than in the Chicago hurly burly--these are simple illustrations of the
power of contrast.

"What is Congress going to do next?
-----------------------------------
(High pitch) |
|
| I do not know."
-----------------
(Low pitch)

By such sudden change of pitch during a sermon Dr. Newell Dwight Hillis
recently achieved great emphasis and suggested the gravity of the
question he had raised.

The foregoing order of pitch-change might be reversed with equally good
effect, though with a slight change in seriousness--either method
produces emphasis when used intelligently, that is, with a common-sense
appreciation of the sort of emphasis to be attained.

In attempting these contrasts of pitch it is important to avoid
unpleasant extremes. Most speakers pitch their voices too high. One of
the secrets of Mr. Bryan's eloquence is his low, bell-like voice.
Shakespeare said that a soft, gentle, low voice was "an excellent thing
in woman;" it is no less so in man, for a voice need not be blatant to
be powerful,--and _must_ not be, to be pleasing.

In closing, let us emphasize anew the importance of using variety of
pitch. You sing up and down the scale, first touching one note and then
another above or below it. Do likewise in speaking.