What to do to keep your voice from trembling. Voice trembles

This article can be viewed as a continuation of the article "Where does" voicelessness "come from, or it can be viewed as a completely independent material. It is designed to answer the question of what to do if you think your voice is not good enough for singing, how to improve it at the very initial stage?

In case of insufficient the potential (strength) of the voice the work is carried out in two directions: technical - special exercises that help to launch the natural breathing mechanism given by nature and psychological (getting rid of clamps and complexes).

Such exercises are widely practiced in any Western vocal technique, and a lot of information can be found on the site.

I just want to add an important practical tip: never hum songs, sing them in full voice. Purring under your breath, singing reinforces bad vocal habits, especially if we are not talking about a professional, but about an aspiring vocalist.

Timbre also depends somewhat on the vocal style, because one and the same person, studying academic and contemporary singing, sings in completely different ways; and also a little from the language in which the performer sings, since different pronunciation often colors the voice in different ways. So, when singing the Italian and English-language repertoire, a different color of sound necessarily arises, otherwise the song is listened to rather funny.

In addition, many defects in timbre, such as too nasal sound, airiness, looseness, shallowness, are corrected by targeted exercises. I absolutely agree with vocal educators who assert that timbre is not a diagnosis, but at the same time I strongly oppose the existing schools of "cloning" a particular timbre type.

So, for example, someone likes Aguilera, and now about a dozen Aguilera rolls off the assembly line, who then cannot determine their vocal path and find their place in the sun, and have worked as a double for their entire career.

You can use the example of a star performer in order to more clearly understand what quality characteristics are present in his voice and not in yours, and then learn how to reproduce them in your own voice. But all venerable vocal trainers do not advise learning to sing "under a carbon copy" of a performer they like.

In addition, not always even in a star voice, and even more so in the voice of a vocal teacher, only good characteristics are present, and therefore often vocal teachers, along with technique, convey to their students the timbre defects they have.

How to give strength and depth to your voice

All have different tones, and each is beautiful in its own way. But there is one timbre characteristic that the listener does not like very much, whether we speak or sing. It is a screeching, squeaky voice, high and shallow. Such voices are very difficult to listen to, and they annoy us not only in singing, but also in conversation.

Usually the cause is an error in the placement of the voice in the resonant system (head, chest). The owners of such voices speak, as a rule, with the head voice, using the parietal resonance. They seem to shift the voice up all the time. In fact, this is not only difficult for the listener, but also creates tension for the speaker himself, leading to rapid fatigue of the voice, frequent hoarseness, and sometimes to serious problems with the voice.

The first thing to do is to shift the voice to the spoken mode, to the level of the mouth, larynx and vocal "mask". At first, this can be achieved by imitating the owners of low and deep voices. Imitation will gradually shift the sound to the desired resonator, and then you need to feel it and fix the feeling.

The second reason is incorrect, very shallow breathing. Poor airflow control and thus voice control.

For this, breathing exercises are used: for example, take in air, exhale, counting mentally to 10, then continue exhaling, pronouncing (singing) an English consonant ng, ending the count at 11, 12. If you do this exercise for 10 minutes a day, then you will notice how significantly your breathing and its control will strengthen.

Good results are given by exercises for resonance: huming and humming with "chewing" (on the sound M make chewing movements, listening to how the sound moves and "walks" along different resonators). And also the famous vocal fry, which also helps to make the voice deeper and deeper, more "juicy". Vocal fry in general, it is universal and is used in many qualities and to achieve many goals, without exaggeration, we can say that this is a real treasure.

If you don't know what is vocal fry, listen to this snippet. This "creak", "crackle", "rattle" on low and middle notes is this technique. In this article I will not dwell on it in detail, I am dedicated to this.

As another exercise, it is recommended to simply read the words, chanting syllables well and trying to keep the voice in the central part of the face, the "mask". It is reading and reciting, not singing, that gives very good results in the future and in vocals. You can take a quatrain from your favorite work (literary or song) and chant it.

How to make a trembling voice stable

The first and main cause of a trembling voice is emotions (excitement, stress, embarrassment, fear of making a mistake). That is, the reason is that there is no control over the voice, hence the fear of faking it, giving a "rooster", because the voice trembles. To improve control, you need to work on breathing.

The exercises are as follows:

1) Draw in some air and, using a small amount of it, sing short “a” on a comfortable note, with some interval: “a” -pause- “a” -pause, etc. (Staccato reception)

2) Exercise is the same, but with a longer "a", but still with a little air. Do not forget that voice formation in vocals is based on economical air consumption and not strong subglottic pressure. That is, in order to sing a good, powerful note, you absolutely do not need to take full lungs of air and, moreover, push it. Here, you should gradually increase the intensity (volume) of the sound.

Well, when the first 2 exercises start to work out, then, taking in air, sing a long "a" until it ends, naturally, without bringing oneself to suffocation. This exercise is described in more detail in the article “Vocals for adults. Where to begin?"

Intonation

Everyone can sing cleanly, except for those with serious physical defects: deafness, problems with vocal cords, etc.

There are 2 types of problems with pure intonation:

1) errors of auditory perception, that is, an erroneous signal that the receptors of the ear send to the brain and the brain - to the voice.

2) mechanical falsehood: slight understatement or understatement of the sound or, on the contrary, slight overstatement (we are talking about the minimum interval lying between a semitone and a tone), which depends on errors in the setting, in breathing.

As for the breathing technique, a lot has been written about this and, again, I will not repeat myself.

As other recommendations, I advise you to always work on the repertoire, recording yourself on a dictaphone, and then listen to the recording each time. It is also important to listen to the base separately: accompaniment, harmony, which also trains the ear, since our hearing is trained not only actively, but also passively, that is, without reproducing sound with a voice.

I also recommend buying simple keys, a synthesizer (four octaves is enough) as a standard, a kind of reference for comparison. Press keys and repeat notes. The visual range helps a lot, because by looking at the instrument and repeating the sound, you form a visual representation of where everything is in height.

Exercises according to Kiryushin's method give very good results (find, there is information on this on the Internet). You need to do them regularly, doing yourself at home.

These actions will help prepare your voice for vocal tasks. However, I repeat, it may not be worth wasting time on them if your voice is good enough, we just often cannot objectively assess our skills and capabilities, our qualities on our own. So it is better, nevertheless, to contact a specialist at least once, so that he (she), having listened to you, would suggest which voice qualities require correction and which ones do not.

The use of materials from the site is allowed provided there is a mandatory link to the source.

The sounds of a human voice when singing usually do not stretch evenly, but decompose into a number of separate parts, each of which is accompanied by a pulsating amplification. Following quickly one after another, they cause that phenomenon in sound, which is called vibration of the voice. Moderately available vibrations in the singing voice give it beauty, softening the sometimes existing shortcomings. Thanks to this and the positive role that vibration plays in full-fledged sound production, it can be considered a necessary and important condition for the singing sound. But for a number of singers, vibration is replaced by a negative phenomenon in the presentation of the singing sound, which is called “tremolation” of the voice. The same voices where vibration is present with either a very large or small amplitude of vibration are considered not worthy of performing attention.

While the physiologically legitimate vibration of the voice is, depending on the quality of vibration, the phenomenon that greatly adorns the voice, tremolation of the voice is an extreme and extremely painful disadvantage for the singer. Tremolation is more often observed when singing in vocalists approaching the end of their singing work; but it is not uncommon to encounter this phenomenon among young people who are just embarking on the path of vocal activity. From an acoustic point of view, the tremolation of the voice is the same pulsatory thrusts of sound that follow one after the other, but these explosive thrusts are rough, without a smooth transition from one to the other.

Vibration and tremolation of the voice are phenomena of the same order, but with a completely opposite way of influence and perception by the ear of another person. As much as, as already mentioned, vibration adorns the quality of the singing voice, which, in the absence of vibration, is sluggish and boring, so any tremolation of the singing voice sharply degrades it. The more evenly the vibration of the voice is made, the better it reflects on its quality. The best for sounding is considered to be at least six vibrations per second. A vibration frequency of less than four per second makes the voice unpleasant.

Many guesses have been made about the true reasons for the tremolation of the voice. They said that the essence of tremolation consists in the oscillations of raising and lowering a sound with a simultaneous amplification and attenuation of it. Vibrations from tremolation are distinguished by smaller fluctuations in pitch and sound strength. It was believed that tremolation depends on the unevenness of the vocal cords.

It can be stated that voice tremolation is a rather widespread defect among vocalists, and if the voice tremolation is great, then it can be fatal for a given person, since it is pointless to practice singing under such conditions, which will cause a negative reaction in the listener. Whether the tremolation of the voice is a disease or just a defect in the vocal school, a final decision has not yet been made. It must be said that in those rare cases when a doctor or teacher manages to achieve a decrease or disappearance of tremolation, the result for the most part is not long-lasting due to constant returns to this manner of sound production. The phenomenon called "sound interference" can be considered applicable to explain what vibration and tremolation of the voice is. The explanation and proof are the following data.

In order for the simultaneous sounding of two oscillating bodies to give a continuous flow of sound, it is necessary that these two bodies be absolutely precisely in unison. Thus, they must at a certain time give absolutely exactly the same number of oscillatory movements. With the slightest deviation from this requirement in one direction or another, interference must necessarily appear, and in the end result - jitter.

Observation of the size and structure of the vocal cords, as over other paired organs of the human body, very often reveals their unequal size and location. Small deviations are more common than complete coincidences. This property has not been avoided by the vocal cords, which are often different in both their length and thickness. All our senses are not quite the same on the right and left. A close examination can always reveal some difference in accuracy, strength of perception and functioning of organs on both sides. This phenomenon is fully related to the functions of the vocal cords and the undoubted difference in the simultaneous work of both of them.

Both vocal cords are not always exactly the same. In most cases, we meet, although with little noticeable, but still with incomplete coincidence in the size and thickness of the vocal cords. The result is a lag of one of them and incomplete sound in unison.

The law of acoustics states that when two bodies sound together, the lag of one of them by one vibration per second gives one tremor per second, two vibrations - two tremors. This is why the combined sounding of two not completely symmetrical vocal cords should produce a jitter in sound. These hypotheses of Dr. Levidov, deserving full attention, were confirmed by stroboscopic observations. If, during their vibration, two bodies are subjected to a stroboscopic examination, which differ from each other by a very small number of vibrations, then when one of them appears to be completely motionless, the other will seem to move slowly. Further, if one body appears to be slowly swaying, the other may at this time appear to be in complete immobility.

The explanation of the tremolation of the voice was especially convincing when, with natural vibration, stroboscopically it was not possible to establish the uneven work of the vocal cords. Certainly logical results were obtained when examining persons with tremulous voices. In these cases, a significant discrepancy between the vibrations of both vocal cords was clearly revealed.

This picture manifested itself even more clearly in those singers where, in addition to tremolation, there were nodules on one or both vocal cords.

Dr. Levidov proved his assumption by the fact that while singing, he produced faradization of the larynx. Then, when singing sounds were made, the character of the tremolation of the voice changed and it began to resemble vibration. Then it became clear that with tremolation phenomena the ligaments do not vibrate in the same period. Tremolation can result from uneven tension on the vocal cords.

All these studies and observations on the true cause of voice tremolation give a fairly strong reason to believe that voice tremolation can be considered a real functional disease that requires special treatment. So the view that voice tremolation is one of the types of incorrect setting is not entirely justified.

It is known that there are cases when experienced singing teachers manage to achieve some satisfactory results in reducing or weakening this defect after long and careful voice training. It is very rarely possible to achieve a complete cessation of tremolation. Such phenomena occur only when the form of tremolation is very small and light. Then she can succumb to pedagogical influences.

Everyone knows that some disorders of the vocal apparatus can go away after the methodological lessons on the correct formulation of the voice begin.

It is also known that many disorders of the functions of the vocal apparatus are the result of a violation of the elementary attitudes required when practicing singing. This, on the one hand, and on the other, they can appear with inept teaching and the wrong approach to one or another inclinations and vocal material of a given student. If EJ succeeds in some cases, through diligent and correct vocal training, to reduce “or to completely destroy the tremolation of the voice, then in no way is it possible to change the nature of the physiological vibration of the voice. All attempts in this direction, as a rule, turn out to be negative, and even doing this is an unnecessary violence against the voice. They can do great, and sometimes irreparable harm to whomever these aimless experiments are carried out on.

The following fact seems interesting. Essentially, vibration and tremolation of the voice are different manifestations of the same acoustic phenomenon. Why do they make a diametrically opposite impression to the ear? The pleasant effect of vibration on hearing is based on a positive perception of intermittent stimulation. On the contrary, continuous irritation tires the organ of hearing and thereby dulls its receptivity. When the frequency of tremors becomes very significant, the ear does not have time to follow each of them separately. The sound becomes unpleasant, acquiring a piercing and harsh rudeness.

When comparing vibration and tremolation, it turned out that the latter occurs at a slower pace. It is possible that this property of vibration is the main reason for the unpleasant impact of such a tremulous voice on the listener.

As mentioned earlier, vibration differs from tremolation not only quantitatively, but also qualitatively. When tremolating, the transition from one pulsation to another occurs without the gradualness and softness that occurs with vibration. This transition is made abruptly, in jerks. The sound does not vibrate, but sways.

If we cast a cursory glance at the history of the development of solo singing in Europe, we will see that its origins originate in Italy.

Each epoch puts forward new requirements, raises questions of the methodology of teaching singing in a new way - the outstanding figures of vocal art from different European countries each in their own way solve these questions.

Without dwelling on the various stages of the development of solo singing, we will move on to practical issues related to vocal pedagogy.

A tremor in your voice can create awkwardness and undermine faith in yourself. Such a situation during a public speech or one-on-one conversation prevents the interlocutors from understanding you. They won't be able to make out your first-class speech or witty remarks! Spend some time breathing and speaking to help you control your shaking and become a confident speaker.

Steps

How to do breathing and speaking exercises

Breathe through your diaphragm to control your voice. Take deep breaths and look at yourself in the mirror. If the shoulders are lifted, then you are using the ribcage, not the diaphragm, which is a muscle located in the lower part of the lungs. Inhale and try to expand the chest in volume, but at the same time make sure that the shoulders and chest remain still.

Strengthen your diaphragm. Now that you know about the diaphragm and where it is located, it's time to strengthen this muscle. Before or after showering, wrap a towel around your waist. Inhale and try to move the towel, but do not lift your shoulders or chest. Exhale slowly. On the next exit, say "Ah." Do the exercise ten times.

When you say “Ah” while breathing with the diaphragm, notice that it is easier for you to speak loudly and measuredly. Practice speaking in a loud, low voice. You can even take a few shallow chest breaths to compare the two sounds.

Exhale with a hissing sound to control your breathing rate. Stand upright and inhale using the diaphragm, then exhale the air through your teeth with a hissing sound. Repeat this exercise ten times. Hopefully no one walks into the room while you hiss like a snake! It sounds strange, but exercising to control the expiratory flow rate helps to strengthen the diaphragm.

Practice vocal exercises to expand your vocal range. One of the best ways to reduce tremors in your voice is to expand your voice range. Occasionally, when excited, people with trembling voices also make high-pitched and cracking sounds. Do voice exercises at least once a day to get rid of these problems.
- Pronounce “mm-mm” (as if you want to say “delicious”) and “mm-hmm-m”. During the session, it is important to always breathe with the diaphragm and try to pronounce these sounds loudly. Repeat this exercise five times.
- Say “her, her, her, her” in a higher and lower voice. Try to pronounce these sounds in the highest voice possible first, and then lower yourself to the lowest voice possible. Forget about seriousness, this will all sound very strange. Repeat ten times.
- Say “ooo-eee” many times and use the full range of your voice. Repeat ten times.
- Say "mmmmm" and focus on the trembling sensation in the lower face and around the mouth. Make a humming sound for as long as you can breathe. Repeat five times.
Use tongue twisters to improve articulation. With good articulation, people will hear every sound you make clearly. This is very important, as otherwise they may misheard or not understand your words at all. Do this exercise once a day.
- Use the tongue twisters suggested here or find more suitable options. The tempo should be as high as possible, but on condition that you pronounce each syllable clearly.
- Examples: “The interventionist's interviewer interviewed”, “A bag for popcorn”, “There is no ring near the well”, “Osip hoarse, Arkhip Osip” and “Seven sat in the sleigh themselves”.
Read poetry, articles, or books aloud. The best way to get rid of a tremor in your voice is to speak as often as possible. Read different texts aloud to practice in a relaxed environment. In this case, you can imagine that you are reading in front of an audience. Speak loudly and quietly, in a high and low voice, and express emotions. When you're ready, read to a close friend or family member.
- Do you need to prepare a specific speech? Just great! Read your speech aloud every day.
- You can also record yourself on a dictaphone or camcorder. Watch or listen to the tape to find areas that need improvement.

How to prepare before speaking

Exercise to release excess energy. Try running in the morning or walking around a building where you are about to give a speech, act on a stage, or have a difficult conversation. Try to get rid of the nervous energy completely to ease your anxiety. It will also help to cope with tremors in your voice.

Stick out your tongue to prepare your throat. Go to the restroom before giving a performance or speaking. Try sticking out your tongue as hard as you can and say a nursery rhyme or one of your favorite tongue twisters with your tongue out. This exercise will help prepare your throat, even if it sounds funny. A more open throat provides a more confident and louder voice.

Place your feet firmly on the floor to get the correct posture. This is important not only when you are standing, but also when you are sitting. Place your feet shoulder-width apart. The feet should rest completely against the floor with the entire area. Do not sway or shift weight from foot to foot. This is your strong position to take.

Straighten your shoulders for a correct and open posture. Hunched shoulders and poor posture also make it difficult to breathe deeply. This will make it difficult for you to speak clearly even without trembling in your voice. You don't have to slouch when speaking in public or you will look flustered.

Rely on breathing exercises. If you're worried, focus on your breathing. Imagine that you are wrapped in a towel and try to move it mentally. So, oxygen will give you strength, and concentration on the exercise will help you pull yourself together.

Take a sip of water before speaking. Take a bottle of water with you just in case. Liquid will make the voice clearer, as opposed to dry and harsh sound. Also, you should not be dehydrated during the presentation, otherwise you may feel dizzy.

How to successfully deliver a speech or conduct a conversation

Start confidently and smile. Smiling will allow you to stretch the muscles of your face and immediately captivate the audience (or one listener). Try to speak loudly and clearly from the beginning. Moderate your voice if it sounds too loud, but it is better that everyone hears you from the very first words.

Every aspiring vocalist at the beginning of his professional career thinks about the quality of his voice and how to improve it for singing in front of an audience. These questions have long been answered by teachers of acting and vocals, and it would be foolish not to resort to their advice.

Basically, the following disadvantages of voice sounding are highlighted:

Nasalness is a common singing in the nose, which can occur as a result of colds, in the absence of singing skill, or a flaccid palatine curtain that sags at the moment of singing. As a result, the voice passes through the nose, which gives the voice its characteristic nasal tone. Fortunately, there are many methods of developing the voice and getting rid of nasal sounds - singing on the vowels "o" or "y", in which the curtain of the palate is rapidly reduced. An acting educator or vocal specialist will tell you how to improve your voice for singing and teach you the correct sound-making process.
Voice swing and tremolation is a defect in the voice in which it trembles or sways between adjacent sounds, creating a pulsation. When the voice vibrates excessively, tremolation occurs. If you do not have colds or age-related changes at the time this voice deficiency is detected, then the reasons may be hidden in:

improper voice setting
Forcing sound
Lack of necessary vocal data.

All these reasons can be easily eliminated if you resort to the help of professional teachers who will teach you the correct breathing while singing, as well as exercises that will eliminate tremolation. The sooner you ask yourself the question of how to develop your singing voice, the sooner you will achieve noticeable positive results.

Quiet singing, which can be caused by both bad breath and character traits (shyness, timidity, self-doubt, stiffness). To eliminate this problem and in order to make the voice beautiful and strong, there are special exercises with alternating different tempos and the use of a firm attack of sounds, as well as practical exercises to gain confidence on stage.
False intonation, which can be the result of an undeveloped ear for music, lack of skills for coordinated work of hearing and voice, singing at low frequencies, careless performance or a banal cold disease and fatigue. By analyzing singing and developing hearing, this problem can be easily solved in the shortest possible time.

Probably, many have faced such a problem as a trembling voice. I wonder why this is happening? And sometimes it even becomes a stumbling block in communication, which gives rise to complexes. Let's figure this out.

What can a voice tell?

From it, you can determine the character, recreate the image, draw up a physiological and psychological picture of a person. The voice broadcasts to others about the current state of the personality. By tone, you can read a person's emotions (anger, sadness, joy, jealousy, nervousness).

What gives out a tremor in your voice?

There can be many reasons for this. And the main ones are excitement and fear, which, as a rule, are unfounded. But first, you still need to see a neurologist. You may then have to drink antidepressants, visit a psychotherapist.

If during the examination (thyroid gland check, blood test), doctors did not identify a physiological cause, most likely, it is necessary to work with the psyche. If the tremor in your voice increases with excitement, we are talking about an anxiety disorder.

Why is this happening?

There is an explanation from a physiological point of view. The point is adrenaline, which in a stressful state begins to be produced in huge doses. A person suffering from heightened anxiety can get agitated by anything, for example:

at school when called to the blackboard;
from communicating with strangers, as well as powerful and high-ranking people;
upcoming presentation with a report to the public;
in a dialogue with a beloved person and so on.

Let's talk about the fear of communication

And now we will find out why the voice trembles when speaking. It often happens that before the upcoming dialogue, the opponent begins to experience panic attacks. It seems that the spoken words will be ridiculous, cause laughter or censure. It is easier to just step back into the shadows and keep quiet, but this is not an option. If this phenomenon is extremely rare, then you should not worry, it can be attributed to a bad mood. When this is repeated systematically, and a work phone call generally becomes a disaster, you need to think about it.

To understand why the voice is trembling, it is necessary to find the root of the problem. Of course, a defense mechanism is triggered. You may have been severely insulted or humiliated in the past. And then, in your subconscious mind, a saying was formed, why communicate with people if it hurts. Therefore, it turns out that you are protecting yourself. And this happens unconsciously, and this is not good.

It is necessary to understand that without communication it is impossible to achieve high goals, even just to live normally. After all, a happy life requires a prestigious high-paying job, a family that needs to be created, and so on. Only after realizing this truth, you can move on, look for prevailing phobias and get rid of them.

Consider the reasons

Critics. But this is not about healthy criticism. When it is tough and rude, not only shortcomings are indicated, but exaggeration and exposure to the public also occur, it is extremely difficult to endure such pressure.
Bullying. Rather, it refers to school age, when the child is humiliated. Then he closes himself in, shuts himself off from everyone, fearing ridicule.
Inability to build a dialogue with the opposite sex. For girls, this could be due to the upbringing of a strict and despotic father, for boys, on the contrary.
Unsuccessful performances in the past. Never mark time. Everyone needs to analyze the situation, extract what is useful and move forward. This does not mean that the mistake will be repeated again.
Shyness. Shyness gets in the way. But everything is good in moderation. Of course, but it's better to be more relaxed, you need to raise self-esteem.
Inability to formulate thoughts. Everything is simple here: you need to improve yourself, read more, master techniques and practical recommendations that will help you learn how to correctly build thoughts and speech.

Often, psychological trauma stems from virginity, the main thing is to understand this and try to fix the problem. If it does not work out on your own, contact a specialist.

Make eye contact. Start small, communicate first through social networks, go shopping, for example, talk to sellers.
If it's difficult to communicate with your opponent live, talk to him on the phone.
And gradually move on to a lively dialogue. Try to make requests to strangers.

The fear of communication must be overcome, because otherwise it will not be possible to socialize and develop normally.

How can you overcome your fear of communication?

You should not model the upcoming outcome of the event, especially in a negative way. This will not solve the problem, it will only make it worse.
Don't worry about the opinions of others. If they think something, it is not for long, for a few minutes. Think about how much you remember the faces of people passing by on the street or speaking in the pulpit, if they are not celebrities. Literally five minutes, no more. So your mistakes are forgotten just as quickly.
Don't be afraid of dialogue. Make homework that will help in communication, later this will not come in handy.
Look at your opponent, his gestures, facial expressions, perhaps he does not have a strong interest in you, so do not worry.
Don't focus on your fear. If panic attacks begin to sneak up, abstract yourself into anything: the taste of coffee, a nice cup, an accessory on the interlocutor, and so on.

You will not get a quick result, but you should not give up, in the process of constant self-control and improvement, everything will work out.

How to quickly deal with the anxiety before public speaking?

Deep diaphragmatic breathing will help. It relieves stress and anxiety. Take 20 breaths. But you must breathe with your belly.
Yawn. 10 times with a closed and open mouth. Feel free to make accompanying sounds.
Go for tactile sensations. A great technique to get rid of the anxiety during the performance. When it starts to come, take an ordinary paper clip in your hand, it is small, so it will be invisible. Feel, focus on the material from which it is made, what is the surface, the shape. Thus, attention is switched to another object, and the excitement recedes. Now, it doesn't matter what people think of you.
Exercise before performing. Sing loudly and expressively or read the text of the lecture.

And of course, don't forget to be in a good mood. When you radiate inner warmth and joy, smile, you will receive the same energy back. Imagine that there are kind people sitting in front of you who wish happiness and then the excitement and trembling in your voice will not appear.

Let's talk about the "grounding" technique

The main thing, remember, is not to tell yourself "calm down", this will not help, but will only increase the anxiety. When the panic attack has escalated and you are unable to control yourself, look for five things with your eyes, four things you can touch, three things you can hear, two things you can smell and one taste. This technique will bring you back to reality, sober up and relieve you of the excitement and trembling in your voice.

And one more tip to get rid of a panic attack, remember two truths:

Don't be afraid of her.
And don't try to suppress.

That is, the release of adrenaline (fear hormone) occurs within 90 seconds. The rest of the time you are experiencing not a true phobia, but your "fear of fear." It is necessary to hold out for the first minute and a half, and then the panic attack will recede.

And the main thing is to understand that all fears are often invented by us. Improve yourself, learn self-control, and then you will not have to fight the excitement and trembling in your voice.