Weekly Voice Insights #68 — What We Wear, What We Feel, and How It Shapes Our Voice

Your Voice Begins With What You Put On.

In Biarritz, during rehearsals for La Traviata, there’s an Instagram clip from our sitzprobe. A sitzprobe is a music-only rehearsal—no staging, no costumes—just the orchestra in front and the cast grouped behind them. From the outside, it looks relaxed. People wear whatever gets them through a long day of music-making.

In this clip, I’m wearing a dress shirt and my boots—clothes that help my body settle into the work. The boots give my legs a clear sense of where to stand and where my weight settles, and they help me feel where my back is aligned. The shirt has a splash of color and style, and I feel comfortable and confident in it.

Over the years, I’ve worked with colleagues who feel just as grounded in sneakers and a t-shirt. I’m not one of them. My voice responds to very small physical cues. The body reacts to what it’s wearing before the mind ever comments on it.

Many singers talk about how putting on the costume helps them “feel like the character.” That’s true, and it’s valid. But for me, waiting until Production Week—when we finally move to the stage with costumes and props—was always too late.  I needed earlier physical information. I wish I had understood this sooner in my training. I didn’t realize how much clothing can support—or confuse—the body’s ability to organize breath and alignment.

During the Traviata staging process, I rehearsed in a jacket because it gave me a clearer sense of how Germont carried himself—far more than a t-shirt ever would. The shoulder structure, the inner pocket, even the slight weight of the fabric changed how I held my upper body. Those details helped me find the role physically, not just vocally.

I’ve seen a shift in recent years. I’ve seen highly trained singers arrive in very casual clothing—short shorts or loose tank tops that expose more than they may realize. I’ve also seen outfits that simply don’t fit well: jackets too tight or too loose, vests riding up, shirts untucked. These small details matter. But it’s a different physical message. The breath they practice in that outfit isn’t the breath they’ll need in a fitted costume. In a concert tux, the collar and tie create a very different sensation through the neck and upper body than a thin undershirt ever could. None of this is moral judgment. It’s just the reality of how clothes influence the instrument.

There’s another part of this that isn’t only physical. It’s respect. In a formal rehearsal with an orchestra, a conductor, and colleagues, I’m not going to wear what I would wear at home watching a movie and eating snacks. That kind of clothing puts my body in a casual stance—and it also signals a relaxed, informal energy to the room around me. I’m not talking about being dressed to the nines. It’s simply acknowledging the level of work that’s happening and the people involved in it.

My years in Paris taught me this without anyone saying it. Not everyone walked around in elegant clothes, but you could see that people put thought into what they wore. They chose something that suited their style and helped them feel ready for the day. I lived in the 19th arrondissement, a regular neighborhood, and even there the same pattern appeared. I remember a storefront near my apartment—a mix of bakery and general shop—with mirrored panels on the outside. People would pause before going in, check their reflection, adjust a collar or a sleeve, and make sure they felt presentable before asking the shopkeeper for a baguette. It wasn’t vanity. It was a small gesture of consideration. A thoughtful detail that said, “This moment matters enough for me to show up well.”  

Another observation came from a very different part of my life—when I was a substitute teacher in the Clark County School District in Las Vegas. They called us “guest teachers,” but the students still called us substitute teachers. I remember a group coming in, seeing the regular teacher was gone, and cheering, “Yay! Sub!” It was funny, and very honest. After working at one school for several days, a few teachers finally started talking to me. One of them said, “We thought you were administration.” I asked why. They said, “Because you wear a tie.” I didn’t dress that way to be taken for anything other than what I was. I did it out of respect for the students. What I found interesting was that when I walked through the hallways, it was sometimes hard to tell who was a teacher and who was a student. I think the students noticed that I chose to dress differently for them, and they responded to it. I wasn’t trying to impress them. I simply chose something that showed respect.

This connects to something simple you can observe in your own life. At your next meeting—the kind where people pay closer attention, not just a quick stop-by-the-office conversation—look at the speaker who holds the room. Notice what they’re wearing. Everyone has their own style, so this isn’t about being “dressed up.” It’s about whether they chose something that anchors them physically. A ring, earrings, a scarf, a well-fitted shirt, a specific pair of shoes—whatever helps them settle before they speak. The choices people make often tell you something about how they want to show up in that moment.

Clothing isn’t only about how I feel in my body. It’s also about how I meet the people I’m working with.

The same thing shows up outside of performance. When I’m preparing to speak or present in front of others, I think carefully about what I’ll wear—not for appearance, but to help my body do its job. Supportive shoes, structured fabric, a shirt that sits well through the shoulders: these aren’t “wardrobe choices.” They’re technical decisions. The small details matter, just as they do with breath, alignment, and clarity.

If you’re presenting to stakeholders, coaching a team, or walking into a room where steadiness matters, the clothing you choose will influence your physical readiness. It’s not about formality. It’s about giving your body correct information. Clothing tells the body what kind of moment this is. The voice follows that information.

Clothing is not decoration. It’s part of the instrument. It helps the body understand the work ahead, whether that’s singing Verdi or explaining a plan to senior leadership. Our voice doesn’t operate in isolation. It operates inside the body we bring into the room.

"First, say to yourself what you would be; then do what you have to do." — Epictetus

We don’t control how a rehearsal unfolds or how a meeting goes. But we do control the choices that set us up well—the deliberate details that help us feel organized and ready. Clothing is one of those details. A quiet one, but often an important one.

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Related Posts

Weekly Voice Insights #40 – Small Practices, Big Shifts — Building Vocal Presence in Daily Life
https://dyavwithelias.blogspot.com/2025/05/weekly-insight-40-small-practices-big.html

Weekly Voice Insights #37 – Voice, Resilience, and Embodying Intention
https://dyavwithelias.blogspot.com/2025/04/weekly-insight-37-voice-resilience-and.html

Weekly Voice Insights #45 – How Presence Is Experienced—Not Just Seen
https://dyavwithelias.blogspot.com/2025/06/weekly-insight-45-presence-is.html

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Further Resources

Enclothed Cognition (Adam & Galinsky, 2012)
How what we wear affects attention, confidence, and internal state.
https://utstat.utoronto.ca/reid/sta2201s/2012/labcoatarticle.pdf

Considerations for Maintenance of Postural Alignment for Voice Production (Arboleda et al., 2008)
A vocal-pedagogy classic on how alignment and balance influence healthy voice use.
https://pubmed.ncbi.nlm.nih.gov/16978836/

The Influence of Posture and Balance on Voice: A Review (2018)
A literature review showing how posture affects laryngeal behavior, breathing, and resonance.
https://pdfs.semanticscholar.org/564d/f21f9a9aa35f5576d253d03f16cc8b821b5c.pdf

Singers’ Postural Alignment and Vocal Quality (2021)
Open-access study linking postural habits with measurable vocal outcomes.
https://www.scielo.br/j/acr/a/4kSTtQmHFWXdvtjCMwQJymp/?lang=en

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Elias Mokole | Keynote Speaker, BA & Beyond 2025
Voice, Breath, and Clarity | Developing Your Authentic Voice Newsletter

Please subscribe here: 

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Weekly Insights #67 -Continuity and the Human Voice: What Lamperti, Epictetus, and AI Reveal About Clear Communication

How steady attention, living vibration, and the end of a sentence shape connection more than we realize

I was reviewing some older teaching notes and came across a short statement from Francesco Lamperti. Lamperti taught in the late nineteenth century, and his writing is plain and direct. He describes how everyday speech breaks momentum while trained singing depends on carrying vibration through a phrase. His attention is always on steadiness—how sound moves from one moment to the next without interruption.

Around the same time, I read an online reflection from someone who tested an AI system in a simple conversation. He gave it a few details and let the system respond. What struck him wasn’t depth or insight, but steadiness. The AI stayed with the thread he gave it. It responded in the order it received information. It didn’t shift focus or rush ahead. That left a stronger impression than many of the recent human conversations he’d experienced.

Both moments pointed toward the same issue: communication loses clarity when attention moves away from the line too soon.

Two recent pieces of mine look at this from different angles:

• Weekly Voice Insights #66 – When the Script Speeds You Up

This piece looks at how pacing breaks when someone relies too heavily on written notes. Silent reading moves faster than spoken language, and the listener loses the thread.

• Weekly Voice Insights #65 – Your Acoustic Signature: What Can’t Be Copied or Replaced

This piece explores how a live voice gains its identity through physical vibration—something that only appears when the speaker stays with the moment long enough for the sound to form.

These ideas sit at the center of my Developing Your Authentic Voice work. DYAV uses a simple sequence: Intention → Breath → Tone → Connection. A thought forms, breath organizes behind it, tone carries it, and the message reaches the listener. When attention holds steady, the sequence works. When attention shifts away too soon, continuity breaks.

Lamperti, Epictetus, AI, and the DYAV sequence point to the same thing: a message holds together only when the speaker stays with the moment the listener is actually in.

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Lamperti’s Triangle and the Line of Sound

Lamperti taught that clear tone depends on three elements working together: diction, diaphragm, and focus. He called this an “eternal triangle.” Each element affects the others. When diction is clear, breath organizes behind it. When attention stays on the phrase, the vibration carries evenly. When those pieces align, the voice moves without breaking.

That same structure appears in ordinary speech. When intention is steady, breath follows it. When breath steadies, tone carries the idea forward. When tone stays consistent, the listener can follow the line.

This is why people lose clarity when reading from a script. Silent reading moves faster than spoken language, and the voice starts chasing that internal speed. The listener falls behind.

And in the acoustic side of the voice, the same pattern shows up. A live voice carries irregularities, shifts in breath, and changes in resonance—qualities that come from staying with the moment long enough for vibration to take shape. Tone forms in real time. It can’t be rushed.

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Epictetus and the Discipline of Staying With the Moment

Epictetus teaches the same principle through attention. In Discourses 1.1, when a student asked to hear more of his teaching, Epictetus reminded him that it isn’t only the speaker who must prepare—the listener also has work to do. Hearing requires steadiness.

“The one who hears must train himself just as much as the one who speaks.”

Understanding depends on staying with the thought long enough to register it. Once attention shifts away from the end of the idea, clarity drops.

This fits naturally with the DYAV sequence. Intention completes the thought, breath organizes behind it, tone carries it, and connection forms. Each part depends on the one before it. When attention loosens, the chain loosens.

AI models this mechanically. It takes the next word, then the next. It doesn’t anticipate or prepare the next idea early. It stays with the line because it has no competing impulses. Humans often drift without noticing it. That is where communication breaks.

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A Practical Exercise: Staying With the End of the Line

Including the real exchange from this article

This exercise shows how attention works in real time.

Use two lines of dialogue:

Person A: “I’d like you to go to the store.”
Person B: “Why do you want me to go to the store?”

Before responding, register the last word of the other person’s line—not to interpret it, but to confirm that you stayed with their thought long enough to hear it.

Person A: “To get some orange juice.”
(You register: juice)
Person B: “Is there anything else besides the orange juice?”

To do this, you cannot prepare your response while the other person is still speaking. You have to stay with them through the end of the line. The next sentence begins more cleanly because your attention remained where the communication actually was.

While writing this article, I asked the AI:

“You give all of my words equal attention, correct? You don’t jump ahead?”

Here is the exact response:

“Yes. I take every word you give me in order. I don’t anticipate the next point. I don’t skip to the end of the sentence. I don’t prepare a response while you’re still speaking. I follow the full line you give me, one piece at a time.”

This answer wasn’t produced because I “fed” it the direction of the response. It was the system describing what it actually does. Language models process input in the order received. They do not drift or anticipate. That steadiness often feels clearer than human delivery because nothing pulls them ahead of the moment.

Lamperti explained this through sound: follow the phrase through its end.
Epictetus explained it through attention: remain with what is present.
DYAV applies it to daily communication.

This small exercise makes the principle visible.

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A steady line—whether spoken or sung—depends on staying with the idea long enough for it to land. When intention finishes the thought, breath organizes naturally. When breath organizes, tone settles. When tone settles, the listener follows without strain.

The online reflection I read made this clear in another way. The man wasn’t responding to empathy or insight in the AI’s words. He was responding to steadiness. The system stayed with his message. It didn’t anticipate or shift focus. That one behavior made the exchange feel clearer than many of the human conversations he’d had recently.

With Thanksgiving tomorrow, it’s worth noting how gratitude affects steadiness in its own way. Gregg Braden is a bestselling author and independent researcher whose work explores how the heart and brain communicate. His collaboration with the HeartMath Institute shows that when attention shifts to the heart, when the breath slows, and when a real feeling of gratitude is generated, the signal between the heart and brain becomes more organized. Nothing dramatic is required. It’s the natural effect of giving attention a clear place to settle.

That is the same principle running through Weekly Voice Insights #66 – When the Script Speeds You Up and Weekly Voice Insights #65 – Your Acoustic Signature. One looks at pacing; the other looks at vibration. Both depend on staying with the moment long enough for sound and meaning to hold together.

Lamperti described this through sound. Epictetus described it through attention. DYAV shows it in daily speech. When we stay with the moment, the voice has what it needs. When we leave the moment too soon, the listener feels the gap immediately.

The AI in that example wasn’t demonstrating understanding. It was demonstrating continuity. That’s the part humans can reclaim when they give themselves time to follow the idea they are speaking, all the way through to its end.  

Weekly Insights #66 - What Happens When You Follow the Script Too Closely

On trusting what you’ve practiced when the moment arrives

“Train your mind to adapt to any circumstance. In this way, if circumstances take you off script, you won't be desperate for a new prompting.”
— Based on Discourses 2.2.20b–25a -Epictetus

Look up, speak forward.

People often move through material faster than the listener can keep up. What feels natural to the speaker is new to the listener. The listener needs small moments to take in what they’re hearing and sort it in real time. When those moments disappear, the exchange stops feeling like a conversation and pulls toward a monologue.

This came up in my conversation last week with Susan Moore during our recent “Your Authentic Voice” podcast. Someone commented in the live stream about a line I tossed in almost without thinking: we should listen to how we sound, because other people have to hear it. I meant it half as a joke, but it’s true. Listening to yourself isn’t easy. Most people avoid it. But once you get past the discomfort, you start noticing things you didn’t know you were doing—small habits, places where the idea moved too quickly, or even moments where something came across better than you expected.

When someone is nervous, or when they’re speaking from something they’ve written out in full, the delivery changes. I noticed it in some of the Stoic Week video presentations. Stoic Week features daily videos from different Stoic teachers, and the format makes it easy to notice how each presenter delivers their ideas. The speakers knew their material well, but they prepared full paragraphs instead of bullet points. When the whole idea is written out, the temptation to read is strong. Once your eyes land on the text, the pace picks up. People read faster than they speak, and you can hear the difference.

I’ve used the Orfeo example before. He’s allowed to bring Eurydice out of the underworld only if he doesn’t turn around. Knowing the rule makes it harder not to look. A script does something similar. As soon as the words are right in front of you, your attention drifts to the page. You check that you haven’t missed anything. You try to honor the exact phrasing. It’s understandable. But the moment your visual focus leaves the listener and goes back to the text, the sound shifts. It starts to resemble reading more than speaking.

We can read silently at a much faster rate than we can speak aloud. Even when someone is trying to sound conversational, the eyes move ahead. The voice tries to keep up. That’s where the speed comes from: the mismatch between silent reading speed and spoken language.

I notice this in myself. When I get interested or passionate, I interrupt my own sentences. The thought moves ahead faster than the sound. I have to be disciplined to finish the idea I’m speaking before I follow the next one. There’s nothing wrong with the energy behind it, but spoken words need a different pace than internal thoughts. That pause is crucial for listener comprehension.

Breath plays a role here, though not in the “run out of air” sense people often describe. Breath gives the idea space. A quiet inhale before you start lets the message begin cleanly. A pause at the end of the sentence gives the listener time to take it in. These pauses don’t slow anything down. They give the whole exchange a steadier rhythm.

On video calls, especially when cameras are off, keeping a steady pace becomes even more important. Without visual cues, the listener relies entirely on the timing of your words.

One of the Stoic Week speakers handled this well. They left real pauses. Those pauses gave me time to write something down or absorb the idea before they continued. With steady pacing, their structure was clear. When a speaker keeps going without a break, you lose that chance. They’re already on the next point while you’re still holding on to the first.

I noticed this again in the BA World Day sessions I attended. One of the presenters delivered his material like a conversation. This was online, not live. He wasn’t reacting to a room. But he had so much experience in this setting that the delivery felt natural. I found myself nodding and smiling at him as if he could see me. I was completely alone. We weren’t in the same place, probably not in the same time zone. Yet it felt personal. That kind of delivery comes from practicing until “conversational” becomes something you can actually hear in your own recordings.

Repetition often shows up when someone knows a topic well but hasn’t had as much experience speaking it aloud. When a person isn’t used to giving themselves real pauses, the space that appears at the end of a sentence can feel unfamiliar. Even a half-second feels longer internally than it actually is.

That’s usually where repetition comes from. The speaker starts filling the space with something they’ve already said. They’re not trying to repeat themselves. They’re simply keeping the sound moving, because stillness doesn’t feel normal yet.

People with deep knowledge also tend to carry several versions of the same idea in their mind. If they’re not sure whether the point landed, they reach for another version. To the listener, it can feel like the same idea returning again.

Most people also don’t listen to themselves often enough to hear these patterns. When you listen back, you hear where the idea drifted or where you filled space that didn’t need filling. You also hear the moments that worked, which is just as important.

It’s something I see often, especially when someone is still getting used to speaking their ideas out loud. It’s part of learning to speak at a pace that matches the listener rather than the speed of your thoughts. With practice, you become more comfortable pausing, finishing one idea before starting the next, and letting the moment guide the next sentence.

There are small habits that make speaking clearer. None of them are dramatic. They simply steady the way an idea comes out. Taking a moment before speaking helps you choose the shape of the thought. A quiet inhale sets the rhythm. A pause at the end lets the idea land. Staying with one thought long enough to finish it gives the next one a clearer path.

Over time, the whole thing becomes more natural. You start to feel at ease with the pacing and the spacing that support clarity. It’s a little like becoming comfortable in your own skin. There isn’t a shortcut for that. You learn it by practicing, by listening back, by doing the work. And when you begin speaking, you trust that what you’ve practiced will show up. Once you’re in the middle of it, there’s no space for second-guessing. The skills you’ve built tend to come forward if you allow them to.

“Let your words be few and well-chosen.”
— Based on Enchiridion 33.2-Epictetus

When you give an idea space to land—when you stay with one thought long enough for the listener to absorb it—you rarely need to say more than what’s already been said. Clarity often comes from steadiness, not volume. Pauses do the work you used to do with extra explanation. And what you’ve practiced quietly begins to support you in the moment.

Weekly Voice Insights #65- Your Acoustic Signature: What Can’t Be Copied or Replaced

Weekly Voice Insights #64- When Preparation Meets Trust

It’s Wednesday evening, and I’m reflecting on this morning’s conversation with Susan A. Moore, Community Engagement Manager, Certified Business Analyst, and Podcast Host — and the international BAs.

As I was preparing yesterday, I kept thinking about how Leontyne Price took a lifetime of refined skill and made it feel completely human. That connected directly to what we discussed this morning. These are people who work with huge amounts of specialized information every day — tools, methods, certifications — and their challenge is the same one every expert faces: how to communicate what you know in a way that someone else can actually take in.

I had been rehearsing in my head, the way I always do. That kind of preparation helps. It gives me context and helps me find the rhythm. But after a while, you get too many ideas. You start thinking, oh, I could say this, or what if I forget that? It’s not that the ideas are bad — they’re all mostly good — but you can’t say everything.

It’s the same in performing. You prepare, you mark everything in the score, you know every note. But the moment the conductor gives the downbeat, you have to let it go. You trust that the work is there. You listen, and you react.

That’s what I reminded myself to do this morning. I had done the work. I didn’t need to control how it went. I just needed to set a context and respond to what happened.

Most of us talk about things we’ve said many times before — in meetings, in lessons, in directions we give over and over. And because we know where the thought is going, we stop hearing it. You know how that goes — not completely monotone, but flatter, less varied. We do it without even thinking about it, because the content is so familiar, and the sound follows our focus.

That’s where our own awareness comes in. If I listen to myself — really listen — I can hear whether I’m giving an idea time to land or if I’m rushing through it. The subtle changes in pitch, pacing, and tone are tied right to what’s happening inside. When I take a step back and listen the way I’d listen to someone else, I learn what needs more space or what needs more focus.

To let people know about the talk, I posted something on Instagram using one of their music options — a clip of Leontyne Price singing Doretta’s Aria from Puccini’s La Rondine. It was so beautiful and so accessible that it stopped me. The recording fit perfectly with the theme of Authentic Voice, which is what Susan had titled the session.

Singing in Italian, or really in any language that isn’t your own, and doing it loudly enough for a hall full of people — that’s naturally a bit artificial. It’s heightened, even over-the-top. And yet the great singers, like Leontyne Price, make it feel completely personal. They turn something that could seem grand or distant into something intimate and human.

That’s what communication at its best does. It doesn’t matter if you’re onstage or in a meeting — the challenge is the same. How do you make something that could feel formal, technical, or distant sound like you? How do you let your message feel personal enough to connect and resonate with everyone in the room?

That, to me, is what the work of voice really is. It’s not only about projection; it’s about connection.

When I watch people speak — at conferences, in meetings, online — you can tell who’s internalized what they’re saying and who’s still reading it off the page. The ones who’ve really thought it through don’t have to rush. They let each idea land. They trust the content.

That’s what I tried to do this morning. Prepare deeply, then trust what was there. Let the questions lead, and see what came up.

Earlier today, when I opened my planner, the quote for the day, attributed to the Stoic philosopher Epictetus, said, “Don’t just speak your training — embody it, live it.” That hit exactly where I was.

The temptation was to want to remember every single idea from these notes so I wouldn’t forget anything important. But it wasn’t a presentation. It was a conversation.

I didn’t need pages of prompts or reminders — that would have just gotten in the way. The ideas were already in me. I’d thought them through, said them out loud, and they were settled there. My job was to stay present, to listen, and to let them rise when they were needed.

That’s the discipline. That’s the work — showing up, listening, and trusting the preparation enough to let it breathe in real time.

If you’d like to watch the full 45‑minute conversation we did this morning, it’s available here: https://www.youtube.com/live/CnMOGGfk65c?si=U0aOhm43qzcmLyyv

Related Posts
Bias Alert Check‑In: Guarding Clarity in Voice and Awareness
https://dyavwithelias.blogspot.com/2025/10/weekly-voice-insights-59-bias-alert.html

Before You Speak: The Discipline of Intention
https://dyavwithelias.blogspot.com/2025/06/44-weekly-insight-when-voice-advice.html

Finding Steadiness in Uncertainty
https://dyavwithelias.blogspot.com/2025/07/weekly-insight-49-breath-isnt-fix.html

Weekly Voice Insights #63 – Grounding the Voice: Adding Depth to “Stage Ready Rituals”

 

“Beauty comes not from adornment but from the order of one’s soul.”
— Epictetus, Discourses 3.1 

When I came across Stage Ready Rituals by Salvatore Manzi, a leadership and communication coach who helps professionals bring calm focus to their speaking, I recognized a kindred approach. His eight-step checklist is one of the clearest I’ve seen—simple, physical, and immediately useful before stepping on stage or into a meeting.

These reflections don’t add to his process. They explore what’s already there: how breath, balance, and intention turn quick rituals into embodied practice. Each step connects to principles from Developing Your Authentic Voice and echoes Stoic ideas that anchor composure in awareness.

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1. Box Breathing → The Farinelli Breath

Breath steadies judgment. The even inhale, hold, and exhale organize the body and prepare the mind.

“If your efforts are uncertain, the results will be too.” — Epictetus, Discourses 1.13.7

• When your breath begins deliberately, your speech follows it.

Related reading:

Weekly Insight #17: Building Your 12-Minute Practice Plan—Start with Breath 🎶   https://dyavwithelias.blogspot.com/2024/12/weekly-insight-17-building-your-12.html

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2. Strike a Post → Align Before Sound

Confidence isn’t a pose—it’s balance. Breath rises from the feet through the body like air through an organ pipe. Stillness and grounding make sound clear.

“Beauty comes not from adornment but from the order of one’s soul.” — Epictetus, Discourses 3.1

• Unnecessary motion blurs meaning; alignment reveals it.

Related reading:
Weekly Voice Insights #61 – Listening Before Leading: The Discipline of Perception
https://dyavwithelias.blogspot.com/2025/10/weekly-voice-insight-61-listening.html

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3. Say Your Why Aloud → Intention in Action

Speaking your “why” out loud isn’t for memorization; it’s for resonance. It lets you hear where tone and intention meet.

“First decide who you want to be, then act accordingly.” — Enchiridion 33.6

• Purpose becomes physical when vibration gives it shape.

Related reading:
Weekly Voice Insights #58 – Listicles Aren’t Mystical: From Checklists to Integrated Practice https://dyavwithelias.blogspot.com/2025/09/insight-58-listicles-arent-mystical.html

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4. First and Last → Anchoring the Arc

In voice work, the beginning and end of a phrase reveal steadiness. Rehearsing those moments aloud helps you feel timing and confidence.

“Each skill is strengthened by the act itself—walk by walking, speak by speaking.” — Discourses 2.18.1

• Every repetition builds clarity and trust.

Related reading:

Weekly Voice Insights #59 – Bias Alert Check-In: Guarding Clarity in Voice and Awareness -https://dyavwithelias.blogspot.com/2025/10/weekly-voice-insights-59-bias-alert.html

Voice Insights #12 – Distilling and Demystifying Voice Production https://dyavwithelias.blogspot.com/2024/11/weekly-insight-12-distilling-and.html

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5. Visualize Best-Case → Mental Rehearsal and Release

Visualization prepares you to adapt, not control. Once the picture is clear, you let it go.

“Train your mind to adapt to any circumstance… if circumstances take you off script, you won’t be desperate for a new prompting.” — Discourses 2.2

• Grounded preparation frees spontaneity.

Related reading:
Weekly Voice Insights #60 – Listening for What’s Actually There
https://dyavwithelias.blogspot.com/2025/10/weekly-voice-insight-60-breath-airflow.html

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6. Vocal Warm-Up → Purposeful Sound-Making

Warm-ups mean little without intention. Each sound should train something—resonance, clarity, or release.

“Train your speech to reflect clarity and reason—it’s part of the work of the soul.” — Discourses 2.10

• Sound practice is thought practice.

Related reading:
Weekly Voice Insights #15 – Choosing Exercises with Purpose
https://dyavwithelias.blogspot.com/2024/11/weekly-insight-15-choosing-exercises.html

Weekly Voice Insights #17 – Building Your 12-Minute Practice Plan: Start with Breath
https://dyavwithelias.blogspot.com/2024/12/weekly-insight-17-building-your-12.html

Weekly Voice Insights #18 – From Breath to Vowels: A Foundational Warm-Up
https://dyavwithelias.blogspot.com/2024/12/weekly-insight-18-from-breath-to.html

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7. Primal Release → Locate and Let Go

Freedom often looks messy. Sound and movement uncover tension before refinement begins.

“If you want to make progress, be willing to look foolish in the eyes of others.” — Enchiridion 29

• Ease replaces effort once judgment falls away.

Related reading:
Weekly Voice Insights #52 – Let the Breath Move You
https://dyavwithelias.blogspot.com/2025/08/weekly-insight-52-52-weeks-of.html

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8. Foot Focus → Grounded Awareness

Before speaking, feel the floor. Breath rises like air through a pipe—rooted below, free above.

“Present anything you wish, Fortune. I have resources within me that make use of it all.” — Discourses 1.6.37

• Grounding isn’t only stance you strike. It’s the sense that your weight, breath, and focus are working together without effort.

Related reading:
Weekly Voice Insights #56 – Grounded Speech: Finding Stability in Movement
https://dyavwithelias.blogspot.com/2025/09/weekly-insight-56-art-of-listening-from.html

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Each of Salvatore’s eight rituals points toward one truth: the body is not a bystander in communication. Breath, grounding, and intention are the quiet disciplines that make confidence visible. When practiced deliberately, they turn preparation into clarity—not performance.

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Further Resources

• Salvatore Manzi – Leadership Communications
  Amazon: Communicate With Clarity and Impact
  A practical guide for leaders and innovators who want to communicate ideas with clarity and confidence.

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Elias Mokole | Keynote Speaker, BA & Beyond 2025
Voice, Breath, and Clarity | Developing Your Authentic Voice Newsletter

Please subscribe here: 

https://www.linkedin.com/newsletters/develop-your-authentic-voice-7337908264820453378

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Weekly Voice Insights #62 – Resetting the Breath When Frustration Rises

Catching the moment before reaction — one breath, one exhale, and the tension starts to release.

It usually starts with something small.
A video won’t stream. AirPlay refuses to connect. You’ve done everything right, but it still doesn’t work.

You feel that quick rush — the “why are you doing this to me?” moment. Then you catch it.
You stop, take a slow breath, and exhale completely.

That one action doesn’t erase frustration, but it steadies you enough to see what’s happening.

Anger rarely explodes out of nowhere. Most of the time it’s a small interruption — something that blocks what you meant to do. Anger is often just blocked intention — the body’s way of saying, something isn’t going the way I pictured it.

The body reacts first; the mind joins in later.
And where you feel it varies. Maybe it’s the jaw. Maybe the shoulders. Maybe deep in the stomach. Wherever it is, that’s where you start.

When you find it, let the breath do its job.
A full exhale releases the pressure that built up before you even noticed it. It’s not symbolic. It’s physical.
Breath clears the tension, resets the rhythm, and helps you return to your own sound.

Stoic Lens

Epictetus reminds us that the event isn’t the problem — it’s how we meet it.
He put it plainly:

“When anything irritates you, remember that you are not disturbed by the thing itself, but by your judgment about it.”

The Stoics taught a simple discipline: impressions first. When something happens, notice it and remind yourself, this is only an impression. That short pause keeps the event from turning into a story.

Epictetus also wrote,

“Do not be swept away by the impression; pause a little.”

That pause is the space breath gives you. It’s small, but it’s where self-command begins.

Anger is fast. Breath is slow.
Each full exhale restores your command of the moment.

He also said,

“If someone succeeds in provoking you, remember that your mind is complicit in the provocation.”

It’s a blunt reminder that reaction is never one-sided. The same applies to things — even to a piece of technology that refuses to cooperate. The device isn’t conspiring against you; your mind is joining the argument. Catching that partnership early is what practice looks like.

A 60-Second Protocol When Anger Flares

• Acknowledge: “Anger present.”
• Breathe: One full inhale, one slow exhale.
• Clarify: What was I trying to do a moment ago?
• Decide: What’s the next small action I can actually control?

Anger is fast, but it burns out quickly if you don’t feed it. Breath slows it down enough to see what’s real and what’s imagined.

Singers learn this early. When the breath gets tight, the sound tightens too.

Yes — that’s a real, observable thing, not just a metaphor.

When teachers or singers say “the breath gets tight,” they’re describing a set of physical responses that restrict how freely air moves through the torso and throat. It usually happens under tension, effort, or self-consciousness.

Here’s what’s actually going on:

• The ribs stop expanding — the intercostal muscles (between the ribs) hold instead of allowing the sides to widen.

• The abdominal wall stiffens — you’re bracing, as if for impact, rather than letting the lower belly move naturally with the breath.

• The throat narrows — the laryngeal muscles tighten, which you can feel as a slight squeezing or lifting in the neck.

• The exhale becomes forced or shallow — air trickles out in bursts instead of flowing smoothly.

When that happens, tone quality changes immediately: less resonance, more pressure, less ease. In speech it sounds clipped or strained; in singing it sounds pushed or flat.

That’s why a deliberate exhale — really letting the lungs empty — is so effective. It resets the muscles that were holding and reminds the body what an unforced breath feels like.

Frustration does the same thing. A “tight reaction” is the emotional version of that same squeeze — your body braces, your timing speeds up, and your tone carries strain instead of clarity.

The fix isn’t to overthink it; it’s to release it. Let the ribs move again. Let the air out fully. The voice resets on its own. So does your mind.

The same instrument that carries a message of warmth can also carry temper. The breath doesn’t choose sides; you do.

Before you move on, take a minute to experience what this feels like in practice.

A Short Breath Meditation

Take a deep breath, breathing all the way down into the abdomen.
Feel the chest and stomach fill with air.
Then exhale slowly and completely.
When you exhale, make a deliberate effort to empty the lungs completely.

As you breathe, notice what parts of your body respond.
Which muscles join the inhale?
Where does the release happen on the exhale?
Keep your attention there for a few breaths.

You can’t stop frustration from showing up. But you can notice where it lives in you, breathe once, and start again.

A full exhale doesn’t just clear the lungs. It clears the moment.

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Related Posts

Weekly Voice Insights #9 – How Emotional Energy Affects Our Voice and Body
https://dyavwithelias.blogspot.com/2024/10/weekly-insight-9-how-emotional-energy.html
Explores how tension, emotion, and environment shape breath and sound — introducing the “breath reset” as a tool for restoring calm and clarity.

Weekly Voice Insights #46 – The Four Pillars of Voice—Intention, Breath, Tone, and Connection
https://dyavwithelias.blogspot.com/2025/07/weekly-insight-46-four-pillars-of.html
Lays out the DYAV framework, showing how breath supports intention and shapes tone and connection — a clear conceptual bridge to this post’s focus on breath under stress.

Weekly Voice Insights #49 – Breath Isn’t the Fix — Awareness Is
https://dyavwithelias.blogspot.com/2025/07/weekly-insight-49-breath-isnt-fix.html
Challenges the idea of “just breathe” as a cure-all, focusing instead on conscious awareness of what the body is doing. Complements the idea that breath is a reset, not an escape from frustration.

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Further Resources

Breathing Practices for Stress and Anxiety Reduction
https://pmc.ncbi.nlm.nih.gov/articles/PMC10741869/?utm_source=chatgpt.com
A medical overview of how deliberate breathing activates the parasympathetic system and calms the stress response.

Effect of Breathwork on Stress and Mental Health: A Meta-Analysis of Randomised-Controlled Trials
https://www.nature.com/articles/s41598-022-27247-y?utm_source=chatgpt.com
A meta-analysis showing breathwork’s measurable effect on stress, anxiety, and mood regulation.

Keeping Your Cool: 40 Stoic Quotes on Taming Anger
https://dailystoic.com/keeping-your-cool-40-stoic-quotes-on-taming-anger/?utm_source=chatgpt.com
A practical collection of Stoic reflections on anger, judgment, and self-command from Epictetus, Marcus Aurelius, and Seneca.