Page:Popular Science Monthly Volume 30.djvu/811

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Of a man at Boulogne:

A collection of such melodious and pleasant cries from towns in England and abroad would be most interesting in showing the musical talent and taste of the people who invent and use them.

Friendly conversations keep mostly to the key of the principal person of the circle, who at the time gives, not only the moral and social tone, but also the musical tone to all around him; and if any one of the company would speak in a different tone, he would be out of tune and out of countenance with the others. When we read by ourselves we speak in C, or in B flat, or lower still; but when we read to others, we raise our voice to the fourth or fifth of our own key, that is, to G, or F, or E flat.

We ought to study and exercise our voice in the different keys in which we may have to speak, through the whole extent of our voice, to enrich it with an easy flow of a variety of tones, so as to match our words and sentences with suitable melodious turns, to render them fervid and impressive, to touch a vibrating chord of sympathy and interest in our hearers.

When abroad I heard once a young orator speaking for nearly half an hour, wnth every sentence descending in these off tones of the scale  which unvarying descent of 6 5 4 3 2 1 made his well-worded speech tedious and unimpressive.

In a speech of some length the orator will save his voice by keeping more in the middle part of it, on and about his individual dominant, which part requires least strain and is the most pleasing; from where he may with good effect rise or descend in accordance with the exciting or soothing flow of his ideas and sentiments. By thus arranging the melodious part of his speech somewhat like a musical composition, and suitably contrasting the high parts of his voice with the middle and lower parts, he will engage and rivet his audience all the more to every word.

Some persons spoil the sonorousness of their voice by not letting it flow out freely and naturally, by giving it a peculiar throaty twang, by speaking too high, or by using the head voice (falsetto) too much.