In the House of Commons there is a good deal of uniformity in the pitch, which is lower than might be expected. The pitch of three-quarters of the speaking tones heard in the House is within one-third, viz., C to E, and the note most frequently used is D. Descents to A and G, and even lower, are frequent, but seldom do voices rise above the top A of the clef. The acoustic properties of the chamber and perhaps the element of imitation, which, after all, is the genesis of speech itself, may account partly for the prevailing similarity in pitch.
A voice often appears to be jumping a scale when in reality it is sticking to one or two dominant notes. Pronounced accentuation gives the appearance of inflection, and by some people the former is regarded as the more important consideration. The singing voice in a monotone song or a recitative exemplifies the value of emphasis as distinct from modulation.
[Music: T. P. O'Connor]
[Music: W. O'Brien]
[Music: J. M. Healy]
A notable instance of the power of accentuation in speaking is the elocution of Mr. T. P. O'Connor, whose brilliancy no one may deny. He often sinks his voice to an almost inaudible whisper, attaining thereby impressiveness, and heightening the effect in the following passage, which receives the strength of loud tones. Mr. W. O'Brien and Mr. T. M. Healy use a similar device, and so do other members. It is telling, but apt to be overdone, words at the end of a sentence being continually lost to some of the audience. Mr. O'Connor's voice is seldom above or below C and D. Mr. O'Brien modulates somewhat more. Both members have good articulation and resonant tones. Mr. Healy has a lower and fuller voice than either of the other two. He has a very decided habit of throwing a point at his opponents with a big, contemptuous shout. The voice often swings into a musical curve when he utters something pithy and amusing, carrying with it the suggestion of a great laugh.
[Music: R. B. Haldane]
[Music: Sir John Gorst]
[Music: Ivor Guest]
Among members whose voices appear to be pitched very high, but are in reality not so, may be mentioned Mr. R. B. Haldane, Sir John Gorst, Mr. Ivor Guest, Mr. Sydney Buxton, Mr. Robson, Mr. Scott Montagu, and several others. In each case the quality is light. Mr. Haldane's voice has no great body in it and does not carry too well. Possibly long practice at the courts induces his rapid utterance. One who appreciates Mr. Haldane's high intellectual level cannot help wishing that Nature had endowed him with the tones of some other public men, whose intensity is rather vocal than intellectual. Sir John Gorst has one of the pleasantest voices in the House and perfect articulation, his chief note being about F, with falls to C. Mr. Guest repeatedly descends to G. Mr. Sydney Buxton speaks often and briefly, but into a short space of time he can cram a wonderful lot of words, being one of the most rapid speakers in the House. The dominant note is about C sharp, and the modulation seldom varies in character, the speech being broken up into short phrases, with a downward inflection at the end of each. This is a style of speaking characteristic of a great many members. Mr. Robson, one of the most formidable among the younger men of the Opposition, adds to a clever debating power a distinct utterance and an earnest, careful style.
[Music: S. Buxton]
[Music: W. S. Robson]
There are few really deep voices in the House. Mr. C. Fenwick may lay claim to the lowest pitch. His strong, vigorous, ringing style is a good index to the character which has raised its owner from work in the collieries to a seat in Parliament. Added to his excellent voice, which fills the House, he has a natural and forcible manner of gesture. The dominant note is somewhere between lower A and B flat. Sir Edgar Vincent also possesses a pronounced bass organ, which is musical, resonant, and full of tone, and which would be even more effective with added "light and shade." Lower G and A occur frequently in his speech. Sir F. Powell, Sir John Brunner, and Sir Samuel Hoare are other deep-voiced members. The late Sir William Allan's speaking suggested that he was trolling out notes impossible to the rest of mankind; but, though he had a big, rugged, splendid voice, in keeping with his handsome stature and leonine head, we find he said the many candid things that helped to stiffen the back of the Admiralty on an average note about D. One good quality of his speaking was the prolonged singing tone which he gave to some syllables. The Welsh members, however, display this peculiarity more than others.
[Music: C. Fenwick]
[Music: Sir E. Vincent]
[Music: Sir Wᵐ. Allan]
There are a considerable number of members who vary but little from monotone. That is to say, their speech strikes the ear of the ordinary listener as running along pretty nearly on one tone. As has already been pointed out, there are always considerable variations on single syllables and even on consonants, which are more or less perceptible, and which have their own due effect in rendering a voice agreeable. The existence of a perfect monotone through a passage of spoken sounds, vowels and consonants, in singing or speaking is well-nigh impossible. At all events, the beginning and the end of a spoken sound, unless that sound be a simple vowel, have each a certain twist which may often be detected. In many voices it is very noticeable. But the volume of tone that reaches the ear in a sound that is meant to be sustained overwhelms the little twist at the beginning or the end, and is for all practical purposes one note. In singing that is always true. In speaking it is true up to a certain point. Some speaking voices appear to be almost entirely confined to one tone, because to the auditor it is only one dominant note throughout that is appreciable. Many members, designedly and undesignedly, depart but little from this apparent monotone, which is to some extent associated with the dignified and solemn manner, but may be due in some cases to inability to render the delivery responsive to the mood. If there is little inflection and no accentuation the result is bad. But it does not follow that good delivery requires a continual coursing up and down the gamut.
It has been stated, by one in a position to judge, that Mr. Bright seldom dropped or raised his voice more than a semitone, and everybody has experienced, or heard of, the charm of Bright's delivery. No disrespect is implied, therefore, when the following gentlemen are mentioned as being among those numerous members who depart very little from the one dominant pitch: Mr. Cathcart Wason, Sir W. Holland, Mr. Channing, Mr. Claude Hay, Sir Samuel Hoare, Mr. Arnold-Forster, Sir William Harcourt, Mr. John Burns, Sir Fortescue Flannery, and Mr. Bryce.
[Music: J. Cathcart Wason]
Mr. Wason adheres pretty closely to the neighbourhood of C sharp, and combines with a swift utterance an earnest demeanour and a total absence of hesitation. Sir W. Holland, the possessor of a deep, rich vocal organ, seldom goes away from B or C. Mr. Channing gets a good deal said on C sharp, with a slight downward inflection at the end of a sentence. Mr. Claude Hay also adheres pretty generally to C sharp. Sir Samuel Hoare is heard through the medium of full, sonorous tones, his manner being eminently that of a man of ripe experience and practical methods.
[Music: H. O. Arnold-Forster]
Mr. Arnold-Forster, the new Secretary of State for War, one of the most serious speakers in the House, has a rather thin voice and a rapid utterance, but he articulates well and reaches his audience in a clear, direct manner.
[Music: Sir Wᵐ. Harcourt]
Sir William Harcourt is one of few left belonging to the old school. There is the traditional Parliamentary style--a studied form of oratory--deliberate, lofty, and impressive; the manner that is followed at a considerable distance by some of the younger men. We find in Sir William Harcourt's speech a series of words almost on the one note, uttered in a restrained tone and finishing at each phrase with a characteristic turn of the voice--perhaps, also, a suppressed laugh or a "humph," the meaning of which can never be mistaken. The voice is not so strong as it used to be, but the fine old type of English oratory is still there. The diagrams relating to Mr. Arnold-Forster and Sir William Harcourt, though probably not quite correct in the matter of pitch, give an idea of the modulation.
[Music: John Burns.]
[Music: Rᵗ. Hon. Jos. Bryce]
Mr. John Burns speaks well within a third, and delivers most of his breezy remarks somewhere about C and D with a musical organ of resonant and robust quality. Sir Fortescue Flannery has a quiet but distinct, full-toned, pleasant voice, which modulates little apart from a pronounced drop at the end of each phrase or sentence. Mr. Bryce's conspicuous quality as a speaker, _qua_ speaker, lies in the successful way in which he plans his discourse. Exordium, proposition, division, narration, confirmation, refutation, peroration--he seems to be conscious of all these rhetorical parts in his most casual intervention in debate. His delivery is detached. The frequent pause, cutting off sharply each phrase, is reminiscent of the professor's rostrum. No doubt this device helps the understanding, though it runs the risk of being inelegant. Mr. Bryce talks on D, with constant falls to A. His voice has a good ring and an accent belonging to the North.