Project Gutenberg #16317
The Art of Public Speaking
J. Berg Esenwein and Dale Carnegie
1915A practical course in confident delivery, voice, gesture, exposition, argument, persuasion, vocabulary, and effective conversation.
Project Gutenberg #16317 Public domain in the United States Cover source Local typographic cover created for The Missing Workbook from public-domain source metadata
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words at B2 or above
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at or above your level
Missing dictionary data: 1 unique word is not in the dictionary data yet. Amber marks show where it appears.
portions of your body vibrate at the same time. When you have attained this you will find that it is a pleasant sensation.
What ho, my jovial mates. Come on! We will frolic it like fairies, frisking in the merry moonshine.
Purity of Voice
This quality is sometimes destroyed by wasting the breath. Carefully control the breath, using only as much as is necessary for the production of tone. Utilize all that you give out. Failure to do this results in a breathy tone. Take in breath like a prodigal; in speaking, give it out like a miser.
Voice Suggestions
Never attempt to force your voice when hoarse.
Do not drink cold water when speaking. The sudden shock to the heated organs of speech will injure the voice.
Avoid pitching your voice too high—it will make it raspy. This is a common fault. When you find your voice in too high a range, lower it. Do not wait until you get to the platform to try this. Practise it in your daily conversation. Repeat the alphabet, beginning A on the lowest scale possible and going up a note on each succeeding letter, for the development of range. A wide range will give you facility in making numerous changes of pitch.
Do not form the habit of listening to your voice when speaking. You will need your brain to think of what you are saying—reserve your observation for private practise.
QUESTIONS AND EXERCISES
1. What are the prime requisites for good voice?
2. Tell why each one is necessary for good voice production.
3. Give some exercises for development of these conditions.
4. Why is range of voice desirable?
5. Tell how range of voice may be cultivated.
6. How much daily practise do you consider necessary for the proper development of your voice?
7. How can resonance and carrying power be developed?
8. What are your voice faults?
9. How are you trying to correct them?