m To know the types of voice

m To identify the organs involved in speaking

m To pronounce words correctly and clearly
m Ô ?
  is a particular kind of human talking or
singing voice perceived as having certain identifying
qualities or characteristics.
m ñ
 



 is the process by which human
voices are evaluated and are thereby designated
into ?
  .
m n singing, these qualities include but are not limited
to: vocal range, vocal weight, vocal tessitura,
vocal timbre, and vocal transition points such as
breaks and lifts within the voice.
m ñoice classification
considerations are physical
characteristics, speech
level, scientific testing, and
vocal registration.
m ñoice classification is a tool
for singers, composers,
venues, and listeners to
categorize vocal
properties, and to
associate possible roles
with potential voices.
m There are a plethora of different voice types used by vocal
pedagogists today in a variety of voice classification
systems.
m Most of these types, however, are sub-types that fall under
seven different major voice categories that are for the most
part acknowledged across all of the major voice
classification systems.
m Women are typically divided into three
groups: soprano, mezzo-soprano, and contralto.
m Men are usually divided into four
groups: countertenor, tenor, baritone, and bass.
m Ôn effective speaking voice is responsive to the
intentions of the speaker. t enables one¶s
feelings and thoughts.
m Ôn effective speaking voice is so intimately
associated with what the speaker is saying that it
attracts no attention to itself and therefore does
not distract attention from what the speaker is
trying to communicate.
m Manner of production- the voice, in itself, must not
attract attention.
m Sex, Ôge, and Physique- Men¶s voice is different
than the women¶s voice.
m Listener¶s criteria- an effective voice is one which
can be heard without conscious effort or strain. t
is pleasant to hear, but the pleasure should be
unconscious and should not dominate the
listener¶s reactions.
m Physical health- ñoice reflects the presence or
absence of any specific and chronic condition.
Fatigue, common cold, and allergies that involve
the respiratory tract strongly affect how the voice
is produced.
m Mental health- Ô mentally healthy person is one
who is aware of what is going on about him and
responds, without violence to his own integrity, to
the demands of his environment.
m ñoice Quality
m ñoice Levels
m ñoice ntensity
m ñolume and ñoice Projection
m Rate of Speech
m ñoice is the production of sound while speech is
the combination of sounds so that they become
symbols that represent meanings to both speaker
and listener.
m Quality is the distinctive characteristic of voice
that makes it pleasant or unpleasant. This is
often referred to as ³timbre´ or ³tone color.´
m t is determined by the combination of resonances
(richness and volume) of sound, tone, timbre
between individual voices so that one could be
identified.
m ½ormal- the natural way of conversing that shows
little or no emotions. t is used in expressing
thoughts.
m Breathy- used when one wants to create an
atmosphere of secrecy and mystery. This is an
³aspirate´ quality.
m Full- used when the voice must be projected to a
greater distance, or when the occasion is formal
or dignified. t is also referred to as an ³orotund
(round mouth).´
m ëhesty- a deep hollow voice as if coming from a
deep and empty cave. t has ³pectoral´ quality that
makes it particularly effective in speaking the part
of a spirit.
m Thin- this quality is high-pitched. t has a ³falsetto´
quality that occurs only in extreme fatigue,
weakening, old age or in extreme excitement.
m ush! Don¶t speak to me, Willis! You unnatural,
cruel heartless± Why did you let me come in? 
wonder at you, Willis! f you had been half the
brother you ought to be- oh, dear, dear!  know
how you will go away and laugh now, and tell
everybody.  suppose you think it corroborates
that silly speech of yours before the legislative
committee that¶s wounded all your best friends so,
and that ¶ve been talking dumb defending you
about.
Let me not to the marriage of true minds
Ôdmit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove.
Oh, no! it is an ever fixed mark
That looks on tempests and is never shaken;
t is the star to every wandering bark,
Whose worth¶s unknown, although his height be
taken.
f  speak in the tongues of men and of angels but
have not love,  am a noisy gong or a clanging
cymbal. Ônd if  have prophetic powers and
understand all mysteries and all knowledge, and if
 have faith so as to remove mountains but have
not love,  am nothing. f  give away all  have,
and if  deliver my body to be burned but have not
love,  gain noting.
Love is patient and kind; love is not jealous or
boastful; it is not arrogant or rude. Love does not
insist on its own way; it is not irritable or resentful;
it does not rejoice at the wrong but rejoices in the
right. Love bears all things, believes all things,
hopes all things, endures all things.
m Pitch is another element of voice which shows
emotion. t is the location of sound on the music
scale and is determined by the tension applied to
the tone-producing mechanism-the vocal chords.
m ñarying the pitch means going up and down the
scale so that voices could be described as high,
medium, or low.
m ëhanging of pitch alone, however, does not
ensure vocal expressiveness.
m ºey tone- the general pitch level that varies from
person to person. t should be in the lower half of
your natural range, but the voice must not stay in
that key.
m ñoice nflections- the change in pitch that occurs
between syllables or words. t adds color in
conversations and influence listeners to respond
with more interest and pleasure.
m Melody patterns- the rhythm and swing of phrases
and sentences that form into a continuous pattern
as mood changes.
m The money is mine, not yours, mine mine mine!
m You¶re nothing but a second rate trying hard
copycat!
m  never said that  love you!
m Please don¶t bore me with your questions.
O Romeo, Romeo! Wherefore art thou Romeo?
Deny thy father and refuse thy name!
Or, if thou wilt not, be but sworn my love,
Ônd ¶ll no longer be a ëapulet.
µTis but thy name that is my enemy;
Thou art thyself though not a Montague.
What¶s Montague? t is nor hand nor foot,
½or arm, nor face, nor any other part
Belonging to a man. O, be some other name!
The wind was a torrent of darkness among the
dusty trees, The moon was a ghostly galleon
tosses upon cloudy seas, The road was a ribbon
of moonlight over the purple moor, Ônd the
highwayman came riding± Riding, Riding,
The highwayman came riding, up to the old inn-
door.
Over the cobbles he clattered and clashed in the
dark inn-yard
Ônd he tapped with his whip on the shutters, but all
was locked and barred;
e whistled a tune to the window, and who should
be waiting there
But the landlord¶s black-eyed daughter, Bess, the
landlord¶s daughter,
Plaiting a dark red love knot into her long black hair.
³van, don¶t go to the fair!´ his wife begged. ³ dreamed
last night that you got into trouble while you were
away, and then  saw that your hair had turned gray.´
van laughed. ³That¶s a lucky sign,´ he said. ³See if 
don¶t sell all my goods and bring you some presents
from the fair. What are you afraid of?´
is wife replied, ³  don¶t know what  am afraid of.
Please don¶t go.´
They tell us, Sir, that we are weak, unable to cope
with so formidable an adversary. But when shall we
be stronger? Will it be next week, or next year? Will
it be when we are totally disarmed and when a
British guard shall be stationed in every house?
Shall we gather strength by irresolution and
inaction? Shall we acquire the means of effectual
resistance by lying supinely on our backs and
hugging phantom of hope, until our enemies shall
have bound us hand and foot? Sir, we are not weak
if we make proper use of those means which the
God of nature hath placed in our power.
m Loudness or intensity refers to the effect of a sound
on the ear-its loudness or softness.
m t should be varied because differences in volume
make it possible for the listener to sense the
differences in meaning and therefore, interpret the
speaker¶s intentions.
m ³Degree´ of force in speaking refers to the amount
of force applied.
m ³Form´ of force in speaking refers to the manner in
which the force is applied-sudden, steady,
increasing, etc.
m Degrees of Emphasis- force can be applied in varying
degrees of emphasis, such as a sharp reduction or a
sharp increase in intensity. This can be done by
increasing the loudness of a word or phrase, by
gradually decreasing its loudness, or by applying a
degree of force to a word or phrase. Ex. You are a
disgrace to our family.
m Forms of intensity- the manner in which force is applied-
gradual but firm (effusive), firm but rapid (expulsive),
sudden outburst (explosive)- indicating a change in
feeling or emotion. Ex. Die!
t is vain, Sir, to extenuate the matter. Gentlemen may
cry peace, but there is no peace. The war has actually
begun! The next gale that sweeps from the ½orth will
bring to our ears the clash of resounding arms! Why
stand we here idle! What is it that Gentlemen wish?
What would they have? s life so dear or peace so
sweet as to be purchased at the price of chains and
slavery? Forbid it! Ôlmighty God!  know not what
course others may take, but as for me, Give me
liberty or give me death!
ear the sledges with the bells- Silver bells!
What a word of merriment their melody fortells!
ow they tinkle, tinkle, tinkle, n the icy air of night!
While the stars that oversprinkle
Ôll the heavens, seem to twinkle with a crystalline delight;
ºeeping time, time, time in a sort of Runic rhyme,
To the tintinnabulation that so musically wells
From the bells, bells, bells, bells, bells, bells, bells
From the jingling and the tinkling of the bells.
Friends, Romans, countrymen, lend me your ears.
 come to bury ëaesar, not to praise him.
The evil that men do lives after them,
The good is oft interred with their bones.
So let it be with ëaesar. The noble Brutus hath told
you ëaesar was ambitious.
f it were so, it was a grievous fault,
Ônd grievously hath ëaesar answer¶d it.
 am a Filipino-inheritor of a glorious past, hostage of
the uncertain future. Ôs such  must prove equal to
a twofold task- the task of meeting my responsibility
to the past and the task of performing my obligation
to the future.
 am sprung from a hardy race, child of many
generations removed of ancient Malayan pioneers.
Ôcross the centuries the memory comes rushing
back to me; of brown-skinned men putting out to
sea in ships that were as frail as their hearts were
stout.
 am a Filipino. n my blood runs the immortal seed
of heroes- seed that flowered down the centuries
in deeds of courage and defiance. n my veins yet
pulses the same hot blood that sent Lapu-lapu to
battle against the first invader of this land, that
nerved Lakandula in the combat against the alien
foe, that drove Diego Silang and Dagohoy into
rebellion against the foreign oppressor.
m ñolume is the degree of loudness, and projection
is the process of directing the voice to a specific
target.
m t requires the speaker to define the message and
identify the target or focus of the message.
m The target is the particular direction to which you
are aiming and addressing- the person-or your
ñOëE FOë S.
m ëarry your tone or throw out your voice as far as the
speech and the situation will require.
m Practice proper breathing control.
m dentify your listeners and acknowledge your
audience; reach out everyone in the room and direct
your voice to them.
m Develop a very positive attitude toward speaking to
an audience.
m ëultivate a sense of participation with your listeners.
m Ôlways direct your thoughts toward the last row of
listeners.
Fat black bucks in a wine-barrel room,
barrel-house kings with feet unstable,
Sagged and reeled and pounded on the table,
Pounded on the table,
Beat an empty barrel with the handle of a broom,
hard as they were able,
Boom, boom, BOOM
With a silk umbrella and the handle of a broom,
Boomlay, boomlay, boomlay, BOOM.
¶ll walk where my own nature would be leading-
t vexes me to choose another guide-
Where the grey flocks in ferny glens are feeding,
Where the wild wind blows on the mountain-side.
½ot from the whole wide world would  choose thee,
Sweetheart, light of the land and the sea!
The wide, wide world could not enclose thee,
For thou art the whole wide world to me.
m This is referred to as the variations in speed. t
depends on the thought you are expressing.
m t is also a reflection of a speaker¶s mood.
m Speed of one¶s utterance may vary from time to
time and from passage to passage.
When  am dead, my dearest,
Sing no sad song for me;
Plant thou no roses at my head,
½or shady cypress tree:
Be the green grass above me
With showers and dewdrops wet;
Ônd if thou wilt, remember,
Ônd if thou wilt, forget.
 am tired of tears and laughter,
Ônd men that laugh and weep;
Of what may come hearafter
For men that sow to reap:
 am weary of days and hours,
Blown buds of barren flowers,
Desires and dreams and powers,
Ônd everything but sleep.
m Read to class one or two stanzas of your favorite
poem or speech or prose.
m We¶ll critique one another using the guidelines
previously discussed.
m Be ready for an oral quiz.