Effective communication, whether you’re commanding a stage, weaving a story or pitching a big idea depend not only on your words, but on how you breathe.

Below, you’ll find an excerpt from my grandmother’s notebook, which, when seen through a contemporary lens, offers valuable lessons for present-day presenters and storytellers alike.

Notes on Breathing from the Notebook

Breathing is taking the air into the lungs and sending it out again.

Breathing Muscles

1. The diaphragm is the most important because it is the largest single muscle and makes the most change in the size of the chest. It separates the chest from the abdomen, it is dome shaped and arches up into the chest.
2. The inter costal muscles, between each pair of ribs in two layers with fibres running in opposite directions. The external inter costal muscles contract and swing the ribs outwards and at the same time the internal inter costals relax. When the ribs go back the reverse operation takes place.
3. The abdominal muscles, they contract and control expiration.
4. Scapular and clavicular muscles are also used.

The Method of Breathing for you Production

The Costal Diaphragmatic with Abdominal Control in Expiration (sometimes called the Whole  Chest or the Central Method or Old Italian).

Air is taken in through the mouth (it is a bigger opening than the nostrils therefore more air can be taken in quickly and easily;  nose breathing often leads to stiffness of the face giving a strained look and to noisy breathing.

When taking the breath in through the mouth the tongue and soft palate are in the proper position for producing tone but if air is taken through the nose they have to be readjusted. The air goes through the larynx and down the trachea which splits up into the right and left branchii each leading to a lung. These branchii split up into innumerable bronchial tubes, at the ends of each is a tiny air sac into which the air goes expanding the lungs. When air is taken in the ribs are swung out by means of the external inter costal muscles thus increasing the chest from side to side, at the same time the diaphragm contracts and flattens increasing the chest from top to bottom, the sternum is moved forward and because of this, the curve of the ribs, the chest is increased in size from back to front.

When the lungs are full the abdominal wall is gently drawn in pressing on the abdominal wall is gently drawn in pressing on the abdominal organs which in turn press on the diaphragm which returns to its natural arched position, thus squeezing enough air out for a phrase to be spoken.

While speaking the ribs are gently held out as long as the external inter costal remains contracted.

Bad Methods of Breathing

1. The clavicular or collar bone method. In this method the shoulders are raised in taking the breath in and the abdominal wall is often drawn in. This method is bad because the upper part of the chest is used. It is very tiring and ugly and the great fault with this method is expiration cannot be easily controlled. It sometimes leads to stiffness of the upper part of the chest which is sometimes communicated to the throat and stiffness in any part of the vocal mechanism is bad for the tone.
2. The abdominal method. In this method the diaphragm is pressed down on the abdominal organs which in turn cause the front abdominal wall to protrude. Expiration cannot be so well controlled as by the costal diaphragmatic and it is ugly.

Contrast Between Breathing of Repose (or Natural) and Breathing for Voice Production

Breathing of Voice Production

1. Voluntary and controlled by the subconscious mind
2. Full capacity of chest used
3. The amount of air taken in varies with the phrase spoken and there is no pause after expiration

Tranquil Breathing

1. Involuntary and uncontrolled
2. Full capacity of chest not used
3. Regular amount of air taken in, slight pause after expiration

Faults in Breathing

1. Breathing Tone: This is caused by taking in more air than the muscles are able to control so some air escapes unvocalised and we get breath mixed with the voice. The air is expelled before the vocal cords meet. To cure this the muscles must be strengthened, ie. The diaphragm and inter costal muscles. Take in air but do not overcrowds the lungs and say a short phrase trying to keep the ribs out and listening carefully that all the breath is turned into tone, as the power grows increase the length of the phrase.
2. Gasping: This is caused by saying too much in one breath. The speaker hurries on regardless of pauses, uses up all their surplus breath and begins to call on their residual breath and gasping follows. In beginners it is sometimes caused through nervousness. Proper phrasing and care and steadiness are the cure.
3. A Click before Tone: This is caused by poor control of the breath again. The cords meet before the breath is ready to pass through and a click follows. Proper timing of the abdominal press is the cure.
4. Rebound: This is adding a vowel sound after the final consonant of a word, as un-der due to letting too much air escape with the last sound. Care should be taken not to let fresh air escape with the last sound.
5. Tremolo: This is like the vibrato in singing an is caused by unsteadiness of the muscles. It can be remedied by attending to breath control. Speaking above or below one’s compass will sometimes cause it.
6. Noisy Breathing: This is sometimes due to adenoids or enlarged tonsils, these require medical attention. If there is no organic defect it is through carelessness and stiffening of the mouth and soft palate. At first take the breath in slowly and silently and the more quickly as one improves.

Above are an excerpt from my grandmothers notebook.

Modern Insights: Bringing Breathing Techniques into the 21st Century

Today experts in vocal performance, mindfulness and even sports science universally acknowledge (see further reading for articles) the value of deliberate breathing. The costal diaphragmatic method, as described above, remains central to performance technique but now we better understand its role in stress reduction, stamina and vocal clarity.

• Mindful breathing is proven to lower anxiety before speaking, enhancing confidence and focus.
• Nose breathing is preferred in general health to filter and humidify air, but for vocal projection, mouth breathing is effective when done consciously with relaxed facial muscles.
• Apps and devices can now help speakers track and train their breathing, while modern trainers emphasise relaxation as much as control.
• Warm-up routines for presenters often include breath exercises, stretching and even short meditation to prime both body and mind.
• Understanding your own “breathing faults” helps tailor practice, video and audio feedback help track progress.

Blending this wisdom of past and present empowers presenters and storytellers to use breath as a foundation for authenticity and impact to as a key to unlocking their best voice.

Further Reading

• Diaphragmatic Breathing: The First Step to a Good Voice — University of Mississippi Medical Center ENT handout
• Correct Breathing and “Support” for Singing — SingWise
• Diaphragmatic breathing techniques for singers (exercises and benefits)
• The Effects of Mindfulness Practices on Speaking Anxiety and Performance (ResearchGate)
• Nasal Breathing – ScienceDirect Topics
  

Lessons from my Grandmother’s Notebook: Rediscovering the Art of Speaking

The way we use our voice can make all the difference. One of the most subtle yet powerful tools in a speaker’s arsenal is pitch. The very note on which our words begin and the emotional current that runs through our spoken stories.

The Essence of Pitch

Pitch simply refers to how high or low our voice sounds as we speak. Just as a musical instrument offers a wide range of notes, our voices too have a spectrum of pitches.

We normally group pitch into three main categories: high, middle (or normal) and low.

• High pitch is often reserved for moments of joy, excitement or surprise. Think of the thrill in your voice when recounting a plot twist of a book or movie or announcing good news.
• Middle pitch is the mainstay for most descriptions and narratives. It is the comfortable, conversational tone that carries your story along.
• Low pitch is best suited for conveying sorrow, solemnity or gravity. When sharing a poignant moment or delivering a serious message, a deeper tone draws listeners in and signals importance.

Adapting Pitch for Maximum Impact

Masterful presenters and storytellers instinctively adjust their pitch to reflect changes in subject, introduce new paragraphs or mark the entrance of different characters in a narrative. Even passages enclosed in parentheses often benefit from a subtle shift in pitch, helping listeners follow the thread of the story or presentation.

The Science Behind the Sound

So, what actually causes these changes in pitch? It all comes down to the vocal cords. When we speak in a higher pitch, our vocal cords tighten and only a small part of their inner edges vibrate rapidly.

With a lower pitch, the cords are looser and vibrate more fully across their length, breadth and thickness. The faster the vibration, the higher the pitch.

Pitch Versus Inflection: Knowing the Difference

It’s easy to confuse pitch with inflection, but they serve different purposes. Pitch is about the overall note on which a sentence or paragraph is set, determining the general ‘mood music’ of our delivery. Inflection meanwhile, is the subtle rise and fall on individual words or syllables, giving nuance and meaning to our message.

• Pitch shapes the expression of entire sentences or sections, guiding the emotional journey of your audience.
• Inflection dances within the pitch, clarifying meaning and intent word by word.

Bringing Stories to Life

Next time you share a story from your own life or step up to present,

Remember: the art of pitch isn’t just for singers, it is a vital skill you should use when next presenting or telling a story. Harness the heights, depths and comfortable middles of your voice and watch your words come alive.

The pitch is a piece is the note on which it starts, it is the height or depth of the voice. Although there are as many pitches as a person has notes in their musical compass we generally classify them into three. High, low and middle or normal. We use the high pitch for joyful passages or passages showing great excitement, the middle pitch is used for description and narrative and the low pitch for sorrowful or solemn pieces.

We change the pitch for a change of subject, fresh paragraphs, when a fresh person begins to speak and for passages in parenthesis.

What causes the change in pitch

The vocal cords are tauter for high pitch than for low, also they vibrate throughout their length, breadth and thickness for the low notes. Their inner edges vibrate for the middle notes and only a small portion of their inner edges vibrate for the high notes. The rate of vibration affects the pitch. The quicker the vibrations the higher the pitch.

The Difference Between Pitch and inflection

Pitch is the note on which a piece starts and it decides whether the passages are said in the lower notes of the voice, the middle or the higher, while inflection is the gliding up and down of the voice in that pitch.

Inflection is concerned with syllables and words and pitch is concerned with sentences and paragraphs. Pitch has to do with expression. Inflection has to do with the meaning.

Excerpt from my grandmothers notebook.

Inspired by wisdom from my grandmother’s notebook, these insights remind us that the heart of storytelling and presenting lies not only in the words we choose, but in the way we bring them to life through the music of our voices.

Further Reading

Lessons from my Grandmother’s Notebook: Rediscovering the Art of Speaking

https://maxhemingway.com/2025/11/26/graceful-speech-timeless-tales-harnessing-inflection/

Stepping onto a stage to deliver a presentation or a story, your voice is your most influential tool. Mastering the art of modulation though changing your pitch, pace and power can transform not only the way you speak but also how your message is received.

What Is Modulation?

Modulation is all about change. It is the dynamic variation in pitch (how high or low your voice sounds), pace (the speed at which you speak) and power (the intensity and emotion behind your words).

A well-modulated voice offers a pleasing rise and fall in tone, adjusts speed to match the mood and shifts intensity to suit the subject matter. This interplay of vocal elements adds colour and expressiveness to your speech, making it engaging and memorable.

Modulation means change and is a change in pitch, pace and power, to denote a change in the subject matter.

So a well modulated voice I one that has a certain pleasing rise and fall of tone, a varying rate, a varying degree of power or intensity and a satisfactory use of tone colour.

The changes are made to help expression. Pace or rate used depend upon

1. The persons power to articulate well
2. Their power to make their meaning clear
3. On the subject matter

Intensity or power is a certain impressiveness given to speech due to intense emotion. It does not depend upon loudness often obtained by a lower pitch and increased firmness of articulation.

For a solemn passage use a slow rate, low pitch and the full rich tones of the voice.

For great sorrow, slow rate low pitch and the tone rather heavy.

For joyful passages quick rate, high pitch and the voice rather light in quality

For descriptions or reflective pieces use a moderate rate and the middle pitch

Excerpt from my grandmothers notebook.

Why Modulation Matters

Imagine listening to someone who speaks in a flat, unchanging monotone. No matter how compelling the content, the delivery quickly becomes tedious. Modulation on the other hand, breathes life into your voice, helping you articulate clearly and convey meaning effectively. It is not just about sounding good, but making your audience feel the emotions and understand the nuances of your story or presentation.

Practical Tips for Modulating Your Voice

• Know Your Subject: Modulation should reflect changes in your content. Shift your pitch and pace to match the emotion or gravity of what you are saying.
• Articulate Clearly: The ability to enunciate well is key. Modulation can help you stress important points and clarify your message.
• Emphasise Emotion: Power or intensity in speech comes from genuine emotion, not just volume. Sometimes, a lower pitch with firmer articulation conveys solemnity far better than shouting.

Modulation for Different Moments

Scenario	Pace	Pitch	Quality of Voice
Solemn Passage	Slow	Low	Full, rich tones
Great Sorrow	Slow	Low	Heavy, sombre
Joyful Passage	Quick	High	Light, bright
Descriptive or Reflective Piece	Moderate	Middle	Balanced, thoughtful

Bringing It All Together

Next time you prepare a talk or craft a story, remember that your voice is a versatile instrument. With intentional modulation, your words will resonate long after you’ve spoken them.

Further Reading

Lessons from my Grandmother’s Notebook: Rediscovering the Art of Speaking

When it comes to presenting or weaving a captivating story, it’s not just the words you use that matter, it’s how you say them. The art of inflection is the subtle gliding of the speaking voice up or down. It is the secret ingredient that brings dialogue and narrative to life and mastering inflection transforms your delivery, ensuring your message resonates and your audience remains enthralled.

Inflection is a gliding of the speaking voice in an upward or a downward direction. The function of inflection is to bring out the exact shade of meaning. There are three kinds:

• Simple rising
• Simple falling
• Compound or circumflex

Rules for the Rising Inflection

1. For incomplete statements
2. To show uncertainty or doubt “The book may be on the shelf”
3. Sentences in the negative end in a rising inflection “I will not stay”
4. Appeals use rising inflections “I pray you have mercy”
5. Questions which can be answered by a simple “yes” or “no”. Take a rising inflection “Is it still snowing?”. These are the same as questions by inversion or questions by inflection.

Rule for the Falling Inflection

1. Complete statements
2. Commands
3. Questions beginning with interrogatives end with a falling inflection
4. Questions ending with alternative words end with a falling inflection
5. Exclamatory phrases when not appeals “Woe is me!”, “Alack the day!”

Circumflex or compound inflection is a combination of rising and falling on one word. It is used whenever the meaning of the words is greater than or opposite to the words themselves.

Rules for Circumflex Inflection

1. To show irony, scorn reproach, incredulity
2. To make antithesis stronger
3. For implied antithesis

Excerpt from my grandmothers notebook.

These notes are fairly comprehensive and to the point. I would add the following bits.

The Role of Inflection in Captivating Audiences

Storytelling isn’t just about recounting events, it is about breathing life into words, guiding listeners through a world of feeling and imagination.

Inflection acts as your compass. A rising tone can intrigue, suggest uncertainty or invite participation. Conversely a falling inflection seals a statement, commands attention or signals finality.

The compound, or circumflex, inflection can infuse irony or highlight contrasts, making your narrative richer and more engaging.

Inflection in Presentations: More Than Just Words

Consider your next presentation. When you pose a rhetorical question “Isn’t this what we’ve all been waiting for?”, a gentle upward inflection invites your audience to consider and agree.

When delivering a decisive message “The time is now”, let your voice fall to communicate resolve.

If you wish to underscore a contrast or add a touch of humour, try the circumflex: “Oh, that’s a brilliant idea,” where the shift in tone suggests a layer of irony.

Further Reading

Lessons from my Grandmother’s Notebook: Rediscovering the Art of Speaking