The American Union Speaker | Page 7

I would here call special attention is
called pure tone, which in its perfection, accompanied with strength
and compass, comprises nearly all the requisites of a good voice. "True
utterance and pure tone," says Professor Russell, "employ the whole
apparatus of voice, in one consentaneous act, combining in one perfect
sphere of sound, if it may be so expressed, the depth of effect produced
by the resonance of the chest, the force and firmness imparted by the
due compression of the throat, the clear, ringing property, caused by the
due proportion of nasal effect, and the softening and sweetening
influence of the head and mouth."
The orotund quality which is so effective in impassioned utterance, and
in the expression of deep, forcible, and sublime emotions, is nothing

more than pure tone increased in extent of volume, and in intensity of
force. This modification of pure tone is very full, very rounds very
smooth, and very highly resonant or ringing. It is what Dr. Rush
regarded as the highest perfection of speech-voice, and as the natural
language of the highest species of emotion. Volume and energy are its
distinguishing characteristics. The piece from Webster on page 160, is
a good illustration of its use.
In cultivating purity of tone, it is necessary, in the first place, to
ascertain the elements of impurity, and their causes and remedies. To
this negative process must be added the positive, namely--attention to
the due and proportionate development of all the vocal organs. Depth is
increased by the expansion of the pharynx; roundness and volume are
promoted by the enlargement of the oral cavity, especially its back part;
and smoothness is the result of the free vibration of the vocal chords,
while resonance is produced by the proper expansion of the chest.
MODULATION. This has reference, not to the qualities of the voice
itself, but to its management in delivery. It includes those modifications
and variations which are requisite for the expression of thoughts and
feelings, and are therefore denominated by some elocutionists, the
elements of expression, in distinction from the elements of utterance,
which we have already considered under the preceding heads. The
principal expressive modifications of the voice, are pitch, force, rate,
pause, and infection. The voice should be exercised on these elements
separately, till each can be produced in all its varieties and degrees. The
middle pitch, or key-note, is that of common discourse, but by practice
it may be rendered effective in public speaking. Neglect to cultivate
and develop the power of speaking on this key, often leads speakers to
adopt the high, shouting note, which is heard so commonly, and with so
much disapprobation, at exhibitions of declamation. Every one can
speak on a high key, although without training few can do it pleasingly;
but command over the low notes of the voice is a rare accomplishment,
and an unequivocal characteristic of the finished speaker. It is well to
pay some attention to the very high and very low notes, not so much for
their own utility in public speaking as for the purpose of giving strength
and firmness to the notes which are intermediate between the natural
pitch and either extreme, and which are designated as simply high and
low, without any qualifying term. After accustoming the ear and voice

to the different notes, the student should learn to make sudden
transitions from one key to another.
FORCE. The principal degrees of force requiring attention, are three:
the moderate, the declamatory, and the impassioned. The degrees lower
than moderate are, the suppressed and the subdued; and those higher
than impassioned are, shouting and calling. But these are not very
important in practical delivery.
RATE has reference to the kinds of movement in delivery, including
the rapid, the moderate, and the slow. Mrs. Siddon's primary rule for
good reading was, "Take Time." Excessive rapidity of utterance is,
undoubtedly, a very prevalent fault, both in speaking and in
conversation. Deliberate speech is usually a characteristic of culture
and good-breeding. This excellence is greatly promoted by giving due
quantity, or prolongation of sound, to the vowels.
PAUSES. Besides the pauses required by the syntactical structure of
the sentence, and denoted by grammatical punctuation, there are the
pauses of passion, and the pauses at the termination of the clusters into
which words are grouped in good speaking.
The pauses of emotion occur in impassioned delivery. They usually
consist in lengthening the stops indicated by the punctuation marks,
especially those of the points of exclamation and interrogation, and the
dash. Pauses of this description constitute one of the most importent of
the elements of emphatic expression, and yet they are, by many
speakers, altogether neglected, or so abridged as to destroy their effect.
The young student is particularly apt to disregard them.
The pauses which mark the