taking full advantage of the means at their disposal. Most of us can both improve our voices and increase the effectiveness with which we employ the modulations of quality, force, pitch, and rate in the interpretation of our thoughts and feelings. The following analysis presents a general view of the scope of voice modulation, and the succeeding chapters will discuss the various factors in detail.

occur.

CHAPTER VIII

VOICE QUALITY

Quality of tone, whether vocal or instrumental, is the essential nature, or character, of the sound. It depends mainly upon the material of the vibrating media, the size and shape of these media, and the size, shape, and material of the enclosure in which the vibrations For these reasons, a violin produces a quality of tone which is entirely distinct from that of a trumpet. The clarinet has still a different quality. In the first case, the vibrating media are catgut and wood; in the second, metal; in the third, reed and wood. Moreover, there are essential differences of shape and size in these instruments. Just as the violin, or trumpet, or clarinet has each its distinctive tone quality, so has the human voice. Again, violins of different makes and grades have varying qualities of tone. Similarly, people all have voices peculiar to themselves; you are able to recognize your intimate acquaintances by hearing them speak, even if you cannot see them. A difference, great or small, in the texture, size, or shape of the vocal bands, the larynx, the pharynx, the mouth, or the nasal passages results in a corresponding difference in voice quality. Therefore, each individual has his characteristic quality of voice, inasmuch as in no two persons are all these factors exactly alike.

Besides his characteristic, normal quality, each individual can produce several different qualities by varying

the focus of the breath current, or changing the shape of the larynx and the resonance cavities, i. e., the pharynx, mouth, and nasal chambers. These varying qualities manifest themselves as effects of the person's thoughts, and particularly his feelings, upon the vocal apparatus. For example, intense rage constricts the throat, producing a harsh quality called the guttural; the desire to limit the audibility of the voice causes the speaker to separate the vocal bands in such a way as to produce a whisper. Of course, it would be impossible to tabulate the infinite variety of shades and blends, but writers on the voice have roughly classified the clearly distinguishable qualities as follows: normal, orotund, aspirate, guttural, pectoral, oral, nasal, and falsetto.

The first three of these are worthy of study and practice for purposes of practical speaking. The others may be dismissed with a few brief comments, as they concern chiefly the actor or professional reader and are noted here that they may be, in the main, avoided, in practical speaking.

Undesirable Qualities

The guttural, as suggested above, is a harsh, throaty quality, which is sometimes used in the expression of uncontrolled rage. The rush of blood distending the throat membranes makes the passage of breath difficult; and the result is a rasping voice, very trying to the throat. The difference between a dog's normal bark and his growl of anger affords an interesting parallel to the human change from normal to guttural.

The so-called pectoral is a hollow, somewhat breathy quality, which gives the effect of being produced in the region of the chest. In reality, according to Dr. Rush,

it is the result of resonance in the pharynx rigidly expanded. The pectoral manifests physical, mental, or emotional oppression, such as pain, anguish, exhaustion, or despair.

The oral (mouth) quality has merely a front, mouth resonance which produces a thin, somewhat metallic effect. It is, to be sure, clear, if uttered with clean-cut articulation. It carries a suggestion of lightness, triviality, or a lack of sufficient interest in one's subject to put any "heart" into the voice.

The nasal quality, sometimes referred to as the "nasal twang," is a very unpleasant one. When not obviously due to a chronic nasal obstruction, or associated with a crude, uncultivated style of speech, it suggests a malicious," snarling" state of mind. The common expression, " talking through the nose," is misleading with reference to the nasal quality. It is just the opposite. The soft palate is permitted to droop abnormally, thus directing a large amount of breath into the nasal chambers; at the same time the passages leading out through the nostrils are contracted, thus stopping the escape of the breath. A considerable mixture of nasal resonance is highly desirable for a strong, rich, vibrant voice, but the nasal passages must be kept open throughout in order to avoid the "twang."

The falsetto quality is a thin type, mainly above the range of the speaker's natural pitch. It is sometimes employed in ridicule, especially in imitating the piping tones of childhood, old age, or the shrewish person.

The Normal Quality

The quality which we employ for all ordinary purposes, our habitual, characteristic quality, is known as

the normal tone. It is produced with regular vocalization of the vowels and semi-consonants, and with the walls of the resonance cavities in normal position. Since the great bulk of our utterance, whether in conversation or speech-making, calls for the normal quality, it is especially desirable that it should be clear, resonant, and agreeable to the ear. Some people are naturally gifted with beautiful speaking voices. This is an enviable possession, which will always, probably, be limited to the favored few. The vast majority of us have ordinarily agreeable voices, capable, on the one hand, of much improvement by intelligent use, and, on the other hand, of deterioration by neglect, rough usage, and bad habits, such as yelling, excessive smoking, etc. Not infrequently a person's normal quality is gruff, strident, husky, nasal, thin, or squeaky. He should take immediate steps to overcome his fault, whatever it may be.

Every student should cultivate the ability to listen critically to the sound of his own voice, and note if it has any of the shortcomings mentioned above. Moreover, he should observe the voices of others for the purpose of comparing them with his own. Some one's strong, clear, pleasing voice may serve as a helpful standard for a less fortunate person's imitation. The student should try to produce a clear, agreeable quality in his every-day speaking as well as in his class-room work. The final suggestion is that the student observe that a relaxed throat, clear, open nasal passages, an avoidance of undue forcing of the breath, freely-moving jaws and lips for the unhindered outflow of sounds, and a mental tone image of the desired voice product — these are essential to an effective and pleasing voice quality.