CHAPTER IX

PITCH (INFLECTION)

Every speech sound has a certain pitch, or location in the vocal scale. The height of the tone is determined by the number of vibrations of the vocal bands per given instant; the tighter the bands are stretched, the greater will be the number of vibrations set up by the breath current, and the higher will be the resultant pitch. The average speaking voice has a range of about eight to ten notes. The moving of the voice up and down the scale should be almost constant in order to be most clearly expressive, and most agreeable to the ear. This movement in the scale is known as inflection. Our study and practice in connection with pitch and inflection aim at three chief results: an understanding of pitch and inflection as factors in the interpretation of thought and emotion; the acquiring of greater flexibility and control in the practical application of these factors; and an increase in the range of our effective speaking scale.

Pitch has traditionally been divided into three sections, or registers: high, middle, and low. This division serves a useful purpose, but it must not mislead us. It is true, as will be discussed in the next chapter, that for certain purposes a speaker tends to use more freely his upper register, and for others his middle and low, respectively. But in studying inflection the point

not to be lost sight of is that our ordinary speaking utilizes not merely the middle register, but frequently reaches up into the high and down into the low register. As a matter of fact, one of the most common faults of the inexperienced speaker is that he exhibits before an audience, a too restricted, and therefore inexpressive, pitch range. With these fundamentals in mind, we may now consider in detail that important phase of pitch, namely, inflection.

Word Inflection

To begin with the simplest function of inflection, we shall take its use in the utterance of single words. In merely pronouncing any word, without putting any special meaning into the voice, there is a noticeable pitch variation. Monosyllables are pronounced with a falling inflection; words of more than one syllable are usually accented by placing more force on, and raising the pitch of the stressed syllables. In the case of some of the longer words there are, besides the primary accent, one or more secondary accents. But only the syllable of primary stress varies appreciably in pitch from the lower level of the remaining syllables. Pronunciation of the following words will illustrate the pitch variation under discussion: no

yes - why

this when; accent repeat confuse rebate triumph partition article controvert - readjust pertinent; transubstantiation - unimpeachable - Trinitarian - solidification - registration.

Sentence Inflection

It is, however, in groups of words, sentences, that the complexities and the infinitely expressive capacities

of inflection become evident. It will be of advantage at this point to learn the kinds of pitch change which the voice makes.

1. The rising skip (or step). Example: "I said ten thousand, not ten hundred." Note the marked and sudden rise in pitch between the first" ten" and the first syllable of " thousand." 2. The falling skip (or step). Example: "It is impossible." Stress the word "impossible" strongly, noting the marked pitch interval between the accented syllable "pos" and the low "ible."

3. The rising glide. Example: "Do you think he will do it?" If this question is asked without stressing any word except " do," slightly, the inflection will consist of a steadily rising movement. Short rising glides occur on the words "wood" and "coal" in the sentence, "He sold wood, coal, and grain."

4. The falling glide. Example: "When do you think he will come?" If this sentence is spoken without stressing any particular word, the voice will move steadily downward. Short falling glides occur on the words "wet" and "dark" in the sentence, "It was wet; it was dark; it was altogether unpleasant."

5. The rising wave (or rising circumflex). This inflection is a frequently-used combination of a falling movement followed by a rising movement. If the following sentence is spoken as a reply to a person who has denied that there is any sound audible, it will illustrate the rising circumflex: "Nonsense! can't you hear it?"

This double inflection is often repeated in series. If we were to add to the above example, "Is it possible that you are deaf?" we would use on the entire expression a series of three rising waves.

6. The falling wave (or falling circumflex). This inflection is the reverse of the preceding one, i. e., an upward followed by a downward movement. The sentence, "It is impossible," if spoken as a plain statement of fact, calls for the falling wave. The voice rises to the syllable" pos" and falls to the end of the sentence. This inflection also occurs in series. If we add to the above example, "Take my word for it, you'll be sorry, if you try it," we will use on the whole expression a series of four falling waves.

These six types of inflection, in divers combinations, constitute the regular variations from the monotone in speech. It would be interesting, perhaps advantageous, if we could know just when to use this or that inflection in order to express ourselves most effectively. If, for example, we could classify the emotions and thoughts, and determine the proper inflection for each class; or if we could accurately base inflection on punctuation or grammatical construction,- but such attempts are very confusing, and they do not represent speech as it is spoken. It is utterly impracticable to classify the infinite variety of thoughts and emotions; nor is punctuation or grammatical construction a safe guide. Let us consider some of the inflectional possibilities as applied to a sentence, chosen almost at random: "You think John saw him open the safe!"

First, what does the punctuation show as to the inflection required? At best it could help us only at the end of the sentence, and even there the exclamation may either rise or fall. Now as to the inflectional possibilities on the basis of thought or feeling. Try to imagine that you are in your office, examining a clerk about a rifled safe. The clerk has just said, "I think John saw him open the safe"; to which you reply, “You think John saw him open the safe!"

First, speak the sentence as if you were repeating eagerly the clerk's positive statement, as a clue to the robbery.

Speak it questioningly, as if you wanted the clerk to reaffirm his comment.

Speak it as a sudden and contemptuous repetition of the clerk's remark.

Speak it as a slow, ironical repetition, dwelling in scorn on each word in the first half of the sentence.

Speak it with the idea of concentrating mockery on some one word.

Speak it with the idea of concentrating an interrogation on one word.

These are a few of the many possibilities, and if you have brought out the idea in each case, it will have been sufficient to indicate what a variety of expression can be obtained by using divers combinations of the six types of inflection.

A type of sentence which strongly tempts one to posit a rule for inflectional delivery is the direct interrogative, such as, "Are you going?" The oft-repeated rule is to speak this type with the rising glide. And this is true sometimes. If, however, you ask it with patience exhausted, and yet with indifference, you will