse at the rate of x beats per minute (bpm).  A metronome marking of 60 would have 60 pulses (or beats) per minute, or one per second, while a marking of 120 would have 120 pulses per minute, or two per second.

Rhythm can be confused with beat, because sometimes the beat is also the rhythm. For instance, in a piece with a 4/4 time signature, a section of only quarter notes would be both the beat and the rhythm. However, while beat must be constant, rhythm is, by definition, variable. Rhythm is the length and accent given to a series of notes in a piece. In most Western music, rhythm and pitch go hand in hand to create a melody. The rhythm determines the length of the notes and the pitch, whether they go up or down. A noted exception is a chant (like an auctioneer’s chant, see the videos below), in which the singer concentrates solely on the pitch and allows the lyrics to move the melody along without rhythm. Beside the length of notes, rhythm is also created when some notes are emphasized over others.

Read more.

For you non-musical folks, don’t let the technical discussion above overwhelm you.  We keep the concept of pacing, or tempo/rhythm quite simple when training voices.  In fact, pacing is fundamentally a training tool rather than a goal.  There is no ideal tempo that you need to establish. Many people assume that women tend to speak more quickly than men, but this notion has been difficult to substantiate. See SEX AND SPEAKING RATE (August 2006)

Thinking that you must speak more quickly isn’t at all necessary!

The way that pacing becomes useful in your training is to help you set a pace so that you more effectively “code” the other training elements (posture, breathing, pitch, resonance, etc.).  Practicing at too quick at tempo will impede your progresss.  And conversely, practicing words and phrasing too slowly tends to have a  negative impact on resonance and melodic intonation.

Practicing your words and phrases at “just right” pace will greatly enhance your training.

We use a metronome in VFT (voice feminization therapy), but we don’t get too picky about accuracy.  Unlike music, our speaking pace (and thus, beats) has a lot of wiggle-room.  It’s not about counting beats or understanding time signatures on a musical staff; it’s about developing an internal sense of tempo.

Listen to these two tempos:

72 bpm

This is a relatively slow beat.  Try to sense this rhythm; feel it move with it.   Use a thought experiment (like we talked about in June Step 6 Resonance) and is something to consider when practicing.

120 bpm

This is a much faster tempo.   It’s too fast, in fact to speak with good breath, pitch, articulation or resonance control.  But some people are very successful with a pace like this.

Listen a bit to these speakers.  What do you think of their tempo/pace?

John Korrey,  World Champion Auctioneer

Emily Wears, female auctioneer

I found this video and like it a lot because it shows a very typical, well spoken professional woman speaking at a comfortable pace.  What do you think?

Perfectly paced speech

This last video, of Jean Kilbourne, who is a feminist author, speaker, and filmmaker is a fine example of wonderfully paced female speaker!  Listen to her tempo, and while you’re listening, notice her melodic intonation and fluency.


These three exercises are designed to give you a sense of pace or tempo when you speak.

One: count the beats

I know I said counting beats wasn’t necessary, but initially (for you non-musical folks) it’s a good way to incorporate the notion of pacing.  Listen again to the three samples above.

Two: Phrases

Recall, that one important strategy to mastering your feminine voice is to chunk down all the tasks into manageable sizes.  Working with phrases is one way to implement this strategy.

Let one of the above beats play in the background as you read each phrase.  Remember, it’s not about saying one word per beat, but just having a general sense of how fast/slow you’re going and what feels right to you.

Three Syllable Phrases Four Syllable Phrases
Not right now. Cream and sugar.
Time to go. Bread and butter.
Close your eyes. Salt and pepper.
Fine report. Toast and butter.
Read the book. Pie and coffee.
Who is it? Needle and thread.
Pick it up. Turkey and cheese.
Take a nap. Nice to meet you.

Three: Reading

This fun little limerick has a rhythmic pace to it.  Let any of the tempos above play in the background as you read this poem.  Which tempo feels right?


Smiling is infectious; you catch it like the flu,
When someone smiled at me today, I started smiling too.
I passed around the corner and someone saw my grin
When he smiled I realized I’d passed it on to him.
I thought about that smile, then I realized its worth,
A single smile, just like mine could travel round the earth.
So, if you feel a smile begin, don’t leave it undetected
Let’s start an epidemic quick, and get the world infected!

Step 9:  PACING

For September, your goal is to apply your metacognitve strategy to the pacing of your daily practice routine and to your daily speaking.

I’d LOVE to know how you’re doing with Step 9. Stay in touch over the month.

Keeping you and your voice close to my heart,


Denver, Colorado

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Fundamentals of Your Feminine Voice

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