The Role of Market Research in US Marketing Success

But in this chapter we are just studying one type of emphasis: that of forcing the significant word to take front stage and subordinating the insignificant ones. Remember: this is one of the key strategies you have to always apply to acquire your effects. Let us avoid confusing emphasis with volume. To yell is not an indication of feeling, intelligence, or sincerity. The kind of force we want applied to the emphatic word is not wholly physical. True, the emphatic word may be delivered more loudly or more softly, but the real attribute wanted is passion, seriousness. It has to come from inside, then outside. The curse of this country is not a lack of education," a speaker last night claimed. Politics is it. He underlined curse, lack, education, politics. The other words were hurried over and so had no relative value at all. As he angrily slapped his fists together, the word politics blazed out with incredible intensity. His emphasis was strong and accurate. Rather than holding it up on such words as of this, a, of, It's, he focused all our attention on the meaningful phrases. suggested. Recall that we are talking generally about the pitch in which phrases are delivered, not the inflection of individual words right now.

Imagine a guide who volunteered to tour

A stranger New York and thereafter spent his time visiting Chinese laundries and boot-blacking "parlors" on the side streets. A speaker's only justification for drawing his audience's attention is that he has either amusement or truth for them. When he reaches Wall-Street and skyscraper relevance, he will have neither vitality nor drive left if he wears their attention with trifles. You are not a conversational bore, hence you do not spend much time on these little words in your regular speech. Use the right approach of daily speech on the stage. Public speaking is very much like conversation magnified, as we have pointed out elsewhere. As absolutely in the following sentenc, sometimes for great emphasis it is advisable to stress every single syllable in a word.Pitch, as everyone knows, is the relative position of a vocal tone—that is, either high, medium, low, or whatever variation exists between. In public speaking we use it not only to a single utterance, as an exclamation or a monosyllable (Oh! or the) but to any set of syllables, words, and even sentences that may be pronounced in a single tone. This difference should be kept in mind since the effective speaker not only alters the pitch of consecutive syllables (see Chapter VII, "Efficiency through Inflection"), but also delivers a different pitch to certain portions, or word-groups, of consecutive sentences. This phase of the issue we are examining in this chapter. Every Thought Change Calls for a Change in the Voice-Pitch.

Whether the speaker follows the rule deliberately

Unconsciously, or subconsciously, this is the logical premise upon which all good voice variation is built; however, public speakers disobey this law more often than any other. While his innocent hearers must suffer the monotony—for monotony is not only a sin of the offender, as we have shown, but a plague on the victims as well. A criminal may ignore a law of the state without detection and punishment. For practically all novices as well as many more seasoned speakers, change in pitch is a challenge. This is especially true in case the speech's words have been committed to memory. On the piano, repeatedly strike the same note if you want to hear how boredom sounds. Your speaking voice spans high to low in a huge number of shades between the extremes. There is no justification for constantly employing one note to compromise the hearing and taste of your audience given all the notes at hand. True, the base of beauty in music—as in pedal point on an organ composition—may be the repetition of the same tone, since the harmony woven about that one fundamental tone generates a consistent, forceful quality not perceived in pure variation of chord sequences. Like thus, the intoning voice in a rite may have a sad beauty even if it is rare. But the public speaker should avoid presenting the tiny child in a boring tone. Listen to the little people you come across on the street or in the house and note the continuous pitch shifts. Most individuals have unconscious speech that is similarly full of appealing variations. Imagine someone uttering the following; then, assess whether the effect would not be exactly as.

I have so much to do I would want to leave

For my vacation tomorrow,—(lower) yet. (Higher) Yet I suppose I would never go if I waited until I had time. As many speakers would, repeat this first in the pitches specified then all in the one pitch. Track the variations in naturalness of effect. This exercise should be spoken in a simply conversational manner with many pitch adjustments. Practice until your delivery would cause a stranger in the next room to believe you were talking about a real incident with a friend, instead of presenting a prepared monologue. Ask a buddy whether it sounds like remembered words if you are unsure about the effect you have obtained. Should it so, it is incorrect. monotone as one would a pestilence. Nature's Highest Method is Constant Change of Pitch We have to always return to nature in our quest of the ideas of efficiency. Listen, really listen to the birds sing. Which of these feathered tribes are more beautiful in their vocal efforts? those whose voices, although pleasant, have little or no range, or those who, like the canary, lark, and nightingale, not only possess a substantial range but also utter their notes in constant variation of combinations Even a sweet-toned chirp, repeated without variation, could become intolerable to the enforced listener.