This document discusses various techniques for modulating one's voice, including pace, pitch, pause, power, volume, emphasis, and inflection. It provides guidance on using each technique appropriately, such as maintaining a pace that listeners can understand, keeping pitch at a comfortable level, pausing for punctuation and emphasis, generating intensity from the abdomen for power, matching the listener's volume, emphasizing key words, and using ups and downs in inflection to link meaning and feeling. The document concludes with a poem about feeling less troubled by a friend's problems from a distance but recognizing the potential to withdraw care upon closer involvement.
This document discusses various techniques for modulating one's voice, including pace, pitch, pause, power, volume, emphasis, and inflection. It provides guidance on using each technique appropriately, such as maintaining a pace that listeners can understand, keeping pitch at a comfortable level, pausing for punctuation and emphasis, generating intensity from the abdomen for power, matching the listener's volume, emphasizing key words, and using ups and downs in inflection to link meaning and feeling. The document concludes with a poem about feeling less troubled by a friend's problems from a distance but recognizing the potential to withdraw care upon closer involvement.
This document discusses various techniques for modulating one's voice, including pace, pitch, pause, power, volume, emphasis, and inflection. It provides guidance on using each technique appropriately, such as maintaining a pace that listeners can understand, keeping pitch at a comfortable level, pausing for punctuation and emphasis, generating intensity from the abdomen for power, matching the listener's volume, emphasizing key words, and using ups and downs in inflection to link meaning and feeling. The document concludes with a poem about feeling less troubled by a friend's problems from a distance but recognizing the potential to withdraw care upon closer involvement.
MUSICAL MEANING: "RHYTHM, SINGING AND PLAYING, OR MELODY."
MODULATION IS WHEN YOU CONTROL OR
ADJUST SOMETHING, LIKE WHEN YOU LOWER YOUR VOICE TO A LOUD WHISPER IN ORDER TO MAKE WHAT YOU'RE SAYING MORE DRAMATIMYSTERIOUS.
THE NOUN MODULATION HAS SEVERAL
MEANINGS, INCLUDING A CHANGE OF KEY IN MUSIC OR OF THE SOUND OF A PERSON'S VOICE. IT ALMOST ALWAYS INVOLVES SOME KIND OF DELIBERATE MODIFICATION OR SLIGHT CHANGE, LIKE AN ACTOR ADJUSTING HIS PITCH OR VOLUME DEPENDING ON THE ROLE HE'S PLAYING OR THE MOOD OF THE SCENE.
PACE OR SPEECH SPEED
It must always be at a speed that the listener can understand. Put the pace at that speed where the listener can understand you properly.
PITCH OR DEPTH OF VOICE
Keep it at a level that is comfortable for
you and dont strain your vocal cords.
PAUSE
Pauses should be given at required
intervals like where there is punctuation. It is given to let the listener absorb your information. It is given for emphasis and dramatic effect.
POWER
In order to create power in your voice
you should not speak from your mouth but from inside from the abdomen, make it commanding by generating intensity in your voice
VOLUME
Try and match your listeners speech volume,
unless they are shouting. Try dropping your volume so that they have to drop their volume to hear you. Maintain your volume according to the listener decrease or increase (do not shout to increase it be loud).
EMPHASIS Put emphasis by putting some pressure or
focus on the key words or syllables in order to
provide contrast to your words bring out their desired meaning
INFLECTION
Inflection means ups and downs of
words. In combination inflection links meaning and feeling with your words.
A Confession to a Friend in Trouble
By: Thomas Hardy, 1840 - 1928
Your troubles shrink not, though I feel them less
Here, far away, than when I tarried near; I even smile old smileswith listlessness Yet smiles they are, not ghastly mockeries mere. A thought too strange to house within my brain Haunting its outer precincts I discern: That I will not show zeal again to learn Your griefs, and, sharing them, renew my pain.
It goes, like murky bird or buccaneer
That shapes its lawless figure on the main, And each new impulse tends to make outflee The unseemly instinct that had lodgment here; Yet, comrade old, can bitterer knowledge be Than that, though banned, such instinct was in me!