PITCH.
Pitch is the degree of elevation or depression of sound. On the proper
pitching of the voice depends much of the ease of the speaker, and upon the
modulation of the voice depends that variety which is so pleasing and so
necessary to relieve the ear, but no definite rules can be given for the
regulation of the pitch,--the nature of the sentiment and discriminating
taste must determine the proper key note of delivery. He who shouts at the
top of his voice is almost sure to break it, and there is no sublimity in
shouting, while he who mutters below the proper key note soon wearies
himself, becomes inaudible, and oppresses his hearers. Pitch is
distinguished as Middle, High, and Low.
MIDDLE PITCH.
The Middle Pitch is used in conversational language, and is the note that
predominates in good reading and speaking.
1
A free, wild spirit unto thee is given,
Bright minstrel of the blue celestial dome!
For thou wilt wander to yon upper heaven,
And bathe thy plumage in the sunbeam's home;
And, soaring upward, from thy dizzy height,
On free and fearless wing, be lost to human sight.
_Welby._
2
Eternal blessings crown my earliest friend,
And round his dwelling guardian saints attend!
Blest be that spot, where cheerful guests retire
To pause from toil, and trim their evening fire:
Blest that abode, where want and pain repair,
And every stranger finds a ready chair:
Blest be those feasts with simple plenty crowned,
Where all the ruddy family around
Laugh at the jests or pranks that never fail,
Or sigh with pity at some mournful tale;
Or press the bashful stranger to his food,
And learn the luxury of doing good.
_Goldsmith._
HIGH PITCH.
High Pitch indicates command, joy, grief, astonishment, etc. To obtain a
good control of the voice in a high pitch, practice frequently and
energetically with the greatest force and in the highest key you can
command. Do not forget to drop the jaw, so as to keep the mouth and throat
well open, and be sure to thoroughly inflate the lungs at every sentence,
and if the force requires it even on words. Do not allow the voice to break
into an impure tone of any kind, but stop at once, rest for a short time
and then begin again. The following examples are excellent for increasing
the compass and flexibility of the voice, and the pupil must practice them
frequently and with sustained force.
1.
"The game's afoot,
Follow your spirit, and upon this charge
Cry 'God for Harry, England and Saint George!'"
_Shakespeare._
2.
Ring! Ring!! Ring!!!
3.
MELNOTTE. Look you our bond is over. Proud conquerors that we are, we have
won the victory over a simple girl--compromised her honour--embittered her
life--blasted in their very blossoms, all the flowers of her youth. This is
your triumph,--it is my shame! Enjoy that triumph, but not in my sight. I
_was_ her betrayer--I _am_, her protector! Cross but her path--
one word of scorn, one look of insult--nay, but one quiver of that mocking
lip, and I will teach thee that bitter word thou hast graven eternally in
this heart--_Repentance!_
BEAUSEANT. His Highness is most grandiloquent.
MELNOTTE. Highness me no more! Beware! Remorse has made me a new being.
Away with you! There is danger in me. Away!
_Sir E. Bulwer Lytton._
4.
Up, comrades, up!--in Rokeby's halls,
Ne'er be it said our courage falls!
_Sir Walter Scott._
5.
To arms! To arms!! a thousand voices cried.
6.
The combat _deepens!_ On ye _brave!_
Who rush to _glory_ or the _grave_.
_Campbell._
7.
Charcoal! Charcoal! Charcoal!
8.
Hurrah! Hurrah!! Hurrah!!!
LOW PITCH.
Low Pitch is used to express grave, grand, solemn, and reverential
feelings, and is very effective in reading.
To obtain a good control of the voice in Low Pitch, first practice the
examples given under the High Pitch, until you are fatigued, then after
resting the lungs and vocal organs, practice the lowest and deepest tone
you can command, giving, however, a full clear and resonant sound.
1.
Seems, Madam! Nay, it is; I know not 'seems,'
'Tis not alone my inky cloak, good mother,
Nor customary suits of solemn black,
Nor windy suspiration of forced breath;
No, nor the fruitful river in the eye,
Nor the dejected 'haviour of the visage,
Together with all forms, moods, shapes of grief,
That can denote me truly: these indeed, seem,
For they are actions that a man might play;
But I have that within that passes show;
These but the trappings and the suits of woe.
_Shakespeare._
2.
Then the earth shook and trembled: the foundations of Heaven moved and
shook, because he was wroth. There went up a smoke out of his nostrils; and
fire out his mouth devoured; coals were kindled by it. He bowed the
heavens, also, and came down; and darkness was under his feet; and he rode
upon a cherub, and did fly; and he was seen upon the wings of the wind; and
he made darkness pavilions round about him, dark waters, and thick clouds
of the skies. The Lord thundered from heaven, and the Most High uttered his
voice; and he sent out arrows and scattered them; lightning and discomfited
them. And the channels of the sea appeared; the foundations of the world
were discovered at the rebuking of the Lord, at the blast of the breath of
his nostrils.
3.
I am thy father's spirit;
Doomed for a certain term to walk the night,
And for the day confined to fast in fires,
Till the foul crimes done in my days of nature,
Are burned and purged away.
_Shakespeare._
Unchanged through time's all-devastating flight;
Thou only God! There is no God beside!
Being above all beings! Three-in-One!
Whom none can comprehend, and none explore;
Who fill'st existence with Thyself alone;
Embracing all--supporting--ruling o'er--
Being whom we call God--and know no more!
_Derzhaver._
TRANSITION.
Transition signifies a sudden change in the force, quality, movement, or
pitch of the voice, as from a subdued to a very high tone, from a slow to a
rapid rate of utterance, and also the reverse of these movements. It also
refers to changes in the style of delivery, as from a persuasive to the
declamatory, etc., and to the expression of passion or emotion, as from
grief to joy, from fear to courage, etc.
Transition thus forms a very important part in vocal culture, and public
speakers often ask the question: "How can I modulate my voice?" for they
are well aware that nothing relieves the ear more agreeably than a well
regulated transition, for who has not been bored by listening to a speaker
whose voice throughout has been pitched in one monotonous tone, either too
high or too low? A change of delivery is also necessary when a new train of
thought is introduced, for pitch, tone, quality, time, and force should all
be changed in conformity with the changes of sentiment. No definite rules
can be laid down in relation to the proper management of the voice in
transition which would be intelligible without the living teacher to
exemplify them. Constant practice must be persevered in to enable the pupil
to make the necessary transitions with skill and ease.
[This selection demands the entire range of the speaking voice, in pitch--
all qualities, and varied force.]
Hark! the alarm bell, 'mid the wintry storm!
Hear the loud shout! the rattling engines swarm.
Hear that distracted mother's cry to save
Her darling infant from a threatened grave!
That babe who lies in sleep's light pinions bound,
And dreams of heaven, while hell is raging round!
Forth springs the Fireman--stay! nor tempt thy fate!--
He hears not--heeds not,--nay, it is too late!
See how the timbers crash beneath his feet!
O, which way now is left for his retreat?
The roaring flames already bar his way,
Like ravenous demons raging for their prey!
He laughs at danger,--pauses not for rest,
Till the sweet charge is folded to his breast.
Now, quick, brave youth, retrace your path;--but lo!
A fiery gulf yawns fearfully below!
One desperate leap!--lost! lost!--the flames arise
And paint their triumph on the o'erarching skies!
Not lost! again his tottering form appears!
The applauding shouts of rapturous friends he hears!
The big drops from his manly forehead roll,
And deep emotions thrill his generous soul.
But struggling nature now reluctant yields;
Down drops the arm the infant's face that shields,
To bear the precious burthen all too weak;
When, hark!--the mother's agonising shriek!
Once more he's roused,--his eye no longer swims,
And tenfold strength reanimates his limbs;
He nerves his faltering frame for one last bound,--
"Your child!" he cries, and sinks upon the ground!
And his reward you ask;--reward he spurns;
For him the father's generous bosom burns,--
For him on high the widow's prayer shall go,--
For him the orphan's pearly tear-drop flow.
His boon,--the richest e'er to mortals given,--
Approving conscience, and the smile of Heaven!