Principles of Public Speaking PDF

Principles of Public Speaking Module 5: Delivering Your Speech Vocal Aspects of Delivery 2 Though we speak frequently during the course of a day, a formal speech requires extra attention to detail in preparation of a more formal speech presentation. What can one do in advance to prepa...

Principles of Public Speaking Module 5: Delivering Your Speech Vocal Aspects of Delivery 2 Though we speak frequently during the course of a day, a formal speech requires extra attention to detail in preparation of a more formal speech presentation. What can one do in advance to prepare for a speech? The challenge is partly determined by the speaker’s experience, background and sometimes cultural influence and existing habits of speaking. Articulation, Pronunciation, Dialect, Tone, Pitch, and Projection each de‐ pends on long-term practice for success. These aspects are like signa‐ tures, and should be developed and used by each speaker according to his own persona. Voice, or vocal sound, is made when controlled air being exhaled from the lungs, passes over the vocal cords causing a controlled vibration. The vibrating air resonates in the body, chest cavity, mouth, and nasal passages. The vibrating air causes a chain reaction with the air in the room. The room’s air, set in motion by the voice, is captured by the listen‐ er’s ear. The vibration of the air against the eardrum is transferred to electrical impulses that are interpreted by the listener’s brain. Thus, the sounds we can make are predicated on the breaths that we take. TRY THIS! BREATHING Talk without breathing. It cannot be done. So if you are screaming (like a baby), you are also breathing! “Crying baby” by The first word of advice on speaking to an audience: Brazzouk. CC-BY- BREATHE! SA. Articulation We are often judged by how well we speak in general. A measure of per‐ ceived intellect or education is how well we articulate. That is: how well and correctly we form our vowels and consonants using our lips, jaw, tongue, and palate to form the sounds that are identified as speech. Diction and enunciation are other terms that refer to the same idea. For instance, saying “going to” instead of “gonna” or “did not” instead of “dint” are examples of good versus poor articulation. Consonant and  3 vowels are spoken with standard accepted precision, and serious stu‐ dents and speakers will strive to practice the clarity of their sounds. Proper diction is as integral to the English language as proper spelling, but it takes practice. Pronunciation Proper articulation applied to a given word is that word’s pronunciation. The pronunciation includes how the vowels and consonants are pro‐ duced as well as which syllable is emphasized. For generations, speak‐ ers depended on “markings (such as the International Phonetics Alphabet or similar Dictionary Symbols) to discover or decide how words were officially pronounced. With online dictionaries now readily avail‐ able, one needs only to “look up” a word and select “play” to hear an au‐ dible recording of the official and precise way a word should be pro‐ nounced. Now there is no excuse for mispronouncing a word in a speech. A mispronounced word will obliterate a speaker’s credibility, and the audience’s attention will be focused on the fault rather than the message. TRY THIS! PRONUNCIATION 1. Flip though a book, article or scholarly work until you come to a word that is unfamiliar and you can only guess its pronunciation. 2. Go to the Merriam-Webster Dictionary website, and look up the word. 3. When the definition appears, click the icon of the loudspeaker. The word is audibly pronounced for you. The online dictionary is useful in both articulation as well as pronunciation. Accent, Dialect, and Regionalisms Subtleties in the way we pronounce words and phrase our speech within 4 a given language are evident in ac‐ cents, regionalisms, and dialects. An accent refers to the degree of promi‐ nence of the way syllables are spoken in words, as when someone from Australia says “undah” whereas we say “under.” A regionalism is a type of ex‐ pression, as when someone says “The dog wants walked,” instead of “the dog wants to go for a walk.” Dialect is a va‐ riety of language where one is distin‐ “Iraqi speaker” by Office of guished from others by grammar and United States Rep. Ellen Tauscher. Public domain. vocabulary. In Pennsylvania you might hear people say that they are going to “red up the room,” which means “to clean the room.” Those who depend on speaking for a career (broadcasters, politicians, and entertainers) will often strive for unaccented General or Standard English. Listen to most major network newscasters for examples of re‐ gionalism-free speech. A given audience may be prejudiced towards or against a speaker with an identifiable accent or dialect. Though we would wish prejudice were not the case, the way we speak implies so much about our education, cultural background, and economic status, that prejudice is inevitable. Any speaker should be aware of how accent, dialect, and regionalisms can be perceived by a given audience. If you speak in a way that the audience might find difficult to understand, make an extra effort to pay attention to the accent and phrasing of your speech. Ask a sympathetic and objective listener to help you when you practice. We often refuse to accept an idea merely because the tone of voice in which it has  5 been expressed is unsympathetic to us. – Friedrich Nietzsche Vocal Quality The quality of the voice, its timbre (distinctive sound) and texture, affects audibility and can affect the articulation. Our voices are unique to each of us. It is a result of our physical vocal instrument, including diaphragm, vocal cords, lungs and body mass. Some examples of vocal quality in‐ clude warm, clear, soft, scratchy, mellow and breathy. Each speaker should practice at maximizing the vocal effect of his instrument, which can be developed with vocal exercises. There are numerous books, recordings and trainers available to develop one’s vocal quality when needed. The quality of one’s voice is related to its range of pitch. TRY THIS! INFLECTION Your voice goes UP, and then your voice goes d o w n. Pitch and Inflection Identical to musical parlance, the pitch is the “highness” or “lowness” of the voice. Each of us has a range oftone. Vocal sounds are actually vi‐ brations sent out from the vocal cords resonating through chambers in the body. The vibrations can literally be measured in terms of audio fre‐ quency in the same way music is measured. When the pitch is altered to convey a meaning (like raising the pitch at the end of a sentence that is a question), it is the inflection. Inflections are variations, turns and slides in pitch to achieve the meaning. In his writing “Poetics,” Aristotle lists “Music” as an element of the Drama. Some scholars interpret that to include the musicalization of the spoken 6 word with dramatic inflection. The meaning and effectiveness of a spo‐ ken line is greatly dependent on the “melody” of its inflection. Though archaic, the study of elocution formalizes the conventions of in‐ flection. In some contemporary cultures, inflection has been minimized because it sounds too “melodramatic” for the taste of the demographic group. It would be sensible to be aware of and avoid both extremes. With good animated inflection, a speaker is more interesting, and the in‐ flection conveys energy and “aliveness” that compels the audience to listen. When public speaking was known as elocution, sentences were “scored” like music, and spoken using formal rules. Sentences ending as a question went UP at the end. Sentences ending in a period, ended with a base note. And everyone had fun with exclamation points! For most of music in history, including Opera, Broadway, and early Rock and Roll, songs were written so that the melody (raising and lowering the pitch) was consistent with what would be spo‐ “Ice-T” by Tino Jacobs. CC- ken. Many of today’s songs, notably Rap BY. songs, depend solely on rhythm. There is little if any inflection (melody) to enhance a lyric’s meaning. Certain lan‐ guages differ in their dependence on inflection. Japanese and German seem monotonic compared to Italian and French, which offer great vari‐ ety of inflection. The human voice is the most beautiful in‐  7 strument of all, but it is the most difficult to play. – Richard Strauss Even someone one who is not a singer can be expressive with inflection and pitch. Like the “Think System” of Professor Harold Hill in the musical The Music Man. If you THINK varied pitch, you can SPEAK varied pitch. Think of pitch inflections as seasoning spices that can make the speech more interesting. Sing “Happy Birthday.” You do not have to concentrate or analyze how to create the melody in your voice. Your memory and in‐ stinct take over. Notice how the pitch also provides an audible version of punctuation, letting the audience know if your sentence has ended, if it is a question, and so on. The melody lets the audience know that there is more to come (a comma) and when the phrase is ended (a period). Remember that in a speech, the audience does not have the written punctuation to follow, so you have to provide the punctuation with your inflection. TRY THIS! VOCAL VARIATION Find a listening partner. Using only the sounds of “la” ha,” and “oh,” covey the meaning of the following:1. It’s the biggest thing I’ve ever seen! 2. I’ve fallen and can’t get up! 3. I’ve got a crush on him/her. 4. That soup is disgusting and spoiled. 5. I got an “A” in my Speech Final! If you cannot relay the meaning with just sounds, try a second time (each) with gestures and facial expressions until the listener under‐ stands. Then say the lines with the expressive inflections you have developed using only the sounds. 8 Those who do not use inflection, or use a range of pitch, are speaking in monotone. And, as the word implies, it can be monotonous, boring, and dull. A balance between melodramatic and monotonous would be pre‐ ferred. The inflection should have a meaningful and interesting variety. Be careful not to turn a pattern of inflection into a repetitious sound. Think through each phrase and its musicalization separately. Many speakers have developed the habit of ending each sentence as though it is a question. It may be becoming increasingly common. In the wake of the Valley Girl syndrome of the 1980’s, a bad inflection habit has entered the speech pattern: Some speakers end a declarative sentence with the inflection of a question. Do you know what I mean? A word of caution: Inflection and varied pitch must be “organic,” that is to say, natural for the speaker. You cannot fake it, or it sounds artificial and disingenuous. It is a skill that needs to develop over a period of time. Rate of Speaking Table 12.1: Finding the Right Pace for Your Speech If you speak too quickly… If you speak too slowly… the audience might get the the audience might think impression you have nothing you are too tired to be important to say. presenting. the audience has a difficult time the audience can forget the catching up and comprehending what first part of your sentence you are saying. They need time to by the time you get to the digest the information. So plan on last! (It happens!) And they periodic pauses. lose interest. the audience might think you are wasting their time the audience might think you really by taking longer than do not want to be there. necessary to relay your message. As a speaker, you cannot race with the audience, nor drag their attention down. Like Goldilocks, look for the pace that is “just right.”  9 In order to retain clarity of the speech with articulation and inflection, the speaker must be aware that there is a range of appropriate tempo for speaking. If the tempo is too slow, the speech might resemble a mo‐ notonous peal. If it is too fast, the articulation could suffer if consonants or vowels are dropped or rushed to keep up the speed. An audience could become frustrated with either extreme. The tempo needs to be ap‐ propriate to the speaker’s style, but neither paced like a Gilbertian Lyric (as in “Gilbert and Sullivan”) patter nor a funereal dirge. A comfortable and clear pace is the best. An ideal speaking rate will allow you to com‐ fortably increase your pace to create a sense of excitement, or slow down to emphasize the seriousness of a topic. It is simple nonsense to speak of the fixed tempo of any particular vocal phrase. Each voice has its peculiarities. – Anton Seidl Pauses Versus Vocalized Pauses A text that is read has punctuation that the reader can see…miniature landmarks to define the text. When spoken, similar punctuation is need‐ ed for comprehension, and the speaker’s responsibility is to offer the text with pauses. Space between phrases, properly planted, gives the audi‐ ence the opportunity to understand the structure of the speaker’s sen‐ tences and paragraphs. It also gives time for the audience to “digest” crucial phrases. Generally, spoken sentences and paragraphs need to be simpler and shorter than what can be comprehended by reading. Pauses can help in‐ crease comprehension. However, pauses that are filled with “uh’s, “um’s,” etc., are called vocal‐ 10 ized pauses, or fillers, and should be avoided. They can be distracting and annoying, and give the impression of a lack of preparation if used excessively. Even worse is the use of vernacular phrases like, “y’know” (a contraction of “Do You Know”) which gives the impression of lack of edu‐ cation or lack of concern for the audience. The use of vocalized pauses may be the result of a habit that deserves an effort to be overcome. Avoid using phrases such as “Uh,” “OK?”, “y’know”, “like…, I mean,” “right?” Vocal Projection The volume produced by the vocal instrument is projection. Supporting the voice volume with good breathing and energy can be practiced, and helping a speaker develop the correct volume is a main task of a vocal trainer, teacher or coach. Good vocal support with good posture, breath‐ ing, and energy should be practiced regularly, long before a speech is delivered. There are numerous exercises devoted to developing projec‐ tion capabilities. While there is no need to shout, a speaker should project to be easily heard from the furthest part of the audience. Even if the speech is ampli‐ fied with a microphone/sound system, one must speak with projection and energy. As with your rate of speech, you should speak at a volume that comfortably allows you to increase the volume of your voice without seeming to shout or decrease the volume of your voice and still be heard by all audience members. Do not expect to walk up to the podium and have a full voice. Actors spend about a half-hour doing vocal warm-ups, and singers warm up much more. You might not have an opportunity to warm up immediately before your speech, but when you can, warm up with humming, yawning (loudly) or singing scales: all while breathing deeply and efficiently. It will loosen your voice, prevent irritation, and fire up your vocal energy.  11 TRY THIS! PROJECTION Go to the room in which you are to speak. Have a friend sit as far away from the podium is possible. Rehearse your speech, talking loudly enough so your friend can hear you comfortably. That is the projection you will need. When you mentally focus on the distant lis‐ tener, you will tend to project better. One final note: If public speaking is or will be an important part of your career, it would be sensible to have an evaluation of your voice, articula‐ tion and projection done by an objective professional so you can take any remedial action that might be recommended. There are courses of study, private lessons, and professional voice coaches to work with your voice projection, tone, and pitch. Words mean more than what is set down on paper. It takes the human voice to in‐ fuse them with deeper meaning. – Maya Angelou Candela Citations CC LICENSED CONTENT, SHARED PREVIOUSLY Chapter 12 Vocal Aspects of Delivery. Authored by: Victor Capecce, M.F.A.. Provided by: Millersville University, Millersville, PA. Located at: http://publicspeakingproject.org/psvirtualtex‐ t.html. Project: The Public Speaking Project. License: CC BY- NC-ND: Attribution-NonCommercial-NoDerivatives 12 Crying baby. Authored by: Brazzouk. Provided by: MorgueFile. Located at: https://commons.wikimedia.org/wiki/File:Crying_baby.jpg. License: CC BY-SA: Attribution-ShareAlike Ice-T. Authored by: Tino Jacobs. Located at: http://com‐ mons.wikimedia.org/wiki/File:Ice-T_(2).jpg. License: CC BY: Attribution PUBLIC DOMAIN CONTENT Iraqi Speaker. Authored by: Office of United States Rep. Ellen Tauscher (D - California). Located at: http://common‐ s.wikimedia.org/wiki/File:Iraqi_Speaker.jpg. License: Public Domain: No Known Copyright Previous Next Privacy Policy  CONTENT FOR: Actors + Performers Brands + Creatives Creators Crew Voiceover Show more Actors + Performers Speech Patterns Are Key to Creating Characters—Here's What Actors Need to Know BY GERI MILEVA | FEBRUARY 22, 2024 Photo Source: “The Sopranos” Courtesy HBO  In most cases, a flat, emotionless tone is a career killer; when Arnold Schwarzenegger uses it to deliver “I’ll be back” in “The Terminator,” it’s a genius character choice. Top-level actors  understand that it’s not all about what’s being said, but how it’s said. For aspiring and early- career performers, CONTENT knowing FOR: Actors the intricacies + Performers of speechCreators Brands + Creatives patternsCrew is an indispensable Voiceover skill more Show they can wield in their quest for success. Join Backstage to access jobs you can apply to right now! Below, we delve into what speech patterns are and why they’re so important. We’ll also share insights from actor and filmmaker Neil Chase, and Emily Maguire, managing director of Reflections Talent Agency. JUMP TO What is a speech pattern? How to adapt speech patterns for different roles What is a speech pattern? A speech pattern is the distinctive way a person or character talks. “This includes accents, rhythm, tone, and pitch, which are essential for performers to convincingly portray and differentiate their characters,” Chase explains. Get Cast Today Gain access to the best platform for performers and build your career on Backstage. Join Now Maguire highlights that speech patterns “convey the inner workings of a character that a performer is playing.” She continues, “Two individuals may have the same accent, but each may have a different speech pattern…. In understanding [your speech pattern], you can adapt your delivery to suit the needs of the character you are playing, helping you to deliver a more truthful and compelling performance.” What are the key components of a speech pattern?  Inflection: Inflection refers to the variation in pitch or tone while speaking. It adds nuance, emotion, and depth to your words. For example, a rising inflection at the end of a sentence  can convey uncertainty or a question, while a falling inflection can denote confidence or a statement. CONTENT FOR: Actors + Performers Brands + Creatives Creators Crew Voiceover Show more Maguire points out the use of inflection by Alicia Silverstone in “Clueless.” As rich Beverly Hills high-schooler Cher, Silverstone employs an upward inflection and frequently uses the word "like". This "upward talk" and increased pitch make all of her statements sound like questions and add naivety to the main character, which hides her true intelligence until the end of the movie,” says Maguire. Clueless - "Ugh! As if!" Speech Rate: The speed at which one speaks is another vital aspect of speech patterns. It influences the rhythm and pacing of communication. Think about how the speedy, rapid-fire delivery of “Gilmore Girls” emphasizes the comedic tone; compare that to this scene from “No Country for Old Men,” where Javier Bardem’s low, careful grumble draws out the tension in the scene.  No Country for Old Men | 'Coin Toss' (HD) - Javier Bardem | MIRAMAX  CONTENT FOR: Actors + Performers Brands + Creatives Creators Crew Voiceover Show more Clarity: Clarity refers to the precision and intelligibility of speech. A performer must balance between maintaining clarity and staying true to the character's unique way of expressing themselves. Take Tom Hardy’s voice in “Mad Max: Fury Road.” Although his gruff delivery occasionally borders on hard-to-hear, it also paints a picture of a loner who barely speaks and has spent years living in a sandy wasteland. Mad Max: Fury Road - Feels Like Hope Scene (7/10) | Movieclips Emotive Mood: The emotional tone or mood conveyed through speech is a defining element of speech patterns. Performers must be adept at adjusting their emotive mood to suit the character or scene requirements. This may involve adopting a joyful, somber, or intense tone as the situation demands.  “Actors spend so much time memorizing their lines for an audition, they often forget to spend time thinking about how the character might speak,” Chase says. “In short, they end up  sounding like themselves instead of how the character might sound.” CONTENT FOR: Actors + Performers Brands + Creatives Creators Crew Voiceover Show more A versatile performer who can adapt their speech patterns can tackle a broader range of roles. This adaptability is a valuable asset in the competitive industry of acting. “The way you speak plays a crucial role in auditions and interviews with agents,” Maguire says. “First impressions count and, sometimes, you only have a small window of opportunity to create a positive and lasting impact.” ↑ BACK TO TOP How to adapt speech patterns for different roles Gary Oldman on “Slow Horses” Courtesy Apple TV+ In learning to adapt different speech patterns, Chase suggests watching great performances and identifying the subtleties chosen by the performer on-screen. “Daniel Day Lewis and Gary Oldman instantly come to mind. No two roles for either of these actors look the same or sound the same. A truly great actor is a chameleon, able to alter the way they look, talk and carry themselves in order to best fit the role,” he adds. However, Chase emphasizes that emulation is only a starting point. You must make any role your own by altering speech patterns until you find the one that works best for a role. “And above all…rehearse, rehearse, rehearse!” advises Chase. To add depth and authenticity to any performance, Maguire urges performers to consider these four key factors:  Location: “When deciding on the speech patterns for a character, it's crucial to consider their geographical location and the cultural traditions of that region,” says Maguire. “For instance,  some cultures prefer direct communication, while others favor a more indirect approach. TheseCONTENT cultural FOR: norms Actors can significantly + Performers Brandsaffect a character' + Creatives Creatorss speech Crew patterns, Voiceovertone, pitch, and Show more use of inflection.” Time period: “How might the era of your character's speech pattern be influenced by that period's language and communication styles? For example, if the character is from the 19th century, they may use more formal, rhythmic, and elaborate language compared to a character from the 21st century. Industrialisation, class, and status also inform the characters' speech patterns,” says Maguire. Brevity: “Determine whether a character speaks formally or informally, as it can affect the breathing and speed of their speech and provide the audience with a better understanding of their personality,” says Maguire. “Formal would be slower and more precise, and informal would be spontaneous and more relaxed. Consider if they are speaking to peers or superiors. Alternatively, informality can also indicate familiarity.” Vocal cues: “Vocal cues such as sudden silences or unexpected changes in tone can also add depth to a character's performance,” says Maguire. “Does a timid character suddenly find their strength and voice and consequently increase their pitch and speed? Vocal clarity can also indicate honesty, while secretive behavior can lead to changes in tone. Monotone speaking can indicate disinterest, while a softer tone can convey sadness. Consider the horror genre; villains may alter their speech to conceal their true intentions until the end,” she adds. ↑ BACK TO TOP TAGS Actors + Performers Acting Advice Advice Acting Film Television Theater Get Cast Today Gain access to the best platform for performers and build your career on Backstage. Join Now Auditions & Open Casting Calls New York Auditions  Los Angeles Auditions  London Auditions CONTENT FOR: Actors + Performers Brands + Creatives Creators Crew Voiceover Show more Auditions for Movies See all Auditions Featured Calls Social Media Ad Purrlife UGC Social Media Ad Men's Clothing Brand Influencer Ad Musical 'Deck the Halls' Search all Calls MORE FROM ACTING Earn $6,000 for a Earn $1,500 for a BBC Documentary, What to Consider Docudrama + More Dog Supplement Shoe Commercial + Before Having an Casting Calls in Commercial + More More UK Casting On-Set Romance Canada February 07, 2025 February 06, 2025 February 07, 2025 New York Acting Jobs  February 07, 2025 CONTENT FOR: Actors + Performers SEE ALL Creators Crew Voiceover Brands + Creatives  Show more RECOMMENDED Comedic Timing How to Do a The Protagonist's Two-Person Scenes 101: How to Tell Russian Accent Journey: How to for Acting Practice Jokes With Ease August 30, 2022 Create + Play Great May 25, 2023 May 14, 2022 Main Characters July 25, 2024 NOW TRENDING Nicholas Galitzine So, You’ve Been The Top Films 5 Things Every Wants to Keep You Cast in a Nude Every Actor Must Actor Should Know Guessing Scene—Here’s What Watch Early in Their May 01, 2024 to Expect September 13, 2023 Career October 24, 2024 October 04, 2023 What Nonmembers How to Get Cast on Tyler Perry’s New The Best Acting Need to Know Netflix’s ‘The Four Calling Advice from the About SAG-AFTRA Seasons’ November 13, 2024 Cast of ‘Succession’ January 30, 2024 January 23, 2025 October 25, 2023 Casting Calls Straight to Your Inbox  Stay  informed with Backstage Daily. Get exclusive content, the latest casting notices, and advice to advance CONTENT FOR: Actors + Performers Brands your career. + Creatives Creators Crew Voiceover Show more Email Address Sign Up FOR FINDING JOBS FOR FINDING TALENT COMPANY Actors & Performers Film, Video & TV Production About Voiceover Artists Theater & Performing Arts Careers Creatives & Production Crew Voiceover Production Partners Influencers + Content Creators Commercial + Branded Content Sitemap Models Influencers + UGC Articles Archive Search Casting Calls Companies & NGOs Group and School Subscriptions Popular Auditions Talent Database How it Works Pay Talent Advice & Guides How it Works Backstage Kids Advice for Creators Community Post a Job Acting Monologues Online Classes Create Your Free Talent Profile Buy Backstage Magazine SUPPORT CONNECT Help Facebook Contact X Pricing Instagram Advertising Tiktok Report Content YouTube Podcast CHOOSE LANGUAGE English GET THE NEWSLETTER Enter email Submit GET THE IOS APP   CONTENT FOR: Actors + Performers Brands + Creatives Creators Crew Voiceover Cookie Preferences Show more © 2025 Backstage. All rights reserved. Terms of Service / Privacy Policy The most trusted name in casting since 1960. Made in Brooklyn, NY at home