EFFICIENCY THROUGH CHANGE OF PITCH

      Speech is simply a modified form of singing: the principal

      difference being in the fact that in singing the vowel sounds

      are prolonged and the intervals are short, whereas in speech the

      words are uttered in what may be called "staccato" tones, the

      vowels not being specially prolonged and the intervals between

      the words being more distinct. The fact that in singing we have

      a larger range of tones does not properly distinguish it from

      ordinary speech. In speech we have likewise a variation of

      tones, and even in ordinary conversation there is a difference

      of from three to six semi-tones, as I have found in my

      investigations, and in some persons the range is as high as one

      octave.

      --WILLIAM SCHEPPEGRELL, _Popular Science Monthly_.

      By pitch, as everyone knows, we mean the relative position of a vocal

      tone--as, high, medium, low, or any variation between. In public speech

      we apply it not only to a single utterance, as an exclamation or a

      monosyllable (_Oh!_ or _the_) but to any group of syllables, words, and

      even sentences that may be spoken in a single tone. This distinction it

      is important to keep in mind, for the efficient speaker not only changes

      the pitch of successive syllables (see Chapter VII, "Efficiency through

      Inflection"), but gives a different pitch to different parts, or

      word-groups, of successive sentences. It is this phase of the subject

      which we are considering in this chapter.

      _Every Change in the Thought Demands a Change in the Voice-Pitch_

      Whether the speaker follows the rule consciously, unconsciously, or

      subconsciously, this is the logical basis upon which all good voice

      variation is made, yet this law is violated more often than any other by

      _public_ speakers. A criminal may disregard a law of the state without

      detection and punishment, but the speaker who violates this regulation

      suffers its penalty at once in his loss of effectiveness, while his

      innocent hearers must endure the monotony--for monotony is not only a

      sin of the perpetrator, as we have shown, but a plague on the victims as

      well.

      Change of pitch is a stumbling block for almost all beginners, and for

      many experienced speakers also. This is especially true when the words

      of the speech have been memorized.

      If you wish to hear how pitch-monotony sounds, strike the same note on

      the piano over and over again. You have in your speaking voice a range

      of pitch from high to low, with a great many shades between the

      extremes. With all these notes available there is no excuse for

      offending the ears and taste of your audience by continually using the

      one note. True, the reiteration of the same tone in music--as in pedal

      point on an organ composition--may be made the foundation of beauty, for

      the harmony weaving about that one basic tone produces a consistent,

      insistent quality not felt in pure variety of chord sequences. In like

      manner the intoning voice in a ritual may--though it rarely

      does--possess a solemn beauty. But the public speaker should shun the

      monotone as he would a pestilence.

      _Continual Change of Pitch is Nature's Highest Method_

      In our search for the principles of efficiency we must continually go

      back to nature. Listen--really listen--to the birds sing. Which of these

      feathered tribes are most pleasing in their vocal efforts: those whose

      voices, though sweet, have little or no range, or those that, like the

      canary, the lark, and the nightingale, not only possess a considerable

      range but utter their notes in continual variety of combinations? Even a

      sweet-toned chirp, when reiterated without change, may grow maddening to

      the enforced listener.

      The little child seldom speaks in a monotonous pitch. Observe the

      conversations of little folk that you hear on the street or in the home,

      and note the continual changes of pitch. The unconscious speech of most

      adults is likewise full of pleasing variations.

      Imagine someone speaking the following, and consider if the effect would

      not be just about as indicated. Remember, we are not now discussing the

      inflection of single words, but the general pitch in which phrases are

      spoken.

      (High pitch) "I'd like to leave for my vacation tomorrow,--(lower)

      still, I have so much to do. (Higher) Yet I suppose if I wait until I

      have time I'll never go."

      Repeat this, first in the pitches indicated, and then all in the one

      pitch, as many speakers would. Observe the difference in naturalness of

      effect.

      The following exercise should be spoken in a purely conversational

      tone, with numerous changes of pitch. Practise it until your delivery

      would cause a stranger in the next room to think you were discussing an

      actual incident with a friend, instead of delivering a memorized

      monologue. If you are in doubt about the effect you have secured, repeat

      it to a friend and ask him if it sounds like memorized words. If it

      does, it is wrong.

      _A SIMILAR CASE_

      Jack, I hear you've gone and done it.--Yes, I know; most fellows

      will; went and tried it once myself, sir, though you see I'm

      single still. And you met her--did you tell me--down at Newport,

      last July, and resolved to ask the question at a _soirée_? So

      did I.

      I suppose you left the ball-room, with its music and its light;

      for they say love's flame is brightest in the darkness of the

      night.