·No text on this page.

·THE VOICE OF THE SPEAKER

·The book is
rluck pud me mor kur mood
Uoles to Tkonple is win ri
Apollo is an imbecile.
-R. EUDOR

·THE VOICE
OF
THE SPEAKER
by
Aun C Smit
Froder Teen Lund!
Author of The Amarer Cluson - Spreck Erelacion
The Ve Bribed the Rio
Poh
Tortut laternational, Inc.
Sac du Citarie

·The book is good
rhick Muu me in a world mood
Unless to thought is id ri,
Ardle is a inbecile.
-R. Expo

·THE VOICE
OF
THE SPEAKER
Runt Count
Frades of Tatatero battutional
kather of the macar Cheiran - Spred Erisation
The la Brbind dhe Rates
Talked
Toastmaster International, Loc.
Sau Au Canada

·Copyright, 1949 by Torren Internatlood, Inc.
All rights resend
Prated ba the United Sutes of Amerka

·CONTENTS
Cart
TOTYVO - Tx To CAL
1 Yohana
Ta Furt orci
3 Tu Rovo lota
# Contour Baart (4)
$ CTTOLD Baure B)
6 la Ora Force
1 m In loma
& Lourt Tut lotny
Sur Deoret
1 Trulo C. YOUT)
11 Sancti
r laculum
11 ur ! Tuna
16 TalkK ROLITOY Dumay

·No text on this page.

·The Need Is Universal
What this country really Deeds is an opl.
demie of better rolcet. (When we say "hls
country we mean any country in which this
book lo read, for improvemet in solch is a
Worldwide neod.)
Harsh, unfriendly unplannt, tight pal,
muely coldne ruuping mumbling volcea
abound. Really good open argi rarity
Not only the oritor needs better voice.
1 Ereny person bo peab share the Deod.
Whether you speak from the palpit or the
better
platform, from bebind the counter or from a
wat at the breakut table, you can make the
world a mort plannt place for human occu
padcy If you will learn to wo your best rolca
in the best way
This book presents a simple, practal, ry
to-un plan for to co troprovement Quito
intentionally the material has been provated
in condensed torm, for the by the bay period.
It is pontechnical in language and in presen
tation, so that almost anyone can do it thout
recourse to a dictionary

·• THE VOICE OF THE SPEAKER The plans and exercises offered have been tried out in years of experimentation and use. They will bring results. How much will you get out of it! That all depends on you Give It three to five minutes at a time, three * It worth try times a day for six weeks, and you will feel up & laul the difference. Keep on for slr weeks more, and your associates will note the difference too Keep it up for a year and you will have good voice habits firmly fixed. And volco habits are important Brost of us use our voices almost constantly during our waking hour, Even talking in the sleep is not uncommon. Our habitual tones, Inflections accents are tremendously important for they go far in helping other people to size us up Observo what emphasis has been put upon voice by keen writers and talkers, ancient and modern. It was CHARLES LAMB who wrote اطاله New ten the smell of branty broken by w low lelklag! Ilm olion you are inte drons to par WHOIR EN home soft worry toner render der poldrely dimettre! In the red and how Namunt It 6 t.lev Kom Lek Lite low dry wakk dem choncterize the trae ladyll. the soary of the bose how nich. ruke others the freeful child and cheers the weary hasband!

·THE YOICE OY THE SPEAKER and China DICKESS, describing Ur Waktu Bounderty the loud-speaking svecesfol man Lerhoo pletared to Hard Times completa bla pletare W do with these words about the Bounderby voice the Irony klas bummer al AU RICH Alperttv. Where the budy of the In contrast in the words of HATT GILE Mo lebo dom ny reke V men, or the Len take me to the the Hoher than the siden ght while they are krard, which finger att upon the ear to safirmed rchase, and whick, when they Who wouldnt Hae to have toch i rolce nu that or one even remotely rerembling the Heal? And there boro been mucha rolces. We bare the testimony of HOME *BO wrote bet khu pathe Hunter der Retrate de merend her On the other hand, TROLNE Sxrra ha de 04 04 the perfbed the role of one of his unpleurent cbar om scer than Omah rekend, the IMET that extraty app Yog, u taler way ban your choice of either bed of roket. If you runt to have the ·THE VOICE OF THE SPEAKER The plans and exercises offered have been tried out in years of experimentation and use. They will bring results. How much toill you get out of it? That all depends on you Give it three to five minutes at a time, three * li u marth Art. times a day, for six weeks, and you will feel lag, & laut the difference. Keep on for six weeks more, and your associates will note the difference too Keep it up for a year and you will have good volce habits firmly fixed And voice habits are important. Most of us use our voices almost constantly during our making hours. Even talking in the sleep is not uncotamon Our habitual tonos, inflections accents are tremendoubly important, for they go far in helping other people to sito us up Observe what emphasis has been put upon voice by keen writers and talkers, ancient and modern It w28 CHARLES LANB Who wrote How often the speil of beauty a broken by cut loud thral Irofton to Irre mulhs dream u mlade **Iming women shows soft, alrery renee render her poolileety attracttre! In the mid efrelo bo pomot it to kno u kome set in the low dry which Jarom chtrise the true led! I like Y* ery of the home how such a roke smrikes the freeful child and cheers the weary husband!

·3 THIYOICE OF THE SPIAKER And CBALLS DICKENS describing Nr Moho Botraderts the loud epealdas riccostal man Lotha pictured in Hand Tina completa hl picture Het prith these prorde abont the Borderby Tolce ibu pay triptor Who to the ty o wy In contrast are the words of BENT GLE Areer to the deep, strong rotce of man, at the Low, Maret roker fler than th bal motor fonder pro sicher than the riches maak, which ar a de Hplus belle chry or brord chki bo por el the min / chart, which are there Le to, come her backwy Who wouldn't Ilk, to hare nach volce us that, or one eren remotely revernbildg the Ideal? And there have been much yolcou. V bave the tartimony of Hoxe who wroto Ar buket se pot where rek, the wat by www On the other hand, THORNE SUTH has de OH 04 The bed the roke of one of his unpleasat cher w acter this of the race with her.fr le dry the You, un taller may hare your tholto of ether Had of rodce. If you put to have the ·THE VOICE OF THE SPEAKER The plans and exercises offered have been tried out in years of erperimentation and use, They will bring results How much will you got out of it That all depends on you. Give it three to five minutes at a time, threo *It is worth try times a day for six weeks, and you will feel is a leal the difference Keep on for six weeks more, and your associates will gote the difference too Keep It op for a year and you will have good volce habits firmly fixed. And voice habits are important. Most of us use our voices almost constantly during our waking hours. Even talking in the sleep lo not uncommon Our habitual tones, inflections, Recents are tremendously important, for they go far in helping other people to give us up Observe what emphasis has been put upon roice by keen writers and talkers ancient and modern. It was CHARLES LAMB who wrote now often the smell of berwty to broken by co loud selklap! I often rere Irrr Antilly dron to plain, anonim whows soft sileery tones render her poeltirely Arthr! In the work arck, kaw Na MRI 4 lele her a tok ix the low dry wilk drockereierlu ke fra hey! In the ench ay of the home how such a rolce soothes the fretful chaud ckrets the roy husband ·CHAPTER ONE You And Your Voice A Ny recte ruk riau roke, det with a plecat me Ivan Guna) So you want to have a good speaking solce? You can have It provided your "Tant" is trong enough. Wahing for a better rolce will help you to have a better rolce, because the wishing will remind you that there is room for improvement, and it will make you keep on trying It abould require no argument to contipce [// you that you cannot hope to produce the most per effective results in peech anlou you know how to me your voice. You should readily realize that a rood, controlled role an awet in every contact with others. Erery normal person bas the materials for rood volce. All ho need to do is to une hla natural endowmenta The chances are a thousand to one that your rocal appertus ll right, and that with proper me, It will give you pleading renults. It den pends on tro Items First, for rolee Improvement, yox mut kare a plan, method.

·10
THE VOICE OF THE SPEAKER
sort of voice which wins favorable attention
by ita clarity its resonance, Its friendly qual
ity you can do so bat it takes effort. The
other yolce the one which makes people wish
that they could slap it, comes without con
scious endeavor on your part
Wo may put it this way as a generalization
* up to you, If you choose to have a good voice and work
frer at
to that end yoar voice will be good. If you
make no conscious choice, or if you let your
choice die with morely wishing you will have
& poorer voice than you are entitled to and
you may even havo one which is offensive and
repulsive
The quality of your voice, in a word, depends
on you.

·13 THE YOICE OF THE SPEAKER U on are pot slot to make the effort to follor the directions, you may lost u well not ro on in this course. It will do you do good merely to read these paper Benefits will come only if you hrst read and then act Pleur understand that there is no promise that a perfett" or "Tinished the rolet will be protond the result of following the plan outlined in this course. You can be urared that stermale stody and practice of the exercises 10 result in distinct Improvement of the tolce, but ml raculous, overnight perfection must not be ex pected. It takes time to overcome bad babits which bare erfrted for any, and to develop Den techniques to the point of operating with out coordou etfort You will bare achieved reralta vben rood voler production has become habitual with you. At the beginning limit your rolce practice period u to time, Flad keren fire-minute Internal throughout the day when you an giro attention to the exerciser. Sum better concestrete eseny day v tome special Stem which can be included in every rentenct you peal lo ordinary conseruatlon Tule the exercises softly specially at first Today Do not rok in muscolar foreldg. nor LNT de triptas of the roal mechualam. Mala the trintag senjoyable proces, stimulatog ud Leprint ·12 THE VOICE OF THE SPEAKER Second, you must hair a determination which will make you work the plan, and keep on working it unti} you develop the Wad of volce which will make it a pleasure to hear you talk It is not enough that you understand the * Alan WA vocal organs and how to use them they must be trelned by exercise and use so that their Action is retomatic waconscious, spontaneous in producing your best volce. You must be patient and persistent. You muat follory tho exercises outlined for your training devoting time to them cpery day You must watch your speech constantly, directing your volco to do as you tell it, and the action becomos 80 habitual that it occurs without vollHos dlae te dot. THE METHOD IS NOT DIFFICULT Fortunately the exercises necessary to prodace a good speaking rolee aro amplo and easily performed, requiring very little special equipment Many of these exercipes an be used while sitting at your desk, Talking about at your work, or even walle lying to bed. Most of the voice estrciees are good for your Fell-being condadive to good health, and eren atimulating to your mind. These by products are your atru dividends which doubly ropas you for your offorts ·THIYOICE OF THI SPEAKER If you are not ming to make the effort to tobom the directions, you may just as well not o on in this courte. It will do you do good Drets to read these pages. Benefits will come only if you first read and then act Please understand that there is no promise Forucho that a perfect OT & "flatsbed" rolce 11 be tramaled the result of folosing the plan outlined in this course. You can be usured that systematic stady and practice of the exercises will remit in distinct improvement of the role but ml raculous, orernight perfection must not be es pected. It takes time to overcome bud habita which hare existed for rears, and to develop Den technique to the point of operating with out conselous effort. You will have achieved repults oben good roleo production hou become babitual with you. At the belonins Dmit your rolce practice period u to time Find se fire-minute interrel throughout the day when you can use attention to the tereldes, Still better concen. trate every day un one special Item which an be included in erury sentence you speak in ordloary contention. Tutors Take the exercir roftly apecially at first Do not rust Any muscular forcing nor any Atralains of the roal mechani. Blake the training in anfoyable procete, stimulating und inspirios ·14 THE VOICE OF THL SPEAKIR DEVELOP SPEECH CONSCIOUSNESS Become speech conscious so that you will watch yourself and at the same time obserre Menou coicet sane carefully the optoch habits of others Listen for ome Merye Is he plcasant voices and study them tally about your rolce? "The voice is a natural reporter of the minil and body * Just as the impression which a speaker mahes upon his audience is conditioned on his ability to put into plesning vocal form that which ho wlahes to my so his impression upon customers employer employee, business associate or neighbor depends to a large extent on the tono and inflection of his voice. It is not enough for your voice to be able to utter the trorda. The idea is gained from the sound. Dally experience will provo to you that the meaning of conversation is gathered from the tone of voice quito as much as from the words spoken The same words or combinations of words may be spoken with different inflec topt to reflect totally different meanings. The properly used voice gives the apcaker an ad vantago whenever he speaks. MAKE A RECORDING Right at the start, make a recording of your * Put your rolce voice you may have a recorder in your home or a Sound Serber or a Dictaphono at the of fice. Ure it to record a short speech given in Four soters) way of spealing Sare the record mit record ·13 THL VOICE OF THE SPEAKER for fatare relater. Even if you here to pay someone to make the recording, it is worth doddy lou should nor bor your voice povodo. Then you will looy what It peeds Even though you annot con relently make Litou a rolce recording, you may get a farly good Otheh idea of how you found by listening to your Own rolce. Place your hands jest to front of your aans, with finger atended, but beld close to rother Lat the hands form definite berrier -wrigh If you pleased front of the eart or proceed to talk in your ordinary tone This more you better conception of the rouad of your rolee. Inatud of your handa use largo theets of cardboard, perhaps a foot quaru. This wil giro e in better toleo pic ture. It wt belp you to start at once to correct pomo taula "Your Yoke bother an optlet for, or bar rher 10 year theaghla." YOUR VOICE AND YOUR HEALTH To the practiced ar the roles is an indes The total to the boddy condition of the pealer Only u het watty Phen the body la healthy to the rolar la really V tot rood condition. When the bumpen structura deteriorate, the quality of the voice reflecta the value Everyone understands that when one atches cold, rolco trouble route. Bat Dot mo tonally ilt understood that theme fatigue, TOTT ·16 THE VOICE OF THE SPEAKER nervousness, stomach disorders and almost all human allments have similar effects your hand When one encounters a poor tone or a flat, * Reres « big dead speaking volce It is a common indication kon-4 pharyal Ya of some obstruction in the nasopharynx or slous Aert one cavities. (The nasopharynx is the upper part of the pharynx, continuous with the nasal pas sages The sinus cavities are tho various CAVI ties in the cranial structure which contain air and which are if in good condition in com munication with the nostrils ) Adenoids out of order palato not as it should be, teeth in need of attention any sort of naval obstruction or disorder can make the voice worte instead of better But aside from these local conditions the goneral condition of bodily and mental health definitely affects the voice. That is why space is devoted in later chapters of this book to erercises intended to build up the body Pluscular and mental relaxation are helpful The strengthening of the muscles involved in deop breathing contributes to better circulation bet ter posture, better digestion and assimilation of food. Thus, the practice of right breathing should help the reneral health and in turn the better the general health condition, the more faror able are the prospects for good rolce production ·CHAPTER TWO The Friendly Voice Tort we bado o checter was the -TAXOID A primary requirement for good rolco lo the quality of friendness Too many rolcu ar xet on a banh, scoldtag. unfrleadly ach a rolce repel, even when the speaker lobes to attract (Could your rolce be one of that Hadt Listen to yourrell, and find oat) The friendly quality of the voice Lovery largely a matter of babit so is the untrendly one. It reflects a date of mind a spiritual quality To develop trendihen requires metal control und diedpHne. To produce the golal cheertal gradow tone in which you would co to fpeak moty require a drastic worlas Over of your ry of thinking and your attitude toward people and things in storil 1t you have fallen Into the habit of scolding. marlint Implant speech, you here to male . dettalte ettort to break the bubit and to tabetitute the new one of speldag moothly pleanntly attractirely ·13 THE YOICE OF THE SPEAKER THE METHOD 1 First cultivate the habit of thinking in . friendly way about people. Thore are some whom you dislike perhaps Er Hox with good cause. Yhen you think of them your dd: "Inco of loway Tour Instinctive mental attitude is, I dont like cules, Ired that person or it may be How I hate that Jou niendo Wide better fellow! If you speak to someone toward whom you have that feeling you are almost certain to opeak unpleasantly But if you think the hatc ful thought about him while talking to someone else, you may marl at your best friend. It is better to get rid of the unfriendly thought, even toward the one who has wronged you. Don t let him spoil the quality of your voice. Second when you speak to anyone make it a point to put the friendly note into that you say Cultivate "the voice with a smile. This does not mean that you are to appronch * Ya ca be everyone with a grin on your face or with perlons aicheas silly trivial, or even witty words. You can be bela cru as serlous as the occasion demands, but in every speech, horrever weighty and serious it may be, you can hold the attitude of good will excluding tho hateful, antagonistic, fault finding irri table undercorrents which introduce the nega tire qualities into your thinking and speaking ·THIYOICE OF THE SPEAKER The Moly here? TRY THIS Speak loud the words that are you doing here You an make theta words Lodlate 1, extremne announce u when you find the mall boy playing on your next planted lemn 2 Interest, when you meet an old friend 1o stroge plece & pleasure and gratification, u when you dlucoser an unexpected visitor in the adience which you are to addres. You can express mans chades of meaning just by the tone you are in apaallag theta five words. The chances are that you will get on botter pen with the trapsalos mul boy if you keep the marl out of your rolet Obsery your dog when you speak to him. He a laterpret your mood by your tooe, whether be understand the words or not. Then you may to him "Come hero he may come with bond and tall drooping luctant to approach you. or be may come bounding and fall of cathwal un, slad to kt rou become your rolce hus a relcoming tone. Even your smull rom or daughterſ or husband may be sensitive u tho dos ha to your mood, reflected in your rolce.

·20 THE VOICE OF THE SPEAKER *The speaker Meno GOOD SALESMANSHIP One of the first rules of salesmanship is win your prospect. You can t do this by la sulting him, or scoldlag him, or showing that you think him a fool The same rulo holds for the speaker Get these almple principles into your mind 1 Try to win favor through & friendly approach. 2. Practice the spirit of friendlness overy day 3. Think friendly thoughts about people, even those you disilke. 4. Every time you start to speak, remind yourself of the friendly approach which wins good will 5 Suppress the tendency to scold or find fault unpleasantly 6 Put a friendly thought, & cheerful trord a note of commendation into overy speech 7 A frendly suggestion usually brings better results than a harsh dictntorial order even when you speak to one in subordinate position. If you speak to someone in & tone which muggests that he is "dirt under your feet," don t be surprised If he does you dirt" ·CHAPTER THREE The Relaxed Voice The pola che po en re mere he these ex cerrectly whale ord icerrectly to be one w R E PATID Kurt Relaxation is good for people in these days of tren and train. For the malo of your general health, you need tant res to take time occasionally during the day to rew Luber lams las both in muscles and in mind. The sanitar lors and hospitals are croorded with people who never learned to rolar Tako a rubber band, for emple, or a steel prog Put It oder tension. Stretch it, and louve it for a long period of time, alunya strained, never reared. Come back to it after months und obert that it has deteriorated, not from the strain pat apon it, but because It MU BETE permitted to let go That ume rubber band, if kept in one which auses It to be stretched and relaxed at tro quent intervals will last for youn us good, liro rubber The tire on your automobilo w mrvo far longer in dally use than if left in Honge Tho dally pounding of the parement gives the rubber the Deeded article, the alternating strain ·22 THE VOICE OF THE SPEAKER and relaxation which will prolong its life. Take a lesson from the rubber Learn to relax after tension Tightness of the vocal organs is responsblo for much unpleasant tone quality You must loosen up Your voice your face, your whole being will be helped by relaxation It is the alternating tension and release which stimulates circula tion, bunds muscular tissue, and lnduces ease and flexibility THE PROBLEM your roce. Diany people talk "In the throat" The Dom i arapla chances are that you do this unless you have had instruction in use of the volce By talldog "In the throat," we mean holding the tone too far back. The throat and jaw muscles are tense. The result is a harsh, squeezed rolce. You can t produce a fine resonant, pleasing tone when your throst muscles are pinchech tense, stralned. Tight muscles, plus lack of proper breath support (which is discusred in the next study) will give thin tone, nasal, high pitched lack ing in resonance and generNy disagrecable. The tightness of the throat may be the repult of nervousness in the case of the public speak er In ordinary conversation, it is a result of Ignorance or careleseneer, of misunderstanding ·13 THE YOICE OF THE SPEAKER box to use the rolce, or direid of the lone portanto of using the mict well. Studs your on are to discover whether your poor rodee quality aused by der100+ bers, goorubce, or arelessness. Or wbare to start Then you THE SOLUTION Relaxation goes with correct breathing It docol to decide which ihoald be taken Irrt. Relaution is so important in clement that we are it priority adriang you to keep thero morresthom mind for use wben we come to the chapter on breathing As with trendlines, tendens to larrely * 10 state of mind. You must learn to think of ra lanation, adne at tensions, orth while you practice the exercise to induce it HOW TO RELAX YOUR MUSCLES Before concentrating on the easing of the local appuntos, try a guveral bodily rolow tlon. It will be good for you. Varg poy felads are obtaining benetical romit for their patients by terchlag them how to relar. 1o an follow this procription with Luurance that it at least do you do harm If you back aperience in relaxation, start with an our one ·24 THE VOICE OFTHE SPEAKIA Sit down in a chair and let your arms hang down loosely Try to remove every suggestion of control or movement. Let every muscle, down to the tips of the fingers, go completely loose. "Devitalized is the word for it You may find even this simple exercise hard to perform, but you can do it When you have accomplished devitalization of the arms, let the upper part of your body slump By conscious effort, remove every muscalar control Having held the relaxed position for half a minute or more, map back into control tense the muscles vitalize the sinews. Repeat this alternate relaxation and tensing Beveral times, Sumulating ion t It? Now He down on the floor or on some other * Forget to firm surface. Lie flat on your back with arms dernity They down at the sides. eterise 10 wote you feel od nier Start the relaxing process with your tocs and feet. Try to devitalize these mobles just As you did those in your hands and arms. Then move up to the lege. This 18 not easy You will need to try It many times Then go to work on the torso Get the shoulders and arma loosened or Let your head roll loosely Remore, so far as you can every conscious muscular movement. Just breathe ·THE VOICI OR THE SPEAKER 25 You will need a good deal of praction on this Do not be discounced if the cascle tighter op lo spite of you. Just keep on trying Get at lett a part of them to relax at the Ame time Bring u mny u pomalbla lato eusement at ODC. Ermit your relaxation is induced only La metions of the body it belp. HOW TO RELAX YOUR VOICE APPARATUS Eltber Fardior or stor comfortably place your bands lightly on your throat muscles while speaking us turual Note tho tam repers at the morele unless you an already leurbed relation. Obwerte the muscle of the ja Pretty Light, and they? TOT I spenatrety Open the mouth Tam w wide Noter mlad your munderkake a big Ndrek are and Onish ft with an am "Hoana Lrfor the Prolong that Moto--to Drop the jar - Le Cnt fur uit 1 ro without stren. Tackle the inom by jaw from side to alde. Keep on bumming with intero Lps closed and jaw loose Repat the Jawalng and the humains lote bot the throat oncles become loosened and rulared. See hor comfortable your throat feels, with the straty tooted Betalning the mind loovenes induced by the pan, met a pomber of words hich Involve the opeo rores uod the Hould conso Dugte Uke much word u lang kami kane ·24 THE VOICE OF THE SPEAKER Sit down in a chair and let your arms hang down loosoly Try to remove every suggestion of control or movement. Let every muscle down to the tips of the flagers, go completely loose. Devitalized Is the word for it. You may find even this simple exercise hard to perform but you can do it. When you have accomplished devitalization of the arms let the upper part of your body slump By conscious effort, remove every muscular control Having held the relaxed position for hall a minute or more snap back into control tenso the muscles vitalize the sincwa. Repeat this alternate relaxation and tensing several times. Stimulating isn t It? Now le down on the floor or on some other * Forget TMT firm surface. Lie flat on your back, with arms dimiry They down at the sides. cerita in make you feel mood dl orer Start the relaxing process with your toes and feat. Try to devitalize these muscles just as you did those in your hands and arms Then move up to the legs. This is not easy You will need to try it many times, Then go to work on the torso Get the shoulders and arms loosened up Let your head roll loosely Remore, so far as you can erery conxloo: mascular morement. Just breathe.

·THI YOICI OTTHI SPEAKER 27 Eren I you ant hum a tune you can say "hum-ro-m" und get the daired effect. If you au sos conch to hum . simple tuos, ko mteh the better Practico huming at eros opportunity Estry Hose you hun, make more that the mous cles of throat and jm are at aure. Une Home or all of these extrdes erery day taldar a tak mngtas at a time, several times das After a few week, you will see the dherence. So will your friends. Your role - tate OD ROY resonance and color REHEARSAL CHART 1 Rua umu kod upper part of the body Ezeram for 2 Relar enture body tying down, if posible. prut we way 3. Practice ymalat, fiabbing with a barm-t. or karo + Speak worde, sach so kome hart hom, love love loon, Del. Empbake the "" "Troapte, od prolong the mal con Rodit. 5. To, cod mopot rah, MT are no, no Sing them more foce & Ium, whool the preliminary fira. Han • tuot, if you mea. Eep throat and Inw poroken retard ( more the thre minala u time on hree eurites) ·26 THE VOICE OF THE SPEAKER maim lone loom Open the mouth wide, dropping the jaw loosely Exaggerate lip and JAT movements. Prolong the final consonant with humming when the throat becomes tired, stop and yam again Knead tho throat muscles with the fingers, to make sure that there is no tightness there. All this may sound Uke a rather strenuous exercise. It may bother you at first, but keep at it several times every day three minutes at a time, and softly and you will soon find It enjoyable, restfal, easy to perform Now you are ready for another step As you take it, remember that relaxation is the thing you must keep always in mind Repeat in . load, wide-open monotono the syllables nah nay nee no noo Slag these on a single tone, if you can sing Drop tho far Relax the throat Prolong the sound of each syllable Don t olmply my "nah nay nee-no- 100 Take your time. Say "na-2-4-0-2h." and give equal length to each syllable. If you speak these syllables properly you will find now volume and resonance in your tones. Now try the humming without the prelim Ipary yawn Close the lips loorely and drop the jaw as far as it will go without opening the lips, and without stress. Then hum A good way is to say 'hum mmmm* prolong ing the sound as much as you can . Put se charity 6 mutwe You par Warer than To think ·CHAPTER FOUR Controlled Breathing (A) Han hadharad tria bepret L mért. Yes, Datch he w her your site orer cher - ESHO Fax You must breathe in order to live! How do you breathol Stordy yourself and find out. Unler you have bud volco lessons, or tood athletic training, the chances are that your breathing It shallow mladirected, and belag lo control Correct breathing is the foundation of pood solee, and it sopt of the fundamentale af renwaam met eral food bealth. You must not deflect it 6. bu dury Bean mo many adults brethe Incorrectly hu By role in Ostafactory I you want hou Her med two your own voice to be us food u It can be learn kord to breathe est TREATHE NATURALLY Natural breathing it correct breathins When you met baby you breathed Datural As you grew up, you forgot bor Clothing Dorture, and other externals Intertered Bad habits doneloped so that you mort Dor learn eorur ngalo.

·THE VOICE OF THE SPEAKER on this AN EXPERIMENT you are fpclined to question the importance of voice, make a test for yourself When you are in a group of loud-speaking * Tronto! l0 poiss talkers, suppose someone enters whose donide the voice is soft, well modulated, clcar Suppose conter medou, kry thu. Il do this person enter into the conversation, work, but her speaking well-chosen words in a voice which is easily heard, not because of its volume and force, but because of its quality and the son.se of polse and authority which always accom panles good speech As a rule, others stop their noise to listen to the good volce. Because they cannot hear without listening and because what they hear is worth hearing they listen even though the speaker does not raise his voice abovo ordinary conversational pitch. If you want to be heard and appreciatod by intelligent people use your best volce in the best way to speak words that deserve a hear ing You may be the one who can command atten tion in the midst of a noisy group It will give you a new sense of power when others becomo quiet in order to hear you This is the way to test yourself Set it down as a basic principle that good voice tell used and controlled is a mark of the cultured person.

·11 THTYPICE OF THE SPEAKER In order to protest mlanderstanding het daar op a few facts about breathing la sederal, so that you De Dot be mlsled There are three methods or type of breath tar, ach of them good ba ito plact, or rather an of the food when used together if you pestoit pourrell to esploy any and independ ently of the others, your breathlas ulmperfect and Incomplete Tho thret methods of breathing are close alar abdominal and costal Ther are named by the bodily relate thich they affect Clasfeular or "collarbone" breathinx is thal for affecting the apper part of the chest. lubre Abdominal breathing imples special emphers ter op the action of the lower mureles of the body Leverhenght Because this is fondamental to atisfactory use of the other two, we ahall proceed to are the utra emphasis to it in the inxtructions which follow The fortal method of breathing to ters Inportant becaure, through the expansion of the ribs, there is produced the treatest Hung capacity for Inflation und, whDe the ribs an erpanding the diaphragm descends and the caricles ar lightly raised At the harde toe the abdominal muscles ut brought into play an effect bleh bledas to the shellor ret piration of the chartcalar wethod. By proper dare oppeat of dlaphragmatic ·10 THE YOICE OF THE SPEAKER 1 Probably you are a bhallot breather collarbone breather " I so it is because you anconsciously changed from the deep breath ing of babyhood to the bad habits which not beset you So far as breathing is concerned, you should now return to infancy Watch the baby as he lles asleep flat on his Har duce back. Observe how his abdominal muscles come cooth, into play as he breathes If he starts crying Errs to 40 and youcks you get an extra exhlbition of deep breathing Badia kuor the truth No doubt there was a time when your breath -Swinburne lng was like that-deep satisfying automatic. But do not be discouraged You can train your sell to a new and more intelligent habit of deep breathing you haven t a baby et hand watch the family dog or at, lylog asleep before the fire See how completely the entire body is relaxed It would be a good thing for you to learn the animals secret of relaxation But note especially how the noimal breather The abdominal muscles work at every breath. The muscular movement is almost all belon the ribs You should try to breathe like a dog' BREATHE COMPLETELY Blach will be sold on these pages about deen breathing ·33 THE VOICE OF THE SPIAKI m up with air bet put your attention on the abdominal muscles) Inbal to fall apacts In the bo the ris and then exhalt u thoroughly at poudble. Then try counting u you inhale, and again u yon extual. Begin by counting four worly as you inhak, and four u yog athal Ralre the count to ar, and then to elght. This will give you ali idea of what pinal, controlled, correct breathing hoold be. Second Stand erect, with back hat agaimat the wall Set your beala erunt the bareboard, and touch the mall with every part of the body that can be reached without straining Now Inbul deeply was the um abdomoal muscles which were brought into action when you were Lytor on the Door Do not mine the chest any more than I aured by the posturt. Inbale and hale, maldas thcore lower marches strat pour belt u mery Inhalation Th how stand art from the mall, body crect, chla deprened, hands loosely at the sida, apd Intake and ashaka unain, keeping up the amo Action us when bring dort, or when standing apainat the wall. This is the way you would brathe otantly and normally be the habit become and Forrth Etst op barre boot, or other contenitat ·THE VOICE OF TRI SPEAKER action, in the abdominal breathing the babit of deep and thorough breathing is formed, and on this as a foundation the costal breathing habit follows at a natural consequence Your primary task, for the sake of your health as well as of your voice, is to form the habit of deep breathing so that no conscious thought is required to maintain it TO GET THE IDEA CT Learning to breathe without a teacher * Experimco lo merely by reading about it, is a process which food larch presents some difficulties. The first thing for Try Uch thing for you you to do is to try to get an understanding of dl d you just what is involved. For this, it is necessary Katil begin to undertad that you rolax let go of ordinary convention alities, and learn how it fecis to breathe right. Once you have done this, you will entor upon the series of exercises intended to develop cor rect breathing as a habit. cory malets it's First Lic flat on your back, on a firm surface This should be The floor is best, but a bed with a hard mat tress will answer tho purpose harikood floor As you lie there, relaxed and at canc, Inhale deeply Obrerve that the abdomen is lifted as the diaphragm functions. Inhalo and exhale several times to establlah this motion Keep the chest quiet. Locate all motion below your belt (Of course your chest will strell as you ·THIYOICE OF THE SPEAKER The meet muscle which is directly responwłble u the diaphraga Tithont setting into technicallties, let us a poy y say that the dlaphrapa ta large and powerfu? herhangscle which reparate the tborar (upper the is mana tarity of the body) from the lortt (abdom- Imal) portlan. Men at reet, the dlaphragm resembles an overted basin. It is attached to the inner ralls of the body at about the level of the Loorer riby. When it contracts, or tattoo out, u in the set of labeling, er is druge into the lung, and the marcila of the lower part of the torno are espanded and hardened. This why we paal of "pressure on the belt, and of exercising the abdominal muscles. Bar in mind that the torma abdominal breath log" is and emplo for contenlerce or as a meat for catering the reader . attention. While we know that al proper breathing con trolled by the dlaphraga e realize that uction of the muscles of the abdominal region creat ed when the diaphragm rorla freely It Is eter for many stadents to think in terms of these rubble and tangible tucket, and to esti mate the quality of the breathing by the strain on the belt thus by physiological exctor of phrasolow You need not go deeply into the study of the mechanla of breathing anless you wia to do to. It is enough to Kdor that when you in ·THE VOICE OF THE SPEAKER TOUT old object with a weight of 10 pounds or so. An * A new use for unabridged dictionary is about right. Llo down dictionary on your back again, and place this book on yourself, locating it just beloty the ribe. Bal ance the weight, and then Ilft it by inhaling This gives you the sense of resistance to be worked against as yon inhale and exhale, ufting and lowering the weight Begin cautiously with this task. Don t let it tire you. The muscles must get used to it before you can carry it on for long These four experiments in posture have introduced you to what may be a new conception of deep breathing and how to acquire it. These are included in the 'Rehearsal Chart" at the end of this chapter It will bo nocessary for you to spend much time with them auttle at each timo — to tralo your muscles to function unconsciously It is that unconscious function ing in the right manner which constitutes tho habit of correct breathing so essential to good voico production. FURTHER MUSCULAR TRAINING An important part of the process of develop- Ing breath control is the strengthening of the muscles which are concerned in breathing ·35 THE YOICE OF THE SPEAKER The great murcle which is directly respon white is the diaphragm. Without getting into technicalities, bet us to us that the diaphragm in a large and powerful Wherehen die maache which soparata tho thorar (upper mewurde erity of the body) from the lower (abdom Inal) portion. When at rest, the diaphragm resembles w Inverted barn. It attached to the foder Fulls of the bods at about the level of the lower ribu. When it contracta, or flattens out, u in the act of Inhaling, ar is drawn into the lume, and the muscles of the lower part of the torno me apanded and hardened. This is why we speak of "presurt on the belt and of cerdoing the abdominal muxler Baar in mind that the term "abdominal breathtop" b ased dmply for conrealence, or usa means for centering the reader attention While we know that all proper breathing is con trolled by the dlaphragm, we reallze that action of the muscles of the abdominal region i creat ed when the diaphragon wortos freely It Is ader for many students to think in terms of these stell and tarble mascles, and to all mto the qmlity of the breathing by the rain on the belt than by physiological enctness of phruseatos You need not go deeply into the study of the mechania of breathing unlero risk to do It is enough to know that when you ar ·J 6 THE VOICE OF THE SPEAKER U My Tow breathing right, using "deop" breathing or controlled breathing your middle section is much involved and the muscles below the ribs are kept very active. We proceed now with four postures or exer *Theu amcises cises which are designed to tone up the dla diulad on phragm and other muscles so as to lay the che one you foundation for your habit of unconscious, in spend on the stinctive deep breathing First Lie flat on your back, as before. Now open your mouth and pant like a dog You can't really pant" without inducing vigorous action of the dlaphragi.. Entertain yourself by watching the rise and fall of the abdominal muscles as you pant. Second Stand up with back against the wall and repeat the panting exerciso. With chin depressed so as to touch the chost, pant as though you had just finished a long run Pant slowly then fast. Don t let your chest have much of a part in the breathing Third Down on your back again, repeat the pant ing Then without inhaling repeat the muscu lar movement just as in the actual panting It may be difficult at first, but keep on trying and soon you will get the action estabilhed.

·17 THE VOICE OF THE SPEAKER Theo stand up and repeat the exercise with your back against the mall Fourth Standlas or ling down, 28 may be corrett In V lent, try hardening the abdominal mascles te without the axe of breath. Tens the marche fiksu HOT Then begla tapplag ist with the fingertips, then with the palms of the hands, and finally with clouched to Be rary gentle at first, but Bradaally increuse the force. After a condderuable tice, perbapa mereral Teaks, the muscles of the abdomen w become o mell toned up, to trto, that you can strike yourself amidships with full farto without the Ughtest Icon senience, Tous practice u recommended u an aid to better breathing by increasing the muscular strength where it is beeded. In adation, it is good for the general bealth. Whatorer tones op those big muscles of the Intercostal und ab. dominal regions contulbute to better beuth w rel o to better breathing EXTRA DIVIDENDS If you are in amest about maldns. thorough work of ! you buy wish to toelade Home other body-balding cardsen. Especally 1 you hmo tendency to develop too much Hirth round the tolddle, you will gain by fol loring the pat krie ·THE VOICE OF THE SPEAKER breathing right, using 'deep" breathing or "controlled' breathing your middle section is much involved, and the muscles below the ríos are kept very active We proceed noty with four postures or exer *These acrises cises which are designed to tone up the dia UT inidads on phragm and other muscles, 80 as to lay the the time you foundation for your habit of unconscious, in spond on the stinctive deep breathing First Lle flat on your back, as before. Now open your mouth and pant like a dog You can't really 'pant" without inducing vigorous action of the diaphragm. Entertain yourself by watch ing the rise and fall of the abdominal muscles as you pant. Second Stand up with back against the wall and repeat the panting exercise. With chia de pressed so as to touch the chest, pant as though you had just finished a long run Pant slowly then fast. Don t let your chest have much of a part in the breathing Third Down on your back agalo repeat the pant log Then without inhellog repeat the muscu lar movergent just as in the actual panting It may be difficult at first, but keep on trying and soon you will get the action establlohed.

·THE VOICE OF THE SPEAKER Males I shood orches, berp your mind on the door Det er or care of elec De man met wat leerde, frumouky med, of liter des prograd Ley THE RULLFIER Here is one more cerclx, or ntber e por ture, which may help to dre you a better ida of bow deep controlled bra thing work. It is not offernd us an exercise for frequent tre, but 11 Fogested us a poster to be usnimed ocesslonally to help you get the feeling” It gires you the full effect of "corter breathing, men tloned on peso SL Stand comfortably crect Bend the elbort slightly just compte to get them **2y from your body Draw in your abdomen, zod a pand your lover rlos - all this without inhal tar Try to think of your rb structora us the frume of an mbrella which you are startis to rule. Now Inhale deeply rt stretching the loro munca, u though you were druring the breath dear down Lato your stomach, od then fins the upper spects, that the cheat L fally expanded This will make you feel big strong adoled with the loosiming at you here takto lo. It ·THE VOICE OF THE SPEAKER * Collect the durdad, on 9 mi Strengthening of the muscular stractures, which should result from these exercises, helps to keep you from expanding in the wrong places. Girth control is a by product of breath control. Fbrat Lie on your back, with arms loosely folded. Noty litt your head and shoulders from tho floor Don t strain. Don t try to dt op. Just lift the head a few inches, bringing the shoal ders up at the same time, and then relax, as the head goes back to the floor Up and down, up And down, until the middle muscles begin to protest. At first, hall a doren utta will uro you keep it up, and after a time you will carry the count up to fifty or more lifts without stopping or muffering Inconvenience. It is a wonderful muscle strengthener and also it is a good way to induce sleep It used after you go to bed. tha Second Lying on your back, place lega together + Slonely Hendi Straighten them out and hold them stift with toes pointed. Then lift both logo together to the truy to go real the perpendicular and let them dotin slowly Keep them straight, keer firm, toes pointed. Lift the less slowly but ateadly and let them down in the same manner This is a strepDous exercise. Tacklo it arofully so as not to stralt nor exhaust yourself

·Hi (pic of THI 51A 1
1. A cserbe the date
Dom w role that all
De rederick here where period and
Irry me, for better to burn Loy
THE RID-LIFTER
Here is one mort evertise, or rather a pod
tara, which may help to give you a better idea
of bore deop, controlled breathing works. It is
pot offered as an exercise for frequent an, but
I morrerted u posture to bo Apamad occa
alonally to help you "ret the feeling " It gres
you the fall offect of "costar breathing, men
tlaned on page 81.
Stand comfortably crect. Bend the elboni
Ughtly just enough to get them away from
your body Dram to your abdomen, and a
pend your lower ribs -- all this without Lahat
tag Try to think of your nb #tructure u the
frame of an ambratu which you are startlog
to rulee
Mot lahale deeply find stretching the lower
muscles, as though you were daaring the
broath clar doma into your stomach, and then
try the upper peces, po that the cbeat bo
to expanded
Tals « make you feel is strong atitled
with the hud og at you have taken in. It

·THE VOICE OF THE SPEAKER should help you to gain a better understanding of the general sensation of deep breathlag It is the type of breathing which should become habitual with you. PRACTICE You have now gone through a series of er Atta பா periences in posture and exercises. For imcirc, amery day beller ha provement, start using the suggested exercises, a lot of it all as outlined in the following “Rehearsal Chart." on the one Set up a time schedule, beginning gently and working up to more strenuous endeavor Some of the breathing exercises aan be used without any special time or arrangements School yourself to constant deep inhalation. While walking or working or seated at your desk, you can remember to inhale deeply with out in any way interfering with what you are doing when you begin to do this without hav ing to "romember you may be sure that your good breathing habits are taking root. REHEARSAL CHART 1 On the back, relax, then Inbulo deeply lifting the abdomen with the Inhalation and dopressing with chalation Commt as you fobale and again u you crhale Beglo with four coupts, slowly and increase the count to abs, eight, or more Try to catubill the of "rhythmic breathing. (One mnure) ACHO

·THE VOICE OF THE SPEAKER
2. Stand crech back painst the wall Lahale
nad obale to coppy - aborc, ar tuing
the abdominal morda and keeping chest
qalet. (One mile)
1. Sunderett, muy from ibo wall, body Tech,
cla deprensch, bende a akden Lahalo and
chalo deeply keeping up the atlon - ab
dominal Roklet (One Alone)
4 On the back, plece a large book or other
weight on the abdominal metion Lit and
leer by deep breathlog. Count, we in
No. I abon (On miaxle )
FOR VUSCULAR TRATING
1 Lle on the bech, open the mouth, and pant
Ilko dop (O minta)
2 Stond erect, Wib back against wall andre
peat the peating slowly then fest. (Oor
2. Lebt on the back od repeul realing. These
wthort Inbaltas, repeat the muscular
Bosept Repeat this nedre landing
(ONC mirate and 30 seconde.)
+ Deriven the abdominal marela Sthout
Die of breath Tenre the market. The Lath
flot with theertips, then with palm of
ladı, sod finally Ith clercbed flatt
Ondas Incrette forte (Om nante et
first. IXTIEK time once becom.
hardened.)

·THI YOICE OF THE SPIAKER should help you to gain a better understanding of the general sensation of deap breathlog It is the type of breathing which should bocomo habitual with you PRACTICE You have now gone through a series of er A bude ces periences in posture and exercises. For im cine cotty day U benter the moment provement, start using the suggested exercises lot of it as outlined in the following "Rehearsal Cherk." on the sea Set up & time schedule, begłoniog gently and working up to more strenuous endeavor Some of the breathing exercises can be ured without any special time or arrangements. School yourself to constant doep Inhalation While walldog or working or seated at your deak, you can remember to inhale deeply with out in any way Interfering with what you are dolag Yhen you begin to do this without hav lng to remember you may be sure that your pood breathing habits are taking root REHEARSAL CHART 1 On the back relax, ihon (nhulo deeply lifuog tho abdomen with the inhalation and deprewing with exhalation Coont as you Inhalo and agaio u you chule Begin with four coacık, slowly and increase the count io si, dght, or more. Try to rolablab the of "thrilmic breathing" (One minale) Heme ·CHARTER BYE Controlled Breathing (B) The new pewno nie w ter te werty rke mitten mo SC Honda te cile Breath control tu important u deep breathing The one fallort the other Good Tafce costa 100% with them, plus other things For food rodce production you need not bocown. "Yours Samson haring elgtt ar teti locber of chest expansion. In fact, you need not bother about cheat expendon at all. It wn como u Joo hra to use your dlaphragm but It does not an end la trell. The support Berded for & rood robe easy Datural breathlar waptrolled from the daphragm You ao fudge the correctness of your breath- Ink by watching your shouldert. If they bedre, an melard u rootobate, you are milodag the deep breathing doct. Shoulders quieti Lax e morelos utiret That's the nok. A mutter of Interest, you may fins to more that mortal breathing takes to from 110 to 160 cuble locha of ar Tba apdo la Increu by cree und practice, but it is ng dan

·No text on this page.

·43 THE YOICE OF THE SPEAKER thus far you an rady nor to go on with of forta to acquiro pttch and placement, attenle ton und enunciation, so thoroughly rental to rood speech. EXERCISES Before going on to the next stady lot ou review the exercises already gred, and add are more studies to better breathing Flerat Imaglar that your body in a holov rabber Amator al ball Think of a rubber ball which on be condpressed between the finger, As to squeeze opt all the alr When the pressure on the ball Is releed, it sustits causes the malla to spring apart, so that or is taken in to full apacity Try to got the mume affect on your well. Exhale every bit of alr Keep On ETEN after rog frel that the air le completely a peld Then, bed no more an be forced out het paturo take iti carta Oburte hor the ar rubus i Noto that the dlaphragm comes into play in spite of you. It takes a deep, fol inhalation to atlay your hunger for air Repeat this proces frequently bat not moro than three or four time at auch repetition. The 10 exercise you can tako thont tatutuptlog your mort Mod Exhake comfortably and then take booder ately muling breath, pot crundlot your apud ·THE VOICE OF THE SPEAKER not desirable to badd up excessive capacity * Yok logo What you need is plenty of air dependabiy need a bok -- must supplied and well distributed, so that impari ties are washed out and oxygen is provided in such quantities as will sustain Ufe at the best. Experimentation will show you that it is pos olble to take in the air needed to replenish that which has been exhaled in a very short space of time Indeed, the 150 cubic inches of air approximately can be inbaled in a fraction of a second if speed is required BREATH PRODUCES VOICE Deep controlled breathing is a necessity for good tono production Steady deep rhythmical respiration must become habitual There must be a column of air to support the tone. The depth and steadiness of this column will determine the depth and quality of the voice. Try to think of the diaphragm as the foundation on which this air column rests, and by which it is controlled as it comes up to meet the vocal organs. The air on expiration should be emitted through the mouth of tone is to be produced. It even a little is permitted to go through the nose, a nasal tone may resolt The exercises which are presented on the preceding pages have been planned to help you dovelop right breathing habits, together with relaxation If you have exercised idthfully ·THE YOICE OF THE SPIAKER thus far you are ready Dow to go on with ef forts to require pitch and placement, articula thor and counciation, so thoroughly esential to food speech EXERCISES Before roing on to the Dext study let u reriew the arrelses already stren, and add fire more studies in better breathing First Immagine that your body is a hollopp robber maka hall. ball. Think of a rubber ball which an be copt nu H prewed between the flagers, po u to squeeze out all the alr When the pressure on tbe ball 1 releared, its elustidity crue tbo mi to prinr apart, so that ur e taken in to fall apudty Try to got the ame effect on your mell Exchalo etery bit of alr Berp on, even after you feel that the air is completely ex pelled Then, when no mort an be forced out, ket patare tute its courte Obserro bow the air rahe tn. Noto that the dlaphrat comes into play in spite of you. It take a deep fun Inhalation to atlay your bongo for the Repeat this procen frequently but not more than three or four time at ach repetition. This is an aere you can take without interruptor Tour Tork Second Ethale comfortably uod then take a moder ately log brath, not trundior your apach ·THE VOICE OF THE SPEAKER #loud your broath - but mot for to long a dimo ty Hold the breath for 15 seconds, and then exhale quietly Repeat this frequently for sever al days. Then begin to lengthen the holding time. Hold it for 20 seconds, then for 80 and later on for 46 Presently you will be able to hold your breath for a full minuto without inconvenience. Go at it moderately increase con servatively and avoid strain It all helps to develop breath control through strengthening the diaphragm and related muscles. Third Standing erect, inhale with five short, quick gasps through the open mouth. You will observe that you cannot gasp" without using the diaphragm. Five gasps should fill you to capac ity first expanding the lower Hbs, and then filling the upper chest. Exhale each time in five quick gasps or pulls. After acquiring this skill, practice the gosping and puffing through the dose, with mouth closed Fourth Practico laughing with a big "ha ha hai" Mohahaha!" strongly emphasizing the 'ha!" Carry the "ha hal to complete exhalation and then inhale deeply and quickly Fifth Close your lips and laugh through the nonc, making no sound The diaphragm will get the exercise, whether you breathe through mouth ·47 TKE YOICE OF THE SPIAKI or post, bot Locking founder through the con il promote bette control WARNING Do not mate the mistake of thlalar that Dvi arred to wait t the long to fol apacity before w lay realdar leter let your loro become distended with too much wind when you are about to poat Keep the breathing eats mod corfortable. Control the breath metodowly by meros of secular and mental strength developed by the cordis, bat keep the breathing xo natan! and quiet te pallas thet It will be on obxerted by the audience Catch a quick, muy breath at natural peutes, and your worlded masela w do the rer Erpecany of you are oudne i wfcrophone, efther for radio speech or for an aoplying derier, be careful that your breathing potrds are cot take up by the mile and parallied to your life. Good breatharl Dolselmat, Or certy w Good petch is not "bratay It will pay yo to tregorize the fonds of Freepois Joseph Tala, the Freseb tragedino "Eres artist wholts hirrelfran out of breath Dorf mit to setoote ·THE VOICE OF THE SPEAKER * Il y orech -- not for to long time ty Hold the breath for 15 seconds, and then exhale quietly Repeat this frequently for sever al daya. Then begin to lengthen the holding time. Hold it for 20 seconds, then for 80 and later on for 46 Presently you will be able to hold your breath for a full minate without in convenience. Go at it moderately, Incrcaso con- Bervatively and avoid strain. It all belps to develop breath control through strengthening the diaphragin and related musclos. Third Standing erect, inhale with fino short, quick gasps through the open mouth You will ob serve that you cannot pasp" without using the diaphragm. Five gasps should fill you to capac Ity first expanding the lower ribs, and then tuing the upper chest. Echale each time in five quick gasps or puffa. After acquiring this skill practice the gasping and puffing through the nose, with mouth closed Fourth Practice laughing with a big "he ha ha!” * Mladende strongly emphasizing the "ha! Carry tho ho ha!" to completo exhalation, and thon inhole deeply and quickly Fifth Close your lips and laugh" through the nose, making no sound The diaphragm till get the exercise, whether you breathe through mouth ·THE VOICE OF THE SPLAKER or Doce, bat laughing soundlesly throach the Do promote better control WARNING Do not toate the mistake ot thtaling that Dhewe yaraland you must fill the loop to fall apacity before Too spauldag Norer let your lungs become als tended with too much wind when you are about to speak Keep the breathing eary and comfortable Control the bruth unconscoualy by means of macar und mental strength developed by the enerelmes, but keep the breathing so matar) and quiet bed speaking that it will be up obrerred by the audlenor Cateh « qulck, tuy breath at natural pauses, and your well-trained munces old do the rart Especially tf you are my microphone, dither for nudlo speech or for an emplttying device, be arutal that your breathing sounds aro dot taken up by the me and magaffled to your interen. Good breathing is talvelesa, or pearly mo. Good speech is not mbrothy It al pay you to menortro the words of Francols loseph Time, the Freneb inredler "Every urtist xbo keta bimreli run out of breath Is sothog won the mediocrt" ·THE VOICE OF THE SPEAKER lion your breath - but mot for too com as ty Hold the breath for 15 seconds, and then exhale quietly Repeat this frequently for soter al days. Then begin to lengthen the holding time. Hold it for 20 seconds then for 30 and later on, for 45 Presently you will be ablo to hold your breath for a full minute without in convenience. Go at it moderately Increase con vervatively, and avofd strain It all helps to dovelop breath control through strengthening the diaphragm and related muscles Third Standing erect, inhale with five short, quick gasps through the open mouth. You will ob. serve that you cannot “rasp" without using the diaphragm Five gasps should fill you to capac Ity Alrst expanding the lower ribs, and then mling the upper chest. Exhalo each time in five quick gasps or polfs. After acquiring this skill, practico the gasping and puffing through the nose, with mouth closed. Fourth Practice laughing with a big "ha ha ha!" + Ilear the hear strongly emphasizing the ha!" Carry the ha bal" to complete exhalation and then Inhalo deeply and quickly Fifth Clove your lips and "laugh throogh tho noc, meling no sound Tho diaphragm will get the aercise, whother you breatho through mouth ·THY VOICI OTTHI SPEAKER or now, but laughing yomdlely through the Dose Il promote better control WARNING Do not make the mistake ot thinking that Det er med you must to the lungs to full capacity before u Le pealding. Never let your longo become disterded with too much wind ben you are about to speak Keep the breathing ary and come fortable Control the breath ma consciously by means of muscular and mental strength developed by the exercises, but keep the breathing mo natural and quiet when speaking that it will be mobserved by tho audience. Catch a quick, easy breath at natural pause, and your well-tralnod mucha will do the rest Especially if you are using a microphone elther for madlo ppeech or for an amplifying derier, be careful that your breathing sounds aro not taken up by tho mke und mgailed to your listenen. Good breathing I bolxeles, orary ro. Good petch u Dot breathy It w pay you to mentor to the words of Frocou Joseph Talms, the Preach tragedian "Every artist bo lets hoorelt run out of breath nothing more than mediocre."

·THE VOICE OF THE SPEAKER REHEARSAL CHART 1 Sguezzo all the air out of your body, u out of a hollow rabbe ball. Let the air rah In to fill the vacancy 2 Exhale comfortably, and then inhalo mod. Alloys keep crately Hold the breath for 15 seconde, comfortable Kalle you or and then ahalo quietly After this becomes crerclans easy, longthen tho holding umo to 20 sec Dont work 1oo lord or too onds, and then to 30 Practico holding the long as ons breath for each time us can be comfortably done, without undan strainlog 3 Stand creel. Inhalo with short quick guapo through tho open mouth. Thon chalo in simllar gosph, or poffe Firo gasp, should fill the lungs, and fire gorps should croply them. Practice tho poping exerciso with month closed 4. Laugh with a big "babu hat Keep on with the "ha ha!" to completo abalation, and thon lohalo deeply and quickly 5 Close tho lips (kooping the throat relaxed) and thon "nagh" through tho nove. It takes pnetice to learn to do this well, but it is excellent to promoto better muscular con. trol ·CHANTER SOX Your Other Voice Hor my r note in the nute of her charm dipas sharp daraard hi res planter - Portret The chances are ten to one that the voice « Lara 02 urt wing is not your "best" rolce. It merhat time now to belp you find that other rolce, aod Hamile bring it into axe You may have barled It under get my bad habite of speech mo that it I be hard to bacate, but you annot afford to laure It un ured. If you want to be a good speaker Lou bure dox learned how to relax, and you hare started on controlled breathing. Harine falttally followed the exercises frem to de- Telop corttt babits of breathing you art aslar yoor dlapbrum and your abdominal mundo It is time por to direct the breathing to mproved tone production FIND YOUR VOKE Sit in comfortable chalr Las back and relax Extend your legs before you Put your bands above your bead tod yon.. Blake it a big deep, relaxed fika. Do tarin. Ishalt ·THE VOICE OF THE SPEAKER REHEARSAL CHART 1 2. * Alyt keep comfortable while yod os arcular Dont pork too herd or too long as time. 3 Squetro all tho alr ont of your body, # out of a hollow robber hall Let the air rush In to fill the vacancy Exhalo comfortably, and then Inhalo mod crately Hold tho breath for 15 mcond, and then cxhalo quietly After this become casy, lengthen the holding time to 20 sec. onds, and then to 30 Practice holding the breath for much timo as can be comfortably done, without undgo otraining Stand crect. Inhalo with short qulck gospa through tho open month. Then chale In similar gups, or paffe Firo gups obould i tho langs, and five gasm should empty them. Practice tho gaining exercise with mouth dored Laugh with a big "hebux-tu!Kcop on with the "h-bual" to completo exhalation, and then Inhalo deeply and quickly Close the lips (keeplag tho throat relaxed) and then "laugh" through tho nome. It takes practico to larn to do ibis well, but li la acellent to promoto better muscular con trol 4 5 ·CHATTER SDK Your Other Voice # *** la ter umud and der har dupher shey ud. In Hoe 'riton The chances are ton to one that tho Folce To do te you are usne i Dot your "bart volce. It is mother and time on to belp you find that other volce, and bring it into our lou may hare buried it onder any bad habits of speech po that It will be hard to locate, but you cannot afford to leare it up pred. If you mant to be a good speaker lou hart nok learned how to relax, and you bare marted on cuatroled breathing Hartar fasthfully robored the exercir sven to de Telop correct babits of breathing you are ugos Tour dlaphragte and your abdominal muacler It lo pe nor to direct the breathing to lmprored tone production. AND YOUR VOICE Sit in a comfortable chair Laan back and relar. Extend soar legs before you. Put your hands above your head and your Blake it a big deer releed yarn. Do it agala lahala ·THE VOICE OF THE SPEAKER REHEARSAL CHART 1 2. Alam keep comfortable Wło toe ont exercidus. Don & Roork too hard or too lony a dove Squeero all the air oat of your body, as ont of a hollow rubber ball. Let tho alr rash in to fill the tocancy Ethalc comfortably, and then Inhalo mod. erately Mold the breath for 15 seconde and thert exhalo qulotly After this becomes cuy, lengthen the holding timo to 20 cc onds, and then to 30. Practico holding the breath for much timo as can be comfortably donc, without anduo strolning. Suand crecl. Inbalo with short quick goups, through tho open mouth. Then ahale in olmliar guers or poffe. Fro gasps should fill the lungs, and five gnops should copy them Procllco the gaplog aerciao with mouth doned, Laugh with a big "he ho bol" Keep on with the "haha!" to completo aholatlon, and then Inhalo deoply and quickly Coro the lips (kecplog the throat relored) and then "aogh" through tho nove. It taken practice to leam to do the well, but it is excellent to promoto better muscular control 4 5.

·CHATER SDX Your Other Voice Bo wober no hk Inike corte Who han de slagt den lang FA - HO POTICHT The chances are ten to one that the volce Le you are odng is not your bedt role. It is whermakeruma dor to help you find that other rofce, and ale bring it tato ore You may hare burled It opder 1 bad habits of spereh ro that it will be hard to locate, but you cannot afford to leave it in ured, if you want to be a good speaker You hare con learned how to relax, and you have started on controlled breathias Haring faithfully followed the exercises given to de Telop correet babits of breathing you are was Tour diaphragm and your abdominal moveler It tipe bor to direct the breathing to lmprored toge production. AND YOUR VOICE Sit to a comfortable chair Lan back and reler Extend your legs before you Pat your band above your bed ad par Val. It a die deep relaxed rame. Do it again. Inhale ·SO THE YOICE OF THE SPEAKER deeply first stretching your belt, then lifting your ribs, and yawn again with a satidylns completeness *rhaWe outk you ܗܐܫܗ Finish the yawn with a prolonged "ho-ho-hohum m-m." Thith all the muscles of face and Jaw and throat relaxed, and with all tendons removed, repeat the yawning and "ho-ho-humm-ing" You Ora li Observe how much resonance and depth of tone you get in that "ho-hum finish of the yarn. Place your fingers on the bridge of your Dose, and on your forehond, and you can feel the vibrations as you hum. Here you have found the way to dovelop ret onance, and probably you have discorered a Doto voice quality which you have not been using USE YOUR BEST VOICE This new voice quality, deoper and more resonant, 18 your other voice, and in all probability It Is your "bent voice." Lets start using it Yawn again and when you have started tho • Supride "ho-hum," go right ahead talking on that same how cery and deep reconunt tone. Count, or repeat the alpha totes les be! bet, as a beginning Then speak some mords which all for depth . renat tur

·THE VOICE OF THE SPIAKIR
s "Blok blor thou water vind."
Thou, too ull on. O ship of Sute"
Say "Hor not brown copri" and keop the
to four tona Wg and well-rounded Open the mouth to
V Its comfortable Imit. Obverso that the more
koond requires a boonely dropped jax Be ture
en un estates that your luy not only drops, but that it dropa
with relaxed courla
Yawn again, to mato sare of your rolce,
and the may "The road to Rome la rugged,
rough and long." Blake it a big tone. Give It A
cota mandlas effect
Now why Chairman and Ladlen und
seotlemen" la that dis raonent tone. Add a
few kotence, Jast as though you were maldor
1 speech to a large room.
Whenever you feel the lightout teonton In
pour machen, or obuerte that your rolce le lor
los te depth and resonanch, stop for another
JAW, rear, and start agulo.
Try to this per quality in all your take
Spend a Httle too much day with the yawalng
ererchtes until relaxation becomes mary with
out finalne
Do not be diroorged if your voice thom n
teodensy to retert to its former aaplanot
Des and thatnau Fired habits are hard to
break. Iust keep on trying to bring that "best"

·52 THE YOICE OF THE SPEAKER voice into automatic, unconscious use, so that you do not need to keep on reminding yourself of it. FORM THE HABIT * Aston dc UCMUCHO. But you still have to think you are mying Let us streas those two words, "automatic" and unconscious. They wggest the basis for All good speech. "The Impulse to speak," said Dr J N Buck ley "18 of necessity automatic, and the suc cession of words thoogh controllable by the will sufficiently to admit of conscious rational communication of thought and feeling and of represalon when speaking is deemed inexpedi ent, must over remain largely automatic other wise there would have to be a special will effort for each word, and the phenomena of conver sation properly so called and of extemporaneous oratory would be imposable Thus, it is essential to have all the elements of speech become automatic in action Breath ing tone placing inflection must be done cor rectly by habit Grammatical construction prononchition enunciation munt be habitually right You annot afford to be careless with your voice or your words in your ordinary conver sation if you want to be able to speak fell on important occasions. But, bappily sf you are careful to form the correct habits by asiduous ·THE VOICE OF THE SPEAKIR effort and practlie, prezently the habits with take care of themselves, and your perch will be excellent Althout your con dous valtion. lature doet wonderful thing for a it me kend her a helping band PRACTICE Continue rerleries the deep-breathing ein erdzes until your controlled breathing becomes habitat To practict much eserciser does not mean thut you must go into printy You are breathing at the Unce Wake your breathing verte AS er mire. Many of the exercise migrested can be uued while you are about your work, walldar allting at your desk, or driving. Try Torlog on the polsier exercises while driving the ar Probably the ar noise 101 coter your effortThe broth of the motor 1 belp you develop reponeer in the tones us you home to tube with it If you line in the country or in the suburbs, perhaps you ap play at calling the cattle or the dos. Eren of calling might belp to pro- Ject yoor voice to u to get it in the right forme. Try playing with the baby He will be maped by your funny facts and strenge pounds ·54 THE VOICE OF THE SPEAKER Whatever expedients may be necessary do not neglect daily practice. Make deep breath ing a habit, and cultivate the deeper tons of your voice in ordinary speech Every sentence you speak can be made a practice in better speakdng REHEARSAL CHART 1 2 Yawn, finishing with relaxed "ho-hoham m-m. Yawn, finishing with the "hum-hm," and then go on speaking repeating the alpha bet, or counting Speak como resant worde, holding tho effort of tho relaxed "hummm." 3 " Inow brown com "Roll on, then deep and dark blue Ocean rullra "Fhy you shaly a bruk olday Sall ! Si el Send an en "Beat «m « My home with the hole of. 4 Na other more able Dom Boom, BOOYI" Keep on woning, hamming, and then speaking in tho rclared tone, ontff the new ly discovered roleo becomes habitual.

·OLANTER SEYON Placing The Voice Inice or the produs de rate is sasalarly affecting Itu droch sorms to be action frodas: het, ale co to prawa Tery w bure the beach Horny T Teatru That u not a good way to mard the chapter bading, but It med for leek of womething better Of coorre you do not actually "place" the rolce Nature does that for you. Your part 10 to keep from "misplactogo It The word "place" is used to bep focus st lored to tention on the fact that the plahed tope toast w Where her appear to be placed at the Eps. It is to belp you NU reullre the importance of thinzar the tone formar Many spektra tall with the teame throat and far and that rire there and their hearers the fet lag that the tono comes from the throat. That lo badDon't let yourwall do Cepenually speaking, any physical roution la the throat dorlog tome production is danmarael It ladata something wrong about the procent of tone formutton ·56 THE VOICE OF THE SPEAKER VOICE QUALITIES * Tony color & what ry into your voice Sound has three dimensions, or qualities. These are pitch, forch or loudness, and timbre (tone color or resonance quality) Pitch is based upon the frequency of vibra Hono. Higher pitch means more rapid vibre tions, or shorter wave length, to borrow a radio term. Loudness is measured by the amplitude of the vibrations Sound gains in loudness when the vibrations increase in size. Variations in the shapes of vibrations, largely dependent opon resonance, cause the differ ence in quality or timbre, or tone color The voico in produced by the rhythmical Interruption of an expiratory blast of alr by the vibrating vocal corda When breath is exhaled through the mouth with wido-open throat, no vocal sound is produced. But when the breath is brought in con tact with the vocal cords, through narrowing of the glottis and activation of the corda, volce is arcatod. Your tank, as a student, is to improve quality regulate pitch, and control loudness through proper voice production which includes breathing That is the fundamental porpose of all this Information and these exercises ·THI YOICE OF THE SPIAKEL OUT OF THE THROAT Let us wade that you here followed the prrrions Instructions kell mough the you bare learned something about deep breathing iad an relax your fex and throat mucler The next problem is to bring your rolce "oat of the throat whero o many people appear to keep it, and to place It ornard" where It belong Plactog the rolce requires u mach mental Thuwu macalar control You must hlak your merem.. rolee forward Try to feel that the tope is pro mote the NU w w duced on your Hp. Of course that is not quito the truth, but it toas help you for the prevent to think that way Start by loosening up the midler. The "hohocam exercise is good. Try snin the "How DOT broma con sentence. Open the mouth to the comfortable Mmita Speut laadty tpd freely with dear recent tone. Imagine that the cow I forty rode amy wd that you are addresstor her in tapes of cutbority Speak to her perpustrely threatenlarly angrily pleur arthy Keep the throat murcles relaxed. Drop the Jew at each word loril obere that the rolee tends to econ fornard u you call to someone at . dlstarct. K. wa w Don't sell or shrlek. Just try to prolect the toat serta the Intertentag mpact without los Ing its quality Murt ·5 6 THE VOICE OF THE SPEAKER pot to VOICE QUALITIES Sound has three dimensions, or qualities. These are pitch, force or loudness, and timbre (tone color or resonance quality) Pitch is based upon the frequency of vibra Hong Higher pitch means more rapid vibra tlons, or shorter wave length, to borrow radio term. Loudness is measured by the amplitudo of the vibrations Sound gains in loudness when the vibrations Increase in size. Varlation, in the shapes of víbrations, largo- "Toma color" ly dependent upon resonance, cause the differ ence in quality or timbre, or tone color into your solce The voice is produced by the rhythmical interruption of an expiratory blast of air by the vibrating vocal cords. When breath is chaled through the mouth with wide-open throat, no vocal sound to producod. Bat when the breath is brought in con tact with the focal cords, through narrowing of the glottis and activation of the corde, voice is created Your task as a student, it to improve quality regulate pitch, and control loudnews through proper voice production, which in cludes breathing That is the fundamental purpose of all this information and these sercises ·$7 THE YOICE! THE SPEAKER OUT OF THE THROAT Lat o amo that you bare followed the previous fostruction mell moooch so that you bare learned something about deep breathing. od can reler pour jar and throat mareler The Dext problem is to bring your rotce "out of the throat' where so many people appear to keep it, and to place it "Yorward where It beton "Placing the rolce requires a mach Dental Taeblap T H macabar control You must think your volce forward. Try to feel that the tone la proa thread he doced on your lips. Of course that I pot quite the truth, but it may help you for the present to think that may Start by loosening op the muscles. The 'ho hom* erercise is good. Try agus tho "How now brown cot" sentence. Open the mouth to the corafortable limiti. Speak loudly and freely with cheer resonant tone. It doe that the cut forty rods in and that you are addressing her in tones of authority Speak to be paparely threateningly apprthy pleur antly keep the throat maxle relaxed Drop the jar at ach rond You obrere that the rolee tends to come 14 d forrind u gou aan Pototane ut distance WHE Irene Don't yel or shrlek. Just try to project the tone Leon the interreios ypace without los ing the quality ·5 6 THE VOICE OF THI SPEAKER VOICE QUALTIES How to Sound has three dimensions, or qualities These are pitch force or loudness, and timbro (tone color or resonance quality) Pitch is based upon the frequency of vibre Hons. Higher pitch means more rapid obra tlong, or shorter wave length, to borrow & radio term. Loudness is measured by the amplitude of the vibrations. Sound galas in loudness when the vibrations increase in site Vartations in the shapes of vibrations, large- *Tas color" ly dependent upon resonance, cause the differ 4 ta me ence in quality or timbre, or tone color into your water The voice is produced by the rhythmical interruption of an expiratory blast of air by the vibrating vocal cords. When breath is exhaled through the mouth with wide open throst, no vocal sound is produced. Bat when the breath is brought in con tact with the vocal cords, through narroting of the glottis and activation of the cords, voice is created Your task, As A student, fs to improve quality regulate pitch and control loudness through proper voice production, which in cludes breathing That is the fundamental purpose of all this information and these exercises.

·S THE VOICE OF THE SPEAKER you turn yourself loose, yop will soon feel the effect in a general loosening up of tone, in . ACT PERDADC, and in der les conclou opedlog of the booth and reledng of muscles. You win laro e de sense of power and control u yoor rolce galos In depth und ause FRONT AND CENTER You must make a copsdous effort to thlok the rafce forferd." Of course wouderstand that the tone 1 th the formed in the throat, by the combinand dforta of the rocal corde sad ther appurttances, but the toge monst be "felt" rith the lips and teeth right on the tip of your tongue That 6 what We meen by placing the rolee, There are marlow excercises by which you an set this feeling One mus la by trilling the con punt sound You can produce this by wins words beginning with or with the comblon top lika br pr thr and so on. Take rach words u bright, pruix things thrifty und tril the Iloit sound Another way to develop this for mard feeling by wlog the explosite corunanta sitht Ture sound Say "pan" or "b" or "mah with emphaala cu Ilp action. Always be curtain that the lo sod throat modes are reunet. Do not permit the ger dee to ap them to tighted. It Ill take pnc ·THE VOICE OF THE SPEAKER WHICHO Next, we must get that sense of resonance *-!ligh in the more fully developed. Speak the name of the round of both great State of Ohio Separate the syllables ad. That with mouth opened wide. Now put some variety O-HI-O du into the pitch. Start the first on on a low At the your love menote then step up several tones on the HT and Become come down again on the final 'O In diagram, it would look something like this BI 0 Try it over many times. Exaggerate the 'HI and put plonty of power into the supporting breath. If you can alng even a little bit, pick up the Lively tono from Snow TVhite which runs до по Never mind about off to work we go You * Perkep Unle stay right here and exerciso your voice. Even Sun Fle If you can t carry a tuno, spoak the words with Ade you freedom and resonanco and with relaxed mascles. Direct the call to someone a block away Make the tone ring You can do it if you let yourself go These exercises should make you feel pretty good perhaps pretty foolish, too - but I1 ·THE VOIC OF THE SPEAKER re that their speech i tresome. Ve get the eur ucba frota thor, phile they run hoartenen und pore throata Thu we all lose. You must remember one of the fundament Speech boy tal fact, that more throat or honed of voice Hyl. After you have spokon is an indication of wrong ve of the vocal organ. Paydaal rensation in the throat while tone i balog produced indlata "ording or some other error in speech. The throat and jaw muscles must be relaxed, and your thought of tome production must be Located at the Ups and the tip of the tongue. Speeck i edry both on tho throat and on the Isteder when speech la produced in the right ·60 THE VOICI OF THE SPEAKER uce lots of it, bat you can do it. York for short periods every day You may be cortain that your voice is "for ward and in order" provided the jaw is it. laxed and the breath support is good. "CLERGYMAN S SORE THROAT Some public speakers seem to have a notion that they have not done their fun duty batll they have screamed themselves hoarse. Preachers used to be subject to this delusion *) a don e hart The minister shouted and exhorted so fervontly to yell in order that his voice was hardly more than a whloper to be hand at the end of an hour or two of preaching and no doubt he felt that he had given his all for the good work. That was the origin of the phrase, clergyman & soro thront. It is a pity that the poor parson could not have realized that he was abusing ono of God, great gifts to men for if he had used his voice oven reasonably well, there would have been no sore throat, no cracking of the tone. Blans speakers, especially preachers and po Hitical spellbinders, make themselves unintelll gible by their relling A man tho was hard of hearing one day said to his pastor a notnbls loud speaker "300 speak so loudly that I can't hear you. Everyono of us has heard speakers of that sort, and we hardly need to be reminded

·THE VOICE OF THE SPEAKER
hr
that their peech to tresome. Te get the ear
sche from them, while they sale bourrunch and
more throats. Thus we all lore.
You must remember is one of the fundameth
Speech browy tal fact, that more throat or hurdness of Tolce
re
after you hard spoken is an indication of wrons
on of the roal organs Phytical renntion la
the throat while tone is being produced indt
aate "foretag" or some other error in speech
The throat and jaw muscles must be relared
and your thought of tone production must be
localland at the lips and the tip of the tongue
Speech u cany both on the thront and on the
Ustener *hen speech is produced to the right

·62
THE VOICE OF THE SPEAKER
REHEARSAL CHART
I
2.
need room
when you do
these are
cises
Sing "Hi Ho! Hi Hol" v though you were
calling to someone at a distance. Keep the
lips fiable. Drop tho jaw coully Relax.
Practice trilog. Try inch Ford. "Three
thriving, thrifty thrummers," and “Bright
branches of brioillog brlars." Keep the
throat relaxed Till with tho Ilpo
Speak explosively, walng sach words as
"boom, har, bell"; "part, poor people."
Make up your own word, or phrash. Feel
tho explosion of bronth right on the lipy
Keep jaws relared Try to feel the sabuuan
tlal mupport of tho breath from tho muselas
of tho abdomen

·CHAUTER EGHT
Locate The Vowel Sounds
But the
matto of throneM1 tot
do oka et by word
o tom h wyleth
-Bror
We are Dot going into any decarian of the
anatomy of the rocal apparatus in this book
If you are interested in that yoo an flod it
to many book, with diapun and maps Our
interart is in learning bar to make the simplest
And most datorul ne of the orria Latoired
and we do not need to study them to great de
tal for that parport
Hou wth be better oft, bovete for en che
mentary onderstandiar of the way that the
bons Towel rounds are produced, and their
Location
The torek, u yog mast koon are a, cio
and I Toallastraction, there are ordinarthy
rokli
w
ared with the Italian production to that
they sound like a are o oud oo. Pra
ho poupeed freets with fod tone and open throat.
these flables male sood toalett
Phee a liquid corporant (hn, ., or r) be
fort ench Torel round, and it better

·64 THE VOICI OF THE SPIAKER Thus Lah-lay-tee-lo-00 Or make it Nak nav noe no-noo The 'ah sound is used as a starter because it is the middle tone in production, and helps to open the throat and produce a fine, big tone. If you will watch the several sounds you will * Chase the observe that ah" locates itsell about half way sounds up and down Tour back on the tongue. Then the Age sound apfor pre. pears to move forward whilo "ee seems to be produced almost on tho tip of the tongue. Notice how the tongue moves up toward the roof of the mouth as the three syllables are formed. Now say "o" and note that it is formed at the base of the tongue, while 00 feels as though it were clear down in the throat. Regardless of the apparent location of the tone formation each sound must have the feel ing of being placed on the lips. This is whero thoso liquid consonants come into service, for each of them tends to come forward in its enunciation and It brings the other sound with it. PRACTICE Start with the peridy nah nay atee no noo Intono thla on the same pitch, on a monotono prolonging cach xylable and stressing the Initial - Watch your tongue Note that as you ·THI YOICE OF THI SPEAKER Tui tohto the start the pound of the tongue instipetirely press Itrell against the upper front tooth. 1 on cannot product a fim-chon wound with your tongue in any other poatlan. Let this remind you to "think your tone to that formerd position Repeat the sale of syllablas at rurying nata of speed, very slowly then fagter Bat in Tery ar match the changing lip formation u the romeli chann From the wido-open poulton on "uh" the upa parrom allghtly on "are," and still more on "ee On the upu are rounded, with increadar roundness on "oo." Euagrerate those Up movements Colu rata Lablat noxuty lato ridiculous face it you most It is all for the nato of your roia. If you have an er for music, introduce the vogng quality toto your practice tonet Go to the plano and still, "c" Thon ddr na may wet 0-100 on that ton. Man It Hor. Step up a tope, upd do It apain. Practice staging it on u many different pitches u you can do com fortably If you can't stor practice the wyblablar og Loy tope, but bring out the romance. Please don't just stapt or meet the wounde Sing of about them freely with open south and ro- Lared murela Imaglse box Nhion Eddy would make this sercise sound. Then try to pound us much lite ·64 THE VOIC! OF THE SPEAKER tonte Thus LanHaydee-to-loo Or mabo It Aak Tuy nhonop The "ab" sound is used as a starter because It is the middle tone in production, and helps to open the throat and produce a fine big tone, If you will watch the Beveral sounds you 111 observe that "ah locates itself about half way **ds wp ad door het back on the tongue. Then the "age sound appaarg to move forward while "ee" meems to be produced almost on the tip of the tongue. Notice how the tongue moves up torrard the roof of the mouth as the three syllables are formed. Now say “O and note that it is formed at the base of the tongue, while 00 feels 28 though it were clenr down in the throat. Regardlest of the appareat location of the tone formation, each sound must have the fceling of baing placed on the lips This is where those liquid consonants come into service, for each of them tends to come fortyard in its enunciation and It brings the other sound with it. PRACTICE Start with the series noh ray ure no MOO Intone this on the same pitch on A monotone prolonging cach nyllable and stressing the Initlal + Vatch your tongue Note that as you

·THE YOICE OF THE SPEAKER
rest of the allebler. Then a pa. Make the
povide exploat forebke Gire the diaphragm
a darce eror time Ure the lipa freely Open
the month
LE REASONALE
Of course you an't do all of this every day
But you can do a little work each day and
meter! Umes a dar Krep the matter in mind
and turn to the exercise whenever you ret A
chance. Work rothy Don't try for rohame
Don't so yourself.
lop will pot bald a fine ble reronant, com
pletely adductory voice to jest a few ders or
eren week. It is a long proces, but It Is worth
while
Let go about it runsabls and intelligentis
setting certain pouls, rechtas thert, zod then
settor higher parts to strire for
REVIEW
By this time, If you are tullor the work us
Tou would take a court of medial treatments,
dally arcording to directions on the bottle you
hare at leust started putting the friendly Date
Into your speech you bare begun to relax and
hoorn up your throat and lux muscles you
hare dixcortred your diaphragm and its te
lation to your breathing and speaking you
here begun to control the breathips and to di

·66 THE VOICE OF THE SPEAKER lonet him as you can. (Yes, Nelson Eddy and every other great ainger has used this exercise, or something much Uke it to develop resonance and fullness of tone ) Put other consonant sounds before the five * mer und Towel sounds. Sing la-lay-lee-to-loo and ma Joey but is kondalul mau mce MO-MOO Observe the difference in cada um de lip action as you change the consonant. The relor mood tongue position is much the same with 1" and "71." What makes the difference in pound? Try to figure it out. But when you start with "T" the tongue has little to do this sound starts on the lpe. Emphasize these motions and posi tions and exaggerate them. Watch especially the tongue and Ups when you may ra ray ree To-Too Now we are to combine the long vowel sounds with other than liquid consonants. Start with h" Say ha-hay-hoo-ho-hoo Note that the effect of h" is aplosive. The sound is produced by forcible expulsion of breath. In fact, there is no h" sound, by itself lou must connect this letter with some other to produce audible results Notice that when you say hab" the abdom Inal muscles entor vigorously into the perform ance. That is good for you and for your voice Try the syllables with tho so-called muted Consonants, "b" end say ba-bay and the ·CHUTE NINE Speak Distinctly the peach I may mula All the wall While we mir gut tres One of the most annoying speech habits is that of lodiinctns. Il you speak, you should be understood. If you roopth your words, skal low them, toypren ther, babe them, people WiD moon fox tired of trying to follow your Lbposht Probably the commoest as far india Let you toc epupciation Ar Lallure to open the mooth, Dane promene u od lack of up action. "Last Upon como no eod of hard-to-codentand talk. The topo huu to come out before it can ret A spatet mold bardly think of holding a sheet of aardboard befort ble mouth. I ho ulo through his teeth through a bull.opened mouthbe set the ame effect. Fillon to open the mouth malus it impossible to propounce the consonanty elart rad sbstures the rorel saade It obstruct the Folume und reporuce, and tends to make toke and speech fiy diambie.

·THE VOICE OF THE SPEAKER rect it you have discovered your "other" voice and you have made a start at locating your tones on or near your lips Take an hour off from other activities to run through the pages you have colered up to this time, and see just how much you have actually accomplished - hory much of the right kind of breathing and tone formation has become habitual automatic with you Then you will be ready to proceed (Or you may decide to go back and work on some of the things you have not yet accomplished to your stołactlon. Whatever else you do don t quit now) REHEARSAL CHART Look for! Flertale up! Lidy longue Deep breria ing! tu RELATI 1 Singo "Nah-nay nee-nonoo" with loon Jow, flexiblo Ups, and big tone Mako tlie a very prominent 2. Sing "Lah-lay Ice-lo-loo" and "Minh-10KT mee-mo-moo," always streaning the initio Consonant pound Watch the action of the tongue Use the name syllables, bot chongo the Initial consonants, so as to hegin with r, with b and p. Glre *pedal attention to tbc use of h, as in "ah har heecho-hoom Mohr the rounde explorlie. 4 Remember: Loore jaws flexible lipes active tongue strong support from the lower boly muscles Guard against any frodency to constrletion in the throal Relax! Rearll ·71 YAT YOICE OF THE SPEAKER jatut La Setme.tntbude e re at det er wa muret The gube to the furr ry, while the merret domes The third de tems dr-udte til bobot the jumbo ballar per Yen en bep suare detinter brachtes polygotable and to rest of the rular rants (tore tein Lipa fav) on the rar kons syDiaba This will up you to take the Irrortare o areto correlation Perhaps you are all right on this phure to begin with to make sure try taidas before a mirror Watch your lips as you speak in . matural COLLAL Do you talk with mouth stark cloredr Art the Lps inmorable, or thurrlih in ustheat sum dolor into the mirror try some exer die Entrate merT moretdent of mouth and lips Spread your month laa wide grin. Stretch Pocker up your lips and push them forward ular u poubl. Sogndestly into your lips to produce the rore poprade Whisper the rounda toy roths If you must Esperate the lip morements u you think these rounds ·7 0 THE YOICE OF THE SPEAKER Home rod read marted ther? Having mastered the exercises for relaza tion you have learned to drop the jaw and loopen the throat muscles. Make sure that your lips are not shirking To insure good enoncia tion they must be fledble and active. They can be trained. ENUNDATION PRONUNCIATION These two words are much aliko in origin, but quite distinctive in connotation You need to have the distinction clearly in mind. Pronunciation refers to the phonetic uttor * Nat & great ance of words. It deals with tho sounds of let deal oller ters, accent, and such matters as are involved the world, but in giving acceptable articulation, phonetically Chat du/erect speaking Alamou Enunciation relates to the fulness and clear ness of articulating these sounds. Of course, pronunciation may properly inclado enuncia tion for good pronundation is hardly possible without clear enunciation It is possible, how over to give the correct phonetic rendering of & word through half-closed lips. That is why we must stress enunciation as a separate clo ment These two words, incidentalls furnish in themselves a good exercise. Say each ono carefully slowly with over-attention to distinct ness Observe how many motions of the Ups and ·THE VOICE OF THE SPEAKER 11 Le dhe ja ar tarared Ser pro It - Art shan" Esch pllable call for a diferent lip urangement The Arst gllablo finds the Jax op, wbile the record forta it donte the third draws of the fourth drops down, and the final hun" brings the Jux about to a baller point You an belp yourself definitely by analyzing polysyllable words u to position of the rocal appantas (tongue, teeth, lipz, fan) on the var tous glable. This will help you to realize the Importance of a real enunciation Perhaps you are a Hight on this phas to begin with. To make sure, try tudng before . motrror Watch your ups us you spak in a natural Donder Do you talk with mouth Dearly closed? Ar the Up Lomorable, or Kaprah la action? sul looldog lato the mirror try some exer cises. Exisrirate erery motenent of mouth ud Ups Spread your month fou wide stin. Stretch the puscles Pocker op your Up and push them formerd u fur u posable. Sooden frame your Ups to prodoce the Tomel soup de Talsper the wounds toy rolus Il you most. Eggerate the lip moterpents us you think there founde ·71 THE VOICE OF THE SPEAKER * Paku too mind when You my he CO WŁ Prove that your face is alive Dot a 'dead pan. Speak syllables or words, watching lo the glass to see how widely your mouth will open In the process Say "wow WOTY WOW WOW and watch your mouth open - your jaw drop (Let it drop. Don t force it down Keep the jaws relaxed.) Say 'well, well, well,' as though surprised at something Pronounce in com pre hen of ble," with careful attention to each syllable. Say incalculably meticuloas evaluation." maldng the Ups do their full duty by every syllable. Now begin to speak or read complete ren tences, speaking slowly with exaggerated disunctness, glving every letter Its full phonetic Value Practice before the mirror and away from it. Watch yourself when you talk in casual con versation Is your specch of the 'Gladdamcocha,' 'Gottagetoutahere," "s noplace f'rus' type7 You may be surprised at yourself when you begin to listen to what you say TONGUE TWISTERS This carefulness may slow down your rato of speech. That is not a bad ideu. Perbapo you

·THE YOICE OF THE SPEAKI
73
talk too last. You may discover other defecte
"Tapion Look out for there, and try to correct them
-hy
Malo your speech a good as it can be. You ono
that moxch to yoursel
Try twisting your topguo zround my reta of
From morda la these
ha do
Certe el, merc
A War, Vakut tak be heck dauk.
Lokbatt
By Bhai Har M.
Barood, drinking aborselskaod Simon shor
ded Wartoked arimps
To wonder hoe duurt deck,
to • HHH HA = {
Al the wareholeheart, whey hack
Irodaped clues chepper
со
Improvement of your eunciation ( one of
your most important tula. It takes time and
thought, but It can be dong, and tt ha forth a
Good counciation fundamental to rood
spetch.

·THE VOICE OF THE SPEAKER
REHEARSAL CHART
1
Standing before the mirror, may
Incomprehonalblo
procrutination
insubordinador
utronomial
alloriatlon
Givo each syllablo fall aloe. Watch the
Jam tho tongue and the Upe Keap the
polco out of the throat.
Before the mirror, may
HOW! wow wow!
well well wolll well!
Keep the jaw in action at cach word
Before the mirror, hay
"I am glad to meet you."
Then my "I'm gladde mercha," walchlog
the difference in your face, aspecially the
mouth
2.
3
4. Keep on practicing before tho mirror until
you can open your mouth without cm
bertawment or rell-consciousnou.

·CATER TEN Be Kind To Vowels And Consonants Nu reke dalen somph's luz, do oice w odle da th's brocco Perhaps you would has to keep Jart what Ahola had the distinction between Tumeb md consonantu. Probably you would tind it hard to get uti de los factory definition of either or to explain the distinction ndt The name fotcelmus ured by the Lada fram marlans to dealgo to a found man do with the roice (rocals) while contenant indicated another woanding with it (CORSORAW) Lo the air of romel, resonance of the tocul ariter is the determalalag factor the sound an open, anobstructed attenance of roico, modified by the renomena of the rock artta ou to onlto dellalte "quality" A 00070ant round one which pulks Ita chancter from some obstruction of stucture at some point to the breath pasage which modillo the atteTDCO Und makes it ideatic. able. A contrent has tury Hue chinee unlere It is accompule by : Tome rood ·76 THE VOICE OF THE SPEAKER A vowel sound can stand alone, as when we SAY "Ah! or Ohl" or "You!" but it takes the two forms of utterance to get very far in making sense. Therefore, it is desirable that the speaker be as considerate sus possible in deallog with both kods of sound. I you under stand them, you will use them better ANALYZE THE SOUND Pronounce the commod vowel sounds slowly, * And now you giving each its fall value. Say "a-0-1-0-1' care med Maren to Tool Tou fully prolopging each one beyond its osa) Ipark Horty length. arefully to hthox Hac Observe that "e" is the only one which stands opactions. elone. Each of the others is a combination of ttvo vowel sounds. Speak the other vowels, enunciating slowly and prolonging the sound. You will get the following effects. Long a has the vanishing sound of a Thou, you will say "ayees when you give it fou valuo. Long 1 is distinctly two bounds. Say it slowly and you have ah-te, Long , arried to completion, ends with the sound of "00" It sounds Uke oh-o0 If you complete it, bringing the lips together Long x correctly edunclated, is "ee-00 Sometimes it u represented by ma but when ·THE YOICE OF THE SPEAKER 77 it la represented you must remember that the ile zhort SA nn Tawag the ause of the last-namned letter us ua Olostration, let of me what it means to areful enundation. Whenever you are the sound of lont in a word, it is entitled to that "ee-oo" pronuod atlon. Here are a few exampla pet feodal toer wer curloos mute patrid hon beautiful muuta! Pronounce auch of those words arefully drog fab natue to the pound of long .. Mert, pronounce the following Dit dae jewel Tuesday duty Sue Do you all it "Toonday" "," "dooty "Soo"? But !! rou probounce "der" u "D00," sbouldn t you let the cat "moon Instand of This lous round is much abused la daily speech It may be morth your khle to join the aampairo In Ite behalf But if you do try it don't take the mistala made by mugy and start nylor "The day and lots and pro DOWISE RODDE other such Ford, in an care atat manger ·76 THE VOICE OF THE SPEAKER A vowel sound can stand alone, as when we say "Ahl" or "Ohl" or "Yon!" but it takes the two forms of utterance to get very far in making sense. Therefore, it is desirable that the speaker be as considerate as possiblo in dealing with both kinds of sound. I you ander stand them you will use them better ANALYZE THE SOUND Pronounce the common powel sounds slowls. * And now you giving each Its full value. Say de-1-0-u caremu na to Towel as To fully prolonging each one beyond its usual great Homoly length. carefully to ret the fine Observe that "o" is the only one which stands Luthaction alone. Each of the others l. a combination of two vowel sounds. Speak the other vowelo, enunciating slowly and prolonging the sound. You will get the following effects. Long ahas the vanishing sound of a. Thus, you will say aye-ee" when you give it full value, Long i Is distinctly two sounds. Say It slowly and you have ah-ee." Long o carried to completion, ends with the sound of 00” It sounds Uke oh-ooº if you complete it, bringing tho Ups together Long ! correctly enonclated, is co-00 Sometimes it is represented by 40" but when ·THE VOICE OF THI SIAKIR 77 It w represented you most remember that theils that Shar My or Takinr the cus of the last named letter as an illugtration, lot wree what it means to care ful counciation Zederer rou bare the sound of long 10 a word, it is entitled to that "c0-00" pronuncation. Here are a fer amples ter pers cadal met ver eurloos cuie mute putria betr beautiful mautual Pronounce each of those word arefully suas fon Talue to the sound of lone w Text. propoance the following ter dae jere Tuesday duty Soe Do you call it Tooxday poo, "dooty 800*? But if you procouco era u "100," *houldn t rog let the cat "200fpstead of This lone I sound in touch abond in daily Ptech. It may be worth your tale to join the ampalra la tu beball But if you do try it dont make the mistake made by many and Hart aying "Che day" and "Jaty " and pro- Doordag rotse other noch Ford. 10 1A ener ated mander ·75 THE VOICE OF THE SPEAKER What you want, as . speaker is clear die Good speech tinct, natural appearing speech. You want to pounds and avoid lary mumbling and mouthing of words, but no di and at the same time you must keep away from smarck spook the over nice sort of speech which seems to be striving for "elegance. Try & happy mediom. Make good speech just as natural and just as unobtrusive as good manners at the table. When you make that speech recording and listen to it, watch your enunciation with care. Are the letter-sounds correctly formed so as to be easily beard and understood? Listen for words which may be blurred and slighted For an exercise, repeat some of those mis- * Some peole treated words, regardless of meaning For ex wcwally talk Like us! amplo I'm abalootly fraid tho gov'munt 18 gonna use plitical infloonce on alication." It looks ridiculous doesn't it? And It sounds ridiculous to the cultured ear when speakers One such language Many of them do it. Afayde you do it! The purpose of this chapter is to en courage you to take soch care that you will not only not be ridiculous in speech, bot that you may be a paragon - an eremplar of good speech, GOOD ENUNCIATION Good eponelation helps you to be heard more erally at a distance. To be heard is not a matter of how loud but how clear the speech is a good ·THE VOICE OF THE SPIAKIR actor CAD mate his poltext perch heard throogboat the theater Good enunciation adde beants to your speech. It bring out the music in the morda It gives you I Rose of 10thority It commande respect make your audience wloh to listen. HOW TO DEVELOP GOOD ENUNCIATION Telecom Fint, you must decide that you are going to be areful in speech. Ao more areleus, sloppy runt med slovenly taldogi lou are going to be your best Mert your mouth must be apable of openlng 100 might w well talk with your hand before your mouth us to talk with teeth and lips ball closed. Open your mouth. Third, pat those lary Ups to work. Jako then flexible. np the ups around the word u thoogh it were a tuty morsel Fourth, take your tongue respond to your demand This la len dificult, because the tongue obally doe act more or lea without Tour conclou direction but if it does not be bare well for you if it gets in the map of your word, teach it to keep its place, Futh, practice. Every time you speak a word remind yourself to speak it well. Then arbed you at a number on the phone, you will not be heard ming "Hl. "Smister Liton there? leah lemmt speak tim, wllya ·JO THE VOICE OF THE SPEAKER LAZY LIPS AND TORPID TONGUE To help you realize the essential part in apeoch played by lips and tongue, try this ex periment Speak some familar Unes with Ups closed That mich and without making any sound For example, your mark sht prepares the Pledge of Allegiance to the Flag will serve Tu ta oma l for berter I pledge alegiance to the flag of the United ertodation States of America, and to the Republic for which it stands ono Nation indivisible, with Liberty and Justice for all.” Keep your jaw relaxed and flexible and try to form the words without opening the lips at all see what happena! Your tongue twists and stretches and exerts Itselt in all directions. It touches the roof of your mouth twice on "plodgo, and twico more on allegiance." Remember that the tongue should be quito as active when you are apeak ing normally with open mouth If you want the speech to be clear Now try to speak the same words, still sound This exercir lossly with the lips in full action. It is easier - really me this time, because you have the holp of the tongue, but watch those lips, how they movo and work to help form the shapes of the letters. (Don't whisper Don t produce any sound Just forma the sounds of tho lottero without giving them any volce.) Tu Hae ex ·THE VOICE OF THE SPEAKER I) The hoch trots Wow a Tawy core And now remembering the rigorow action of tongue and Lipe, add the sound, and keep up tho uction. Watch your mouth in a mirror Try this exercise on other words and para graphy lou an eally understand what can be done to your speech by tolerating a torpld tongue or lary Upt. Don't let thema handiap you. Rather make there carential parts of speech your faithfol sertante, performing their part in prodaction of elour correct, uslly understood ord and sentences Attention to these duple exercita il produce rezulta la rood speech babita.

·THE VOICE OF THE SPEAKER REHEARSAL CHART Tu ter km Tor do Exercise before the mirror Watch the lipe and tho love for flexibility * Done by din and relaxation, Watch your fadal expression copyed wh Do the contortlopi Involved in exaggerated you look while enanclations threaten to make your face lewe irakas Other renta attractive when you speak? Ion need to look » Loot no well as you can while speaking well. Hlialna 1 Before the mirror, rorlow the conclation of tho towels, referring to the round aanly sls giren on pago 76. 2. Beforo the mirror, review the words with long u aod long oo llatod on page 77 OD certo tho difference in position of Upe when you hy mex and mon 3. First with closed Upy, then with open li but no voand, and finally, with open lp. and full sound, read these lincos w them werer bo wolkens brinda Oj e heril Anb Lari And we dan motor sleei butlleth Brylu O/ rhe beaulsul dan Lee Using any words you choone, continue to proetlee beforo tho mloror with month cloved and with moath open, keking rue and flebility of tongue and lips, without prodadng uapleasant Soelal expressions.

·CUTTER BEBY
Sing Bass
On the mixt
Hor materiae a tendency to tacto
La pack opeeelt vben they go to the
Let of
een
Att hih-pl.ched to be a beauty
aypal It tends to beret udplan.
Druta quarts Arod E Cabratte dorpe
tore ls . word. Sirs bags
Lulu
ne
Of course tu pouble to cerco too by :
flick The role to robi todista
predao pre B. Tolce pitated too lo
is ro batu u the flurd to
et pa
LOCATE YON YOTE 0
We re that you have learned to relar,
to control yor table to bart a rense o'
Yos Ett : bara hos which 10
met It be podor
Her
Faretto math patul ptich

·12 THE YOICE OF THE SPEAKER REHEARSAL CHART You me kon Toe do Exercise before the mirror Watch the lips and the jaws for flodbility * Dont be de and relaxation. Watch your facial apressions couraged to do the contortions involved in anggerated rou Look while enandations threaten to make your face les Spaltar Orier people attractive when you speak? loa need to look us Look furtos well as you can while speaking well. Hdiculous a 1 Beforo the mirror, rorier tho enundation of tho towels, referring to the sound analy als giron on pago 76 2 Before tho mirror review the words with long u and long oo listed on pago 77 Obserto the differenco In posltion of lipo when you may men and moo 8. First with closed lips, then with open Ilpm bat do round, and finally, with oren Up and full sound, read these liness For the moon heter beans without bringing Of the beetl/ Annabel Lees And the wort mrer tie, but I feel the bright Oj she beurtl/wl Aun bel Lee 4 Uolng any words you choose continge to practice before the motor Ith me closed and with mooth open, keeking care and flexibility of tongue and lips wthopt prodaeng unpleasant facial exprenlon

·CHATER AFYEN
Sing Bass
In moka ne derse u obe *
One dhe me comicky rok
ToTTIR
tur
Host speaker bare a tendency to talk on too
hleb a pitch, especially wbey they get tnto the
hat of argument.
A thia, bieta-pitched tone lachs authority and
appeal. It tends to hanhness and ampleunat.
Deus ta quart Arold it Cultinate the deeper
tones. In a word "Slag bara
Ol corre It La porable to detutop too low a
pltch. This results lo rarablog indletinet
ponderou opeeth. But a ralce pftebed too lot
pot serty to common us the one Ilud too
bifte
rola
puklu
LOCATE YOUR YOYCE FICH
me we that too ban learned to relar,
to control your breathing to hart Rex of
ndorio.
Yos lart natural pitch" on which you
rat It paybe good or It may bot. Te por
froared to ba. that maturul pitch

·THE VOICE OF THE SPEAKER REHEARSAL CHART Tot do. Exercise beforo tho mirror Watch tho lips and the jaws for flexibility * Dones de dix and relaxation. Watch your facial asprerions courired wa Do the contortions involved in maggerated Tou se le god look while connclations threaten to mako your face lcu speaking Other people attractive when you speak? You need to look - look junto well as you can whilo speaking well ridiculow as 1 Before tho mirror, review tho enundation of the vowels, referring to the sound analy olo giren on pago 76 2 Beforo tho mirror, review the words with long u and long oo lated on pago 77 Obe Hervo the differenco lo position of lips when you way more and moo S. First with cloved lips, then with open Ilpe, but no voand, and floolly, with open lips and fall sound, read these lina, For the moon me been without beingina ne dretnu of the bradul danebel Lees And the sen nerer rive but I feel the bright 4 Oj the bradd Arnebel Lee Using any words you choore, continge to practice before the mirror with mouth doved and with month open, veeking cure and flexibility of tongue and lipa, withoat producing unpleasant facial apreulons ·THE VOICE OF THE SPEAKER Haring located your ordinary pitch, conelder whether this is the best one for your rolet good rango for the speaker (considering Te w Twooly the mro in this instance) i between "C" Later to us tho birh point, and " or "cus the lower wetu Umit. Of course rolce gestures, modulations, per la Inflections will ary aboro and below theme limits, but your bormal, baste speudag tone may well be located within that more Il your rolce pitch needs to be lovered, to work thoughtfully gently ontomatlally Yon can't do it all in one day or oren lo a wock lop must prot attempt to force matters. Berin by deliberatels pitching your rofco Thorbe slighth lower in all conreration. Don't try to way. Detery drop It half an octare at once. Rather change It half a tone at. Umre Try to follor nutaro lo determining your best tone location. If you are atunl tenor your mpakng volce v ba Ughter thinner higher than you are a natural buss. But It Deed not be light and thin, If you trust it right Speaking alth areful munciation and in . DO TETT loud to be with help get the chanso atablished While you are morldog on this, of course you remember to keep the throat relaxed and the breath cording from far dora Reslek what buas been mld in Chapter V about our Other Torte." Some runnlag and ·04 THE VOICE OF THE SPEAKER Start talking in your ordinary tone. Speak *This time you monotonously without modulation. You can may lak I. MDROLONE bus repeat the alphabet, or count slowly "One, tho it is only for three, four and so on Just make sure it is at The sporld the normal level of your speech ATH. Now bave someone at the piano locate the pitch of your voice. He may have to fumble over several keys, but you keep talldng on the same pitch and let him match your tone. If your voice is of tonor quality your speak ing tone may be as high as "gor a." If It is of a heavier quality & natural bari tone or bass, you may locate the normal tono on Me" or "a" or even on c & wholo octave below 'middle . U your dataral tone is not higher than you are at an advantage If it is much above that, your work is cut out for you Bring the tone down 1 it is too low lighten it bring it up This is not difficult. It is easlly possible to raiso or lower the pitch by giving attention to the matter Suppose your voice was located on 'e' by the piano Continue your counting while yoor pianist strikes the next lorrer note. Then drop your voice to agree with the not tone You can follow the pieno up or down for two or three steps without any prcat difficulty In deed, when you are talking your tope range will cover several stops unless you are an ex tremely monotonous speaker ·CHANTER TWELVE Vocal Variety los t rte baie Y un, which pryw het w hy cm. - X. BCVOIT One of the deadly dos of the speaker any speaker I monotony One of the caret mu to lose attention and W w prakty WC Interest Ls to drone alone in a monotone, de heren thout Intelligent emphasis or infection. This here a brey teeplog statement covers both coveration wwdance and public addres. Vocal nurlety letsential in all speech of more than a sentence or two But watch out for extreme Too much rariety emphasis, force, cotherarm, is u bad us too little You know how troome it is to Home to the talker who Kreecha for anaphaal Oh, my dear you would simply kan dind Il you could only hare keard bio tell the story! It was perfectly kung lou recognize that style of talk. It la sotethfas to avoid except when you are doing * trareaty a burlesque mon rola modalation. Maybe it would be good for you to try tt, fast to me what you want tot do.

·THE VOICE OF THE SPEAKER humming right now will help you develop that finer deeper voice quality which you 80 greatly need, Once you have established the habit of speaking in the lower tong, watch yourself continually to determine just which pitch is best for you. Then establish your voice in it Meantime, you have found that the effort * Net correct involved in changing your tone has helped inspeck ke road race duce greater flexbility and ease and resonance. Thus you win on all three counts. kable, but do rol merlett Correct speech habits, like all good habits, check a need froquent attention for bed mannerioras on the round hell creep in if vigilance is relaxed. Give yourself frequent check up and evaluation exercises yw ddly MAKE A RECORDING At least once a month, during your training perlod make a voice recording 80 that you can study your voice, and criticize your own per formance. Even when you have become well established as a good speaker make a recording every three months, so as to check up on your performance. Compare these later recordings with the one you made at the start. This comparison will help you to estimate your progress and shox you where to place new emphals for im provement. Listen to your own rolce as often u possible, and be your own critic.

·CHAPTER TWELVE
Vocal Variety
Wory love and perle bir
Once we want, rikt me onrub of
wete war ber hecht
-IH Brut
One of the deadly ons of the speaker uny
#peaker - Is monotony
One of the surat ma to land attention and
Il to make in interest is to drone along in . monotone,
and it without intelligent emphase or loflection. This
herp meeping atatement covers both continuation
and public addrent local variety la escutlal
In a speech of more than a sentence or two
But watch out for extremea Too much
Tariety edpbasto, forte, entbualasm, is a bad
u too little. You know how tiremme it is to
Laten to the talicer who screetbet for emphad
"Oh my dear you would nwply hare dued
If you could only kare keard him tell the story!
It was perfectly alig
Yon recognize that style of talk. It is some
thing to arold except when you in dolog a
travesty - a burlesque -- on volce modolation
Maybe it would be good for you to try it fost
to xe bat you must not do

·THE VOICE OF THE SPEAKER Voice variety is secured through changes in * Tone quality quailty, rato of speed pauses, emphasis and speed paket ce plans force force. You are not likely to take the trouble to - all these analyze all these elements and work on them kdy to pro duce too separately do we may perhaps do rell jast to roristy consider one simple rule for avoiding monotony That rule la Get the meaning of what you any clearly in mind, and then speak so that the menning will be made clear to those who listen. Try speeldng aloud the two sentences which follow 1 Fourscore and seven years ago our fathers brought forth upon this continent a net nation, conceived in Uberty and dedicated to the proposition that all men are created equal 2 A sense of humor keen enough to show a man his own absurditles should keep him from the commission of all ains, or nearly all mye those which are not worth com mitting You cannot speak them alkc, unless you force yourself to disregard their meaning Your voice naturally takes on certain tones, certain points of stress, es indicated by the sense. Thero are instinctive paures. Even your rate of speed 18 affected by the words and their meaning Tho first sentence, from the immortal ad dress at Gettysburg requires a slower rate

·THE VOICE OF THI SPEAKER
than the second one quoted from a loss tamilar
Reply writing of Samuel Butler Simlarly there are
A ce
firmetact
patara dillerences in pitch and emphads. That
wie w is true of almost erery entence you speak. The
Kar sets the motore for modulation and
draw wid Inflection Failure to rap the meaniog lada
hat
to amuslag erront and mlstaterpretations
Try few sentences, spoken wood to see
what your rolce is capable of doing Alike your
ecphuis and your change of rate and pitch
fit the meaning of the words
TL the wr - IAL / Thy
de ski Prunks
bew! There be by minut
21 berlaluI ny by
ihr we the focus le . The
Vałt the Inflections follow the meaning. Gire
them erfreulon which I doot clearly carry
their meaning Changlog fonectlonu cun com
pletely chanre the sense.

·CHAPTER THIRTEEN Speech With Intelligence Elegaar the art of wine ikling in ach way that has to where to speak any linte rieb Heart -PASCAL The schoolboy type of recitation is an ex ample of what can be done to words when they are uttered with no sense of the meaning but with argent huste to be done with an un pleasant task. The memorixed speech tends to take on a omilar artificial quality even when given by an experlonced speaker When the speaker loser tho koen sense of Better not Importance of what he is saying the audience sweat wall tu misses It also you mee by with Y How aro you going to develop the habits which will give variety to your speech, and keep it out of the ruts of monotony ! Learn to think of what you are saying and to say it with Impressive fatonation A dmple method is to take some short Bentonce and work on it to see how many vari ations in meaning you can give it by means of changed emphasis and inflection. I think my rolce is all right Start by emphasizdag the first word. Next, apply stress to the second word. Successirely ·THE VOICE OF THE SPEAK emphate the third, the fourth, and the nath words, and the combine the last two words for your fipal etfort. You will observe the wide narlety to maning which roonilts from the shiling of the emphaal repede chem beritox they a barra That have ka dore Apply tho unde method to this sentence, placing streets on the more words. Then try to say It pleuuently with the more of marprize, underalo with the sense of vexation and anger Imagine a teacher finding on the deak « bunch of flowers, or some other plerunt fur prise. Imagine the same teacher catering . room where paplla are in confofon and di order The same worde, Epoka on these two occasion, will take on entirely different bien Ing, by reason of the manner of apouldar Make up rentences of your own, and ter bow many changes of meantas you can dre thats by channag emphasis and inflection. Bot dop t orerdo tt TAKE YOUR TIME Don't speak too rapidly it is band on the audimore and on the speaker u well. Some peakers, notably redio commentators have culrated the machineson skor utll they coold speak twice us any words per minute a most of us fee. Jy ont rruction to the has ·THE VOICE OF THE SPEAKER pot bean too enthusiastic. They are all right for A novelty but grow tiresome in a Ultie while The audience needs a chance to catch up with * Even the redo the thought of the speaker It needs the con • Ther speech be com trast of momentary silence with the blasting a. Cine of the voice. A heurera tire te auch In public speech the rate is normally a little y with your Lhoches slower than in conversation Pauses are more essential Each speaker has his own normal rate of utterance and it he will determine this by timing himself he will be in a better position to judge the content of his speech on the basis of time allowed In public speech, one may speak effectively from 100 to 180 words a minute. When carried away by the oratorical Inspiration ono may step the rate up temporarily to 150 words a minute, or even more, and again for oratorical effect. It may be reduced to a considerably slower spoed, but both expedients should be wed cautiously Figuring your speech at the rate of 125 words a minute, you can readily see that in a five-minuto talk, you will use about 600 words, a little more than the content of two pages of this book. This knowledge will help when you have a speech asignment with a definite timo do not undertake to slov dom + ·THE VOICE OF THE STLAKER 93 Joar nate, tupposing It is too nepld, by bal I've furia tation, or meaningless paurer, or by drawling en porch and dngring the words. Fluency is vital The Irina TW bud ronds roust for freely and the speaker must alay keep them onder control the Go back to page 88 and rud again the words Hetorical & Art cu from Lincoln address at Gettrbury rarylar the tempo, introducing paures at different annun more Lerou polats, and shirung the emphuris. Note the Palu difference in effect and even in meaning us and more you change the delivery NOR take this other lex Inmillar passare from Lincoln, und atady It us to Daning, and then reflect the meaning in your way of spank in it The more her mere hermed delle the word betty and the American prople hun marchi wol al on T. deler for herty bila slabo de he plane wiel kill and the product ku brede ruk kthe more word mular en toda they peer te ber mend the pred krat ** Labor Rime ore in my lerret hat we lethem Uity A4 for the mark He went to the memotre partie rolled half the Jad lax fmall ebapre in your ruding in take all the life out of this paragraph. Qulte as ·92 THE VOICE OF THI SPEAKER not been too enthusiastic, They are all right for a novelty, but grow Hresome in a Uttle while. The audlence needs a chance to catch up with * Even the rate the thought of the speaker It needs the con of your spect Man be con trast of momentary silence with the blasting trollak Gipe of the voice. Tor knurers HAC O alck In public speech the rate is normally a uttle uy with your thought. slower than in conversation. Proses aro moro essential Each sperher has his own normal rate of utterance, and if he will determine this by timing himself he will be in a better pooltion to judge the content of his speech on the basis of time allowed In public speech, ono may speak effectively from 100 to 180 words a minuto When carried away by the oratorical Inspiration ope may step the rate up temporarily to 160 tords A minute, or even more, and again for oratorical effect, it may be reduced to a considerably slower speed, but both expedients should be used cautiously Figuring your speech at the note of 128 words a mloute, you can readily see that in a five-minute talk you will us about 600 words a little more than the content of two pages of this book This knowledge will help then you have a specch asignment with a defloſte timo Umit Pleuse do not undertako to Ilow down ·THE VOICE OF THE SPEAKER You hare discovered certain dearable qual ties in your own voice, and some not to dealr able. Try to encouragn und derzlop the food ones, and in to far us possible, wuppress and diminate the bad one You have I hope made ferroico rethe cry it look cording. By this means you have learned bow me G Im your rolce sounds to other people. Review these To recordings frequently always watching to her where you did not do well, and seeking may to correct faults. By making records at Inter mals of a few weeta or months, you can trace your progres, boting faults corrected and rood polots developed. Bot do pot fall to watch for Der faults which ertep in. Eren wille you are eliminating ono unde arable trait, you may be adoaltung two or thrto other. Catch them before they becomo fund habits, and ret rid of tben. Perfection 11 DO thing you will never reach, but it is something for which you most awan be reaching You have doneloped some points of difference <ith se. I am glad of that, for If you diayet, you will be forced to think in order to decide #bether you are Hght and I am wrong or the oppofte. It would be a pity If the went together 11thly my without any auference of op! n Debate the differences bonently and clearly with yourrell It you are coatinced that I am ·94 THE VOICI OF THE SPEAKER Neke your offectively some other changes will make it llying Impressive, convincing And the second type of dellvery is the type which a speaker must use if he is to avoid monotony and misunderstanding There is much which could be said about Understand change of pace, and timing and emphads and What you my volce inflection, pitch and force. I bellove that hearers ondo you can develop these desirable qualities of and what you speech for yourself if you will adopt the one fundamental rule of understanding what you Any and speaking so as to make your hearers understand. Voice modulations come from within. If you aro in earnest, keenly concerned with what you $8y eager to interpret It correctly to others, your speech will reflect your feelings. If your mind is dul if you are not interested, If you are mentally alugploh, your voice will put tho audience to sleep and neither you nor they Deed be disturbed. WHAT HAVE YOU DONE? If you have come this far with me, certain things have happened to you You have tried many voice exercises and experiments. Some of them have appealed to you as being forth while to you. Let me urge you to hold on to them and continue to use them

·THE VOICE OF THE SPLAKIR
might remerk, wonder if you hart over had
Tocal instruction. Your rola rounds u thongh
you should be a singer
re
I hare done this port of thing on a few
occulons when I have beard , particularly
cm
attractito volce, and it has been delightful to
Lee the response. Poople like to be thus noticed
Senho red complimented and when tuch comment
has been offered, you may be sure that the
redpient w become conscious and watchful
of that takeat you hare Dentioned Thas rod
will have done a good turn, and poudbly helped
la pome way to promote the aun of butter
rolets -- that epidemic which is so greatly
Derded in the world today

·6 THE VOICE OF THE SPEAKER wrong don t take my advice, but be sure that you are right before you go off on some tangent What we are after is to help you develop a good voice your best voice Ho that you may speak well and so that others may listen to you with pleasure and profit. Adopt a plan, whether my plan or some *There must be other by which you can achieve that good, « plan Ador the best mo plessant, well-modulated, resonant, vital quall you can find ty of voice which everyone should possess and kort with then follow that plan for a good volce is developed and retained only by constant pratice criticism and correction BE VOICE CONSCIOUS One other word of connuel Practice the habit of "yolce consciousness. Listen to the voices of other people and evaluate them as to the quality of their speech. Apply to them the standards which you have adopted for your self and then criticize yourself in turn by what you find in them Some day you will be waited on in i store or office by some man or woman whose voice will appeal to you as unusually good Mention it, if you get a chance. The other will not be offended You can say 'Has anyone ever told you that you have an unusually pleasant rdlce? Or you ·THE VOICE OF THE SIAKIR Your role, your face and your dispod Hon A hora react upon ouch other they are matually tafitra ential Esch helps or hurts the other Dar priaciple of relaxation la belpful to a three. Te hare keen, in preceding chapters, but tension products bank, striped unpleasant tones la the role. Tenslan affects the face olm Marts and tension in alther voice or face reflects itself in the other Prove It. Speat rome uplouant words. For couple, may "I hate that miserable fellow A look in the mirror will bow that the tool bal is reflected in your face. Change the mood and say "Oh, what abesti mornlog! I am glad to be allre today! The plesant words belp to reler both rolco and face lou feel better sound better and look Lether better and because you feel better perbapo you Ho - Al are better for the pleasant expresion and reach IR baek loto roar labost belas It has not been my porpone in the book to tater the field of thertpeuta, dor of costao tologs por een of perchology bat it would not be fair to refrain frota remindipy you that the Pretoription for imprortes your voice an help ako to improve your looks and your disposition. And that improvement Il lead to better thing In your dealing with other people. A from on your fut puta poul lato your Tolce. The froralng face and the carlias rolee ·CHAPTER FOURTEEN Your Public Relations Department Out of the abordace of the heart the mouth spautech -ALATTALY 12.31 It is important for you to establlah good public relations that is, & good standing with the people about you Your voice and your face are your public relations" agents. More than any other factors, they serve to establish your status, to impress people, to give them ideas about you. What other people think of you is largely determined by how you talk and how you look. That is reasonable, for your face and your speech are the interpreters of your mind. They roveal your character your real sell nothing else can do Thus it comes about that the best starting point for voice Improvement is in your own mind. A fine friendly genial disposition mani fests itself in volce and face So does a mean grouchy selfish anti-social disposition You ant help giving yourself away But here is an encouraging fact for you It can be cheering or startling just as it happena to hit you. Let us hope it cheers you opon while It starties you 2.3 * Voice to protect warts Ix your TUHNE

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·100 THE VOICE OF THE SPEAKER react on your disposition, and help to produce an unpleasant complex in your mind. This en courages further frowning and marling mbi in the course of time your mental attitude becomes warped misanthropic, cynical, quarrel some The wrinkles become deeply engraved In your face, and the harsh notes are integrated into your voice. Happily the converso is true. The smile, the genial friendly generous * The raid, sentiment, whether it starts in volce, face or ow disposition disposition, reacts on the other elements and soms ise!! La tends to induco a positive, constructive, pleasant rence and fuco complex which makes your attitude and your appearance attractive and pleasing With this conception of the matter The Voice of the Speaker takes on net meaning for you. Voice improvement is essential in personal improvement on all lines. Your "best volce can help to bring out your best sell Nature has given you a priceless gift in your * Wake ) volce. It is the means by which you can com coe lor rood municate with your fellow men. It makes poss! ble not only communication, bot understanding and fellowship Take advantage of every sug gestion which will help you to improve it and make it more useful for by your voice and your words, your influence is made effective for good or eyll, by all those whom your life may touch. THE END

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