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 this when; accent why yes confuse rebate repeat 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 be likely to use the falling glide. To indicate finality, but intense interest, you would use falling skips. If your patience is not yet exhausted, you might very naturally stress both " are" and "going," in which case you will employ the rising wave. Or you might ask it as one who says, "You have already told me that John is going; the question is, are you going?" In this case you will use the falling wave. The preceding discussion will suffice to show that it is not the punctuation; it is not the construction; but it is the meaning, the mental or emotional attitude of the speaker which determines the inflection. A few principles, generally applicable, may be stated. (1) Marked falling inflections preceding a pause are usually expressive of decision, completeness, or finality. We saw this even in the case of the peremptory direct interrogative in the preceding paragraph. It is likewise true with reference to declarative statements and exclamations. Consider, for example, the following sentence from one of Senator Lodge's speeches: "You may call me selfish, if you will, conservative or reactionary, or use any other harsh adjective you see fit to apply, but an American I was born, an American I have remained all my life." Now in spite of the comma after "apply," the thought is really complete at that point, and a falling inflection is, therefore, to be preferred in speaking the sentence. (2) Rising inflections preceding a pause are usually suggestive of uncertainty or incompleteness of thought. For example, the voice rises before the pause after "country" and "towns" in the sentence, "The country, the towns, and the cities are involved in this problem." The rising inflection here is the signal that the series is incomplete as yet. |