How To Do Accents. Jan Haydn Rowles
hold to make these sounds are the relaxed effortless settings of those speakers. When they stop speaking it is those settings that their muscles fall back into.
TOP TIP
Make sure you relax back into the setting of the accent between phrases of speech, and not your own setting. The accent is still there in the setting of your muscles, even when you are not speaking!
THE DIRECTION
One more thing…
…by layering the Zone, Tone and Setting together you have established the essential foundations of an accent, but to make it come alive you need one more thing: a direction in which to send it. Not sure what we mean? When working on any accents think about the way in which the sound seems to travel out of the mouth: it may be quite different from your own accent. When you listen to different accents you can imagine seeing the sound travelling around and out of the mouth in different directions, like arrows. It could be travelling forwards, backwards or even sideways. Listen to these examples to hear what we mean.
| ● | Cockney: Forward onto hard palate and teeth. |
| ● | Liverpool: Spilling sideways. |
| ● | Manchester: Held at the back, circling. |
| ● | Newcastle: Lurching back and forth. |
| ● | Glasgow: Falling back. |
| ● | NSEA: Forward and out like a wave. |
Using the KIT LIST or Set Text (pages 179–180), have a go at any of these accents and send your voice in the described direction and you will notice what an effect it has!
PUTTING IT ALL TOGETHER
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