4. Though proper variations are so pleasing to the ear, yet it must not be inferred that they should be adopted merely for the sake of variation. The modulation of the voice should be entirely subservient to sentiment and emotion. Sameness itself is preferable to any mechanical movements, as sudden leaps up and down, and the reverse. PITCH OF VOICE. 1. PITCH OF VOICE has reference to its degree of elevation. Every person, in reading or speaking, assumes a certain pitch, which may be either high or low, according to circumstances, and which has a governing influence on the variations of the voice, above and below it. This degree of elevation, or pitch, is usually called the KEY NOTE, or initial sound. 2. The variation of the voice in pitch may be illustrated by the utterance of a in all, ate, and e in me, met, according to the following diagram. Thus, e -in met. -in me. a -in ate. a -in all. 3. For exercise in varying the voice in pitch, and for the purpose of acquiring skill in its management, the practice of uttering a sentence on the several degrees of elevation, represented in the following scale, will be found beneficial. First, utter the musical syllables, then the vowal sounds, and lastly the proposed sentence. --8.-do-e-in-me.-The-good-alone-are-great.--- 7. sii in die. The good alone are great. 1. do a in all. The good alone are great. 4. After becoming skilled in uttering the foregoing, first ascending and then descending, rising or falling gradually By what should the modulations of the voice be governed? What is meant by "Pitch of voice?" Illustrate the pitch of voice by the diagrams. according to the scale, utter the sentence on the lowest or highest possible pitch, and then ascend or descend by several degrees at once. When this can be done with readiness and accuracy, take any other sentence of greater length, and utter it after the same manner. For examples, take the following: 1. A smile re-cures the wounding of a frown. 2. What mighty contests rise from trivial things! 5. In ascending from any given pitch, or point, by regular degrees, the eighth is merely a repetition of that pitch, or first note. Hence, there are but seven primary sounds. So that the eighth is properly the first of a new scale, or series of sounds, above; thus on, as high as it is possible to conceive a sound to be. Accordingly, the pitches of sound are numerous, varying from the deep, hoarse thunder, or ocean murmur, to the shrill chirp of the cricket,—or the lowest and the highest degrees which it is possible to conceive of. 6. Notwithstanding there are numerous pitches of sound, yet for practical purposes in reading and speaking, they may, in general, be considered as three;-the low, the middle, and the high. 7. The Low pitch is adopted in expressing emotions of sublimity, awe, or reverence. The MIDDLE is that pitch usually employed in common conversation. The HIGH is used in calling to a person at a distance. The terms high and low must not be considered as synonymous with loud and soft. They are used in the sense of shrill and grave. 8. Under ordinary circumstances, the middle pitch should be adopted as the key note; since the voice is able to range both above and below, and hence admitting of greater and more pleasing variety than the high or low; whereas if the low or high pitch is adopted, the voice can not conveniently depart from it, except above, if it is low; and below, if it is high. 9. As before stated, the variations of the voice in every respect, should be such as are suggested by sentiment and emo To what extent may sound be varied in pitch? How many pitches of sound are considered? For what purpose is each adopted? Which should be ordinarily adopted? Why? tion. Quite every emotion requires its own peculiar pitch of voice to express it. But as a general principle, tender emotions, as joy, love, grief, or such as incline the voice to the rising inflection, require an elevated pitch; strong emotions, as horror, awe, reverence, and the like, which incline the voice to the falling inflection, are best expressed in a low pitch. But no definite rule can be given in regard to it. It must be wholly determined by good taste, founded on sentiment and circumstances. 10. The advantages of a proper variation of the voice, in any respect, are not confined to the hearer alone, but are equally valuable to the reader or speaker; since a variation prevents the organs of the voice from becoming wearied as soon as otherwise, and if they become wearied by long exercise on one pitch, they are relieved by a change to a different degree of elevation. 11. For further exercise in acquiring skill in the management of the voice in pitch, read the following EXAMPLES FOR EXERCISE. 1. I had an Edward -till a Richard killed him; 2. A flourish, trumpets!-Strike alarums drums! Let not the heavens hear threse tell-tale women 3. K. Richard.-Give me another horse,-bind up my wounds; O coward Conscience, how thou dost afflict me!- Is there a murderer here? No;-yes, I am;— I love myself. Wherefore?-for any good, What pitch of voice should expressions of tender emotions receive? What, those of strong emotions? What advantages are derived from a variation of the voice? That I myself have done unto myself? Fool, of thyself speak well;-Fool do not flatter. QUANTITY. 1. QUANTITY has reference to fullness and duration of sound. 2. Any sound may be rendered, in utterance, either soft or loud,-slow or quick. The slight and heavy strokes on a bell, produce sounds alike in pitch, but differing in quantity, being soft or loud in proportion to the weight of the strokes. 3. Quantity is two-fold;-consisting in FULLNESS, or VOLUME, of sound, as soft or loud; and in TIME, as slow or quick. former has reference to STRESS; the latter, to MOVEMENT. The 4. Quantity is mainly confined to the vowel sounds; though it slightly affects the consonant sounds. By dwelling too much on the consonants, the utterance is rendered heavy and labored. 5. Quantity increases in ratio with the emphasis and inflection. The more intense emphasis or inflection requires a greater degree in quantity. EXAMPLES. 1. Strike for the sires who left you free! STRIKE for their SAKES who bore you! What is meant by Quantity of sound? In what does quantity consist? To what sounds is it mainly confined? What influence have emphasis and inflection on the degree of quantity ? 6. If the foregoing examples are read without dwelling on the vowal sounds, as denoted in the print, the reading will be rendered ineffectual in expressing the sentiment. But by imparting quantity to the utterance, the reading will be rendered effective, corresponding in elegance with the sentiment. 7. The degrees of variation in quantity, are numerous, varying from a slight, soft whisper, to a vehement shout. Though, in general, they may be considered as three, the same as in pitch;-the soft, the middle, and the loud. But whatever the degree to be employed, depends on the nature and extent of the emotion to be expressed; for by it does the hearer judge in regard to the amount of feeling entertained by the reader or speaker, and is thereby influenced to exercise the same. 8. For exercise in quantity, utter any sentence, as "All's to be feared, where all's to be lost," first in a slight, soft tone, and then repeat it, gradually increasing in quantity to the full extent of the voice, in no instance varying the pitch. Or, in like manner, sound any vowel sound, or all of them. Thus, For further exercise, let the following be read: EXAMPLES FOR EXERCISE IN PITCH AND QUANTITY. 1. But Cassius is no more.-O setting sun! As in thy red rays thou didst sink to-night, Clouds dews and dangers, come —our deeds are done. O hateful error melancholy's child! Why dost thou show to the apt thoughts of men What is said of the degrees of variation in quantity? |