Seduce With Your Voice: Resonance & Cadence

What is a seductive voice?

Is a seductive voice the purr of an experienced woman, or the barks of a man in power? A seductive voice is often quite simply, a voice that is pleasant to listen to. Having a seductive voice is a powerful tool for persuasion that can accompany and amplify the goals of seductive language.

To persuade, seducers come to learn and control two unique properties of speech: their resonance and their cadence. This article will focus on how seducers use their voices and less on the specific language they use when doing so. 

Read until the end to find out which 10 famous actors and actresses have the most seductive voices…

Resonance

Resonance refers to the richness and depth of a vocalization. It suggests where the voice comes from in the body and how far it is aiming to go.  

Infusing their intentions behind their words, seducers understand that the execution of effective speaking relies on the ability for those words to be heard, understood, felt, and internalized by the listener. Seducers want their words to echo and occupy part of their target’s minds long after their conversation ends. They achieve this by speaking with resonance.

Although it can make controlling one’s volume easier, resonance does not indicate the specific loudness or quietness of one’s voice. Instead, resonance refers to the richness and depth of one’s vocalizations

Speaking With Seductive Resonance

A resonant voice has richness to it; that is, an abundance of speaking capacity and seemingly endless power. This is due to taking infrequent, but sufficient breaths that touch the bottom of the lungs and slightly expand the abdomen upon inhalation. This allows for projection beyond the speaker’s immediate space, creating depth. Breaths should be slowly drawn and released with gentle restraint. These breaths satiate speakers for longer, allowing for extended speech with greater ease. 

Resonant speakers produce their sound from engaging the diaphragm and opening the mouth and oral cavity wide. Speaking with the nasal cavity narrows speech and limits its travel. The best speakers always ensure their speech comes from an opened mouth and relaxed, mobile jaw that is consistently supported by slow, sustainable breaths. 

It is vital to seducers that they be both heard and understood. When they speak, their words must not only reach the target but emotionally impact them. A resonant voice emanates from within and outstretches far beyond the self, enveloping the listener in warmth, comfort, and familiarity. Seducers want their language to feel good, not just sound good. Each word spoken with resonance appears to be directed specifically towards the target in question and no one else, thus the seducer creates fondness. Their voice sounds good, feels good, and their words are left to spur the intended emotion. 

Seducers speak their intentions and orders with richness and depth, often pausing to allow for the echo of their most important points. The words they speak extend beyond the self, embrace the listener, and then in silence they may echo. To seduce, you must leave your listener mulling over your words instead of senselessly rambling and trampling over your best possible outcome. Let your intentions hang by pausing after the words that matter most. Grant yourself a beat of silence, confident silence. Let your intentions reach the target, enter the mind, and reverberate before you present another subject. Let your target become enraptured by whatever you’ve planted before you continue, then sow. The entire purpose of speaking this way is to have your intentions be heard, understood, and felt. The target must begin to hear your voice in their head more often than they hear their own, and long after you’ve departed.

Cadence

Cadence refers to the rhythm and pacing of one’s speech. Seducers tactfully craft their own, and listen carefully for those around them. 

When people are speaking, whether truthfully or otherwise, their voices carry out patterns. To speak effectively, our voices should provide a series of flawless rhythms that move our stories from detail to detail, our presentations from point to point, and our ideas from abstraction to manifestation. The rhythms of our voices can either advance our words, and thus advance our causes, or distract from our words entirely. The former is a means of seduction, the latter is a means of mediocrity and misrepresentation. 

To musicians, a metronome is a device that provides a fixed beat over which melodies are played. It steadies new musicians, so they stay within the music’s preferred time signature and maintain a consistent tempo. Metronomes help musicians learn and improve their timing. In each of us, there is an internal metronome that can serve as a device of emotional regulation, over which the patterns of our speech and range of our vocal inflection may be delivered, thus improving our sense of cadence.

Speaking With Seductive Cadence

What separates the target from the seducer is the regulation and presentation of emotions. 

Average speakers are often overtaken by their emotions, and it is audible in their voices. They speak with their emotions, in obvious accordance with them. Seducers speak of their emotions, trading for selective narration as the passageway of their feelings. They don’t speak emotionally, but with the logical, rational, and collected wisdom that comes from reining those emotions in. 

Average speakers will speak with their emotions. For example, most people speak quickly when they are telling a personal story, especially one that has recently happened, because the stakes are higher (given that it’s the speaker’s own story) and the emotions are fresher. These people speak as if they are still just as excited or enraged over their own story as they were when it happened, so the emotions they’re feeling influence their speed and quality of speaking even when it may come at the cost of being heard and understood.

Here’s the problem with unregulated emotions in speech:

  1. Speaking too quickly gives away someone’s potential nervousness, insecurity, and social discomfort, which a seducer knows they can alleviate with words of reassurance and patience (exploiting vulnerabilities).
  2. Speaking too slowly gives away someone’s lack of wit, slowed mental agility, inability to hold fluid conversation, and hints that they are possibly attempting to lie or hide something. Seducers know deception and dim-wittedness when they hear it. 

People with a lack of control over their own cadences are putting out the message that their moods, like their voices, are subject to change by external stimuli and do not follow a structural composition that exists within. As a seducer, listening for cadences suggesting unregulated emotions is an easy way to sieve out potential targets. 

Silence

Seducers also allow for one criminally underrated feature of speech to become commonplace in their verbal communication (something most people actually fear and condemn as “awkward”), and that is silence.

A seducer’s natural cadence is one of rhythmic speech and rhythmic silence. When they choose to start a sentence, when they choose to pause, when they enter a conversation and when they hold back are entirely decided and calculated choices made by a seducer. Seducers are masterful speakers, understanding that the manner in which they speak is equally as important as the words they choose. Seducers speak to be more than just heard, they speak to creep into their target’s mind and occupy a generous space there. They know when to start and when to stop, when to initiate and when to observe. Seducers show no fear or unease, and they befriend silence. Seducers know that silence gives way to the echo that resonance thrives in.

5 Famous Seductive Female Voices:

  1. Lauren Bacall in The Big Sleep (1946).
  2. Ava Gardner in The Killers (1946).
  3. Marlene Dietrich in The Blue Angel (1930).
  4. Rita Hayworth in Gilda (1946).
  5. Veronica Lake in This Gun for Hire (1942).

5 Famous Seductive Male Voices:

  1. Clark Gable in Gone with the Wind (1939).
  2. James Stewart in It’s a Wonderful Life (1946).
  3. Marlon Brando in A Streetcar Named Desire (1951).
  4. Humphrey Bogart in The Big Sleep (1946).
  5. Cary Grant in North by Northwest (1959).

Conclusion

To persuade, manipulate, captivate, and influence, a seducer must be smooth and unwavering. If you feel uncertain of your ability to seduce using your voice, give yourself a fair chance to observe, learn, and practice – but be careful in the meantime, because if you aren’t the one seducing then you just might be the target of someone who is.