Inflection is a dramatic increase or decrease in frequency in a given string of similar tones. While other elements like timbre and resonance confirm the gender categorization of a voice, inflection reinforces it.

Inflection is the element that teachers are indirectly referring to when they ask students to speak in a more “sing-song” manner. The rapid maneuvering between frequencies within a large and dynamic vocal range potently helps confirm the gender of a voice. Females inherently speak within a much larger range than males do. So, in essence, extending one’s range allows for higher frequencies to be used to express more emotions. In other words, the more choices for individual inflections, the more effectively one can convey emotion with their voice.

Pitch is the frequency of a sound dictated by the rate at which the vocal folds phonate (make sound). When it comes to voice feminization, pitch is usually thought of as the most important element. Whenever we hear a voice, our mind subconsciously categorizes it as male, female or unknown. We are programmed to think of high frequencies as feminine and low frequencies as masculine. Unsurprisingly, in this quick categorization, pitch is usually a deciding factor in how we categorize a voice. This initial determination, however, may be altered as we notice additional vocal subtleties.

Pitch is but one of many elements that dictate how we perceive a sound. It primarily encompasses our two most common vocal registers: chest voice and head voice. The “chest-voice” is our male speaking voice, and the “head-voice” is our falsetto or mousy voice. Interestingly enough, neither vocal registers alone will allow us to create a natural sounding female voice. It is only through the blending of the two registers that we find our vocal sweet spot, the “mixed-voice.” The mixed-voice is what allows us to smoothly transition from our chest-voice to our head-voice without cracking or experiencing pitch instability. And the mixed-voice is where all successfully feminized voices rest.

Resonance is the quality of a tone, created as a sound reflects upon given surfaces in the body. When it comes to voice feminization, resonance is an important element as it partially shapes how a sound is emitted. While pitch helps establish the baseline for the gender category of a given voice, the resonance placement of a voice is one of the elements that help confirm the categorization.

Within our body, we have what are known as resonance receptors. These receptors act like mirrors and reflect a sound before it leaves our mouth. They can be found in many places including but not limited to: the chest cavity, the mouth, the nose and the forehead. Each and every resonance receptor will have a different effect of how a sound will be shaped before it leaves our mouth. With practice and increased awareness, we can learn to feel where sound is resonating within our body, and can even learn how to engage multiple resonance receptors at once!

Accessorization is the second-to-last element I focus on. It is, essentially, the icing on the cake of a voice that has been fully shaped by frequency, resonance, timbre, cadence and inflection. It is what separates one voice from another and makes it truly unique. Accessorization is an umbrella term that encompasses a variety of augmentations. Some augmentations for instance could be, brightening or darkening timbre, raising or lowering pitch, adding or removing fry, strategically adding syllabic emphasis or stress, adding vocal distortion to a yell. Speaking with less or more nasality, inflection and breathiness … the list goes on.

Accessorization is further modification, it is when a student is truly able to create the voice they have always wanted to have. That said, it is probably the element that is most fun to work with. Of course, this comes only after the foundation of a female voice has been established.

When the body is closed off and everything is tight, our ability to shift our resonance and breathe properly is greatly hindered. Oftentimes, most of us inherently carry a lot of tension in our shoulders, neck, tongue, jaw and solar plexus, and as a result, we often feel very constricted. This constriction needs to be released before we can learn endurance. Additionally, how we breathe has an effect on our ability to sustain a sound. Our primal way of respiration is to breathe from the stomach, fully expanding the abdominal bulk, which includes the ribbon-like lining at the bottom of the ribcage, known as the diaphragm, the lower abdominal muscles, the lower back, and the ribcage.

When students finally advance to this element, they are often nervous as it marks the point where the training wheels are removed from their metaphorical bike; now they need to pedal without assistance, but are well equipped to do so.