Expressive Voice Culture | Page 7

to the sacrifice of others, it is never
necessary to introduce false notes, the effect of which may remain as a
limitation upon the expression of the selection used.
VOLUME
Other things being equal, the volume of voice used measures the value
that the mind puts upon the thought. Of course the expression of this
value is modified and characterized by the nature of the thing spoken of.
For example, one would express the value of the ocean with a different
quality from that which would be used in expressing the value of
something exquisitely delicate. All elements of expression modify each
other, so that no mere rule can cover all cases. Volume is not always
expressed in the form of extension of power, but is frequently
manifested in the form of intensity or compressed volume. It is scarcely
necessary to explain the difference between the expression of mere
vital power in the voice and that manifestation of the will which gives
the impression of directed energy. The will determines, and the impetus
of the thought is measured by, the adjustment of volume. Vitality is
expressed in radiation; will is expressed in focus.
The term "volume" may be broadly used to cover the characteristics of
the thing estimated, and hence to include something of that subtle
expression which we call color in the voice. Volume expresses will;
color expresses imagination. For this use of the voice in the special
service of will-power, or propelling force, it is necessary first to test its
freedom. This may be done by taking the humming tone and bringing
to bear upon it a strong pressure of energy. If the tone sharpens under
the strain it is not perfectly focused. If it remains mellow one may
venture upon the next step, which is to practise various vowel sounds
and elements of speech with concentrated energy. The sense of bearing
on to the voice, or endeavoring to push the tone by any pressure

whatever, should be absolutely avoided. Tone support should be
carefully regarded. In order to secure this a correct standing position
must be held and the muscles about the waist and the abdominal
muscles must be firm and elastic.
The chin is, in articulation, the pedal of power, and decision in the
conscious action of the chin (not the jaw) will induce by reflex action
that stroke which expresses well-aimed will-power. It may be noticed
in connection with this suggestion that when a person means what he
says the action of the chin is likely to be noticeably decided.
The perfectly alert and self-commanding attitude of the body cannot be
too strongly urged at this point, for the voice cannot be used safely with
great power when the body itself is in a negative attitude; for it must be
remembered that the voice is a reporter, and if we attempt to force it to
report something that is not there it will repay us by casting the lie in
our throat. Power is the result of growth, and can be developed only by
patience and the securing of such conditions as will establish freedom
and certainty. The certainty of any tone depends upon the perfection of
its focus. Quality is the synthetic effect of these attributes in the voice.
Under this head selections of a warlike nature may be practised, and
those which have in them the thoughts of magnitude and importance.
Spartacus's "Address to the Gladiators" is excellent; also, Byron's
"Apostrophe to the Ocean," "The Rising in '76," and selections of a
similar nature.
TIME
Including Poise and Rhythm The significance of time is determined by
the movement of any selection, or, in other words, the rhythm. It will
be noticed that a selection may be read with rhythmical effect and be
made quite impressive without much emphasis of other characteristics.
However, the responsiveness of the voice in variety of pitch, quality,
and power is also a very large factor in the illumination of the pause.
The pause, as a mere interruption of sound, has little significance, but
the relations that the different sounds bear to each other lend
significance to the pause. A pause should always suggest an orbit of
thought. These characteristics of expression can be made effective only

by the practice of concentration in the mind itself upon the thoughts to
be suggested. Nevertheless, the quick responsiveness of one's
sensibilities in the expression of the various qualities developed by the
cultivation of the voice greatly facilitates the manifestation of the
thought itself.
All selections of a high order have relation to rhythm in their
composition, and that style of movement in the composition should
find its ready response in the organism of the speaker or reciter. It
should be remembered that the sense of rhythm may be misapplied, as
may any other