Effective speech and oral communication

2. PART I

3. THE NATURE OF COMMUNICATION
 Communication is the blood-line of
society.
 Communication is basic to success.
 Communication is important.

4. COMMUNICATION DEFINED
 A process by which we assign and convey
meaning in an attempt to create shared
understanding.
 This process requires a vast repertoire of
skills:
a. intrapersonal and interpersonal processing
b. listening
c. observing
d. speaking
e. questioning
f. analyzing
g. evaluating

5. COMMUNICATION DEFINED
 It can be seen as processes of
information transmission governed by
three levels of semiotic rules.
1. Syntactic
2. Pragmatic
3. Semantic
 It is therefore a social interaction where
at least two interacting agents share a
common set of signs and a common set
of semiotic rules.

6. COMMUNICATION DEFINED

7. COMMUNICATION PROCESS

8. PART 2

9. EFFECTIVE LISTENING
 Expressing our wants, feelings, thoughts
and opinions clearly and effectively is
only half of the communication process
needed for interpersonal effectiveness.
 The other half is listening and
understanding.
 There is a real distinction between
merely hearing the words and really
listening to the message.

10. SOUND
 The impact of vibrations make on the
human ear – the reception of sound
waves (Psychologist and speech
teachers)
 Sound is characterized by three features:
pitch, loudness, and quality
 Human speech adds a fourth feature –
rate or timing.

11. RECEIVING SOUNDS
Sound
(Vibration)

12. THREE BASIC LISTENING MODES
 Competitive or Combative Listening
—Interested in promoting own stance than
understanding someone else’s.
 Passive or Attentive Listening
—Interested in hearing and understanding others’
stance .
 Active or Reflective Listening
—Active in checking understanding before
responding with message.

13. SOURCES OF DIFFICULTY BY THE SPEAKER
1. Voice volume is too low to be heard.
2. Message is too complex.
3. Speaker is getting lost.
4. Body language or nonverbal elements are
contradicting or interfering with the verbal
message.
5. Paying too much attention on how the
other person is taking the message.
6. Using a very unique code or
unconventional method for delivering
message.

14. SOURCES OF DIFFICULTY BY THE LISTENER
1. Listener is preoccupied.
2. More interested in what he has to say that
he listens mainly to find an opening to get
the floor.
3. He is formulating and listening to his own
rebuttal than to what the speaker is saying.
4. He is listening to his own personal beliefs
about what is being said.
5. He is evaluating and making judgment
about the speaker or the message.
6. He is not asking for clarification when he
knows that he does not understand.

15. LISTENING TIPS
 Usually, it is important to paraphrase and
use your own words in verbalizing your
understanding of the message.
 Depending on the purpose of interaction
and your understanding of what is relevant,
you could reflect on the other person’s:
a. account of the facts
b. thoughts and beliefs
c. feelings and emotions
d. wants, needs or motivation
e. hopes and expectations

16. LISTENING TIPS
 Don’t respond to just the meaning of the words;
look for feelings or intent beyond the words.
 Inhibit from immediately answering questions.
 Know when to quit using active listening.
 If you are confused and know that you do not
understand , ask the speaker to say it another
way.
 When the speaker is emotionally disturbed, use
active listening as a response to him.
 Use eye contact and listening body language.
 Be emphatic and not judgmental.
 Become a more effective listener.

17. PART 3

18. LANGUAGE
 Instrument of communication
—Oral or written
—Verbal and Non-verbal
 Organized system of signals
—Sounds
—Intonation
—Gesture
—Written symbols
 A system of symbols (lexemes) and rules
(grammar)

19. LANGUAGE
 Oral Communication
—Spoken language
—Production of sound representation of language
—Voice is the primary tool

20. VOICE
 Voice and Speech
—Voice is the production of sound
—Speech is the combination of sounds
 Becomes symbols that represent meanings
 Has elements which reflect mood
—Quality
—Pitch
—Force
—Rate

21. VOICE QUALITY
Quality Description Purpose
Normal voice Speaker speaks
naturally
Normal
Conversation
Breathy voice Aspirate quality Whispering
Full voice Deep quality of
voice
Orotund
Speaking in
Formal and
Dignified
Occasion
Chesty voice Deep hollow
voice
Give Horror Effect
Thin voice High-pitched
Falsetto
Extreme Fatigue
and Excitement

22. VOICE LEVELS
 Pitch shows emotion
—High (e.g. angry lose control of their emotion)
—Medium (unemotional)
—Low (sadness, contempt, indifference or
disappointment )

23. VOICE INTENSITY
 It refers to the effect of a sound on the
ear.
—Its loudness or softness
 The force when one speaks varies in
degree and form.
—Degree refers to the amount of force applied
—High degree (e.g. shouting)
—Low degree (e.g. whispering)

24. RATE OF SPEECH
 It refers to the variations of speed.
—Slow speech projects calmness, acceptance, and
formality.
—Too slow depicts dullness, listlessness, apathy,
laziness, and lack of intelligence.
—Rapid speech shows animation, enthusiasm,
excitement, and informality.
—Too fast suggests nervousness, tension, and anxiety.

25. THE SPEECH MECHANISM

26. THE SPEECH MECHANISM
 Motor

27. THE SPEECH MECHANISM
 Vibrator

28. THE SPEECH MECHANISM
 Resonators

29. THE SPEECH MECHANISM
 Articulators

30. CLASSIFICATION OF PARTS OF SPEECH
MECHANISM
 Motor
—Respiratory muscles which are responsible for the regulation,
expulsion and control of air
 Vibrator
—Vocal bands or cords to produce sound waves through
vibration of the air
 Resonators
—Nose, mouth, and throat. Modulate sound waves
 Articulators
—Lips, teeth, tongue, upper gums, lower jaw, hard palate, and
ovula. Give definite shape and character of sounds as air
passes through the mouth or nose.

31. BREATHING AND FLEXIBILITY
 Inhale deeply but relax.
 Maintain a steady pressure of air as you
speak.
 Maintain an adequate breath reserve.

32. THE SPEECH SOUND

33. CONSONANTS
 The sounds of all languages fall into two
classes: consonants and vowels.
 Consonants are produced with some
restriction or closure in the vocal tract that
impedes the flow of air from the lungs.
 In phonetics, the terms consonant and
vowel refer to types of sounds, not to the
letters that represent them.
 We classify consonants according to where
in the vocal tract the airflow restriction
occurs, called the place of articulation.

34. PLACE OF ARTICULATION

35. PLACE OF ARTICULATION
Articulation Examples Production
Bilabials [p] [b] [m] bringing both lips
together
Labiodentals [f] [v] touching the
bottom lip to the
upper teeth
Interdentals [θ] [ð]
think [θɪŋk]
these [ðiz]
inserting
the tip of the
tongue between
the teeth

36. PLACE OF ARTICULATION
Articulation Examples Production
Alveolars [t] [d] [n] [s] [z] [l]
[r]
tongue raised in
various ways to the
alveolar ridge
[t,d,n] the tongue tip is
raised and touches
the ridge, or slightly
in front of it
[s,z] the sides of the front
of the tongue are
raised, but the tip is
lowered
so that air escapes
over it

37. PLACE OF ARTICULATION
Articulation Examples Production
Alveolars [l] the tongue tip is
raised while the rest
of the tongue
remains down,
permitting air to
escape over its sides
[r] speakers either curl
the tip of the tongue
back behind the
alveolar ridge, or
bunch up the top of
the tongue behind
the ridge

38. PLACE OF ARTICULATION
Articulation Examples Production
Palatals [ʃ] [ʒ] [tʃ] [dʒ] [j]
mission [mɪʃən]
measure [mɛʒər]
cheap [tʃip]
judge [dʒʌdʒ]
yoyo [jojo]
the constriction
occurs by raising
the front part of
the tongue to the
palate
Velars [k] [g] [ŋ]
kick [kɪk]
gig [gɪg]
back [bӕk]
bag [bӕg]
bang [bӕŋ]
raising the back
of the tongue to
the soft palate or
velum

39. PLACE OF ARTICULATION
Articulation Examples Production
Uvulars [ʀ] [q] [ɢ] raising the back
of the tongue to
the uvula, the
fleshy
protuberance that
hangs down in
the back of our
throats
The r in French is often a uvular trill symbolized by [ʀ].
The uvular sounds [q] and [ɢ] occur in Arabic.
These sounds do not ordinarily occur in English.

40. PLACE OF ARTICULATION
Articulation Examples Production
Glottals [h] [ʔ] The sound of [h] is from
the flow of air through
the open glottis, and
past the tongue and lips
as they prepare to
pronounce a vowel
sound, which always
follows [h].
uh-oh [ʔʌʔo] If the air is stopped
completely at the glottis
by tightly closed vocal
cords, the
sound upon release of
the cords is a glottal
stop [ʔ]

41. PLACE OF ARTICULATION

42. MANNER OF ARTICULATION
 Speech sounds also vary in the way the
airstream is affected as it flows from the
lungs up and out of the mouth and nose.
 It may be blocked or partially blocked;
the vocal cords may vibrate or not
vibrate.
 We refer to this as the manner of
articulation.

43. VOICED AND VOICELESS SOUNDS
 Sounds are voiceless when the vocal
cords are apart so that air flows freely
through the glottis into the oral cavity.
[p] and [s] in super [supər] are two of
the several voiceless sounds of English.
 If the vocal cords are together, the
airstream forces its way through and
causes them to vibrate. Such sounds are
voiced. [b] and [z] in buzz [bʌz] are two
of the many voiced sounds of English.

44. VOICED AND VOICELESS SOUNDS
Voiceless Voiced
rope [rop] robe [rob]
fate [fet] fade [fed]
rack [ræk] rag [ræg]
wreath [riθ] wreathe [rið]

45. VOICED AND VOICELESS SOUNDS
Voiceless Voiced
fine [faɪn] vine [vaɪn]
seal [sil] zeal [zil]
choke [tʃok] joke [dʒok]
peat [pit] beat [bit]
tote [tot] dote [dot]
kale [kel] gale [gel]

46. VOICED AND VOICELESS SOUNDS
Voiceless aspirated Voiceless unaspirated
pool [pʰul] spool [spul]
tale [tʰel] stale [stel]
kale [kʰel] scale [skel]

47. VOICED AND VOICELESS SOUNDS

48. NASAL AND ORAL SOUNDS

49. NASAL AND ORAL SOUNDS

50. STOPS
Stops Examples Production
bilabial stops [p], [b], [m] airstream stopped at
the mouth by the
complete closure of the
lips
alveolar stops [t], [d], [n] the airstream is stopped
by the tongue, making a
complete closure at the
alveolar ridge
velar stops [k], [g], [ŋ] with the complete
closure at the velum
palatal affricates [tʃ], [dʒ] with complete stop
closures
glottal stop [ʔ] the air is completely
stopped at the glottis

51. FRICATIVES
 Fricatives
 [f] [v] [θ] [ð] [s] [z] [ʃ] [ʒ] [x] [ɣ] [h]
 In the production of some continuants,
the airflow is so severely obstructed that
it causes friction, and the sounds are
therefore called fricatives.

52. FRICATIVES
Fricatives Examples Production
labiodental
fricatives
[f], [v] the friction is created at
the lips and teeth,
where a narrow passage
permits the air to
escape
interdental
fricatives
[θ], [ð] the friction occurs at the
opening between the
tongue and teeth
alveolar
fricatives
[s], [z] the friction created at
the alveolar ridge

53. FRICATIVES
Fricatives Examples Production
palatal fricatives [ʃ], [ʒ]
mission [mɪʃən]
measure [mԑʒər]
friction created as the
air passes between the
tongue and the part of
the palate behind the
alveolar ridge
In English, the voiced palatal fricative never begins words except for foreign words
such as genre.
The voiceless palatal fricative begins the words shoe [ʃu] and sure [ʃur] and ends the
words rush [rʌʃ] and push [pʊʃ].
glottal fricative [h] its relatively weak sound
comes from air passing
through the open
glottis and pharynx

54. AFFRICATES
 [tʃ] [dʒ]
 These sounds are produced by a stop
closure followed immediately by a gradual
release of the closure that produces an
effect characteristic of a fricative.
 The palatal sounds that begin and end the
words church and judge are voiceless and
voiced affricates, respectively.
 Affricates are not continuants because of
the initial stop closure.

55. GLIDES
 [j] [w]
 The sounds [j] and [w], the initial sounds
of you [ju] and we [wi], are produced
with little obstruction of the airstream.
 They are always followed directly by a
vowel and do not occur at the end of
words.
 After articulating [j] or [w], the tongue
glides quickly into place for pronouncing
the next vowel, hence the term glide.

56. VOWELS
 Vowels are produced with little
restriction of the airflow from the lungs
out the mouth and/or the nose.
 Vowel sounds carry pitch and loudness.
 We classify vowels according to three
questions:
1. How high or low in the mouth is the
tongue?
2. How forward or backward in the mouth is
the tongue?
3. Are the lips rounded (pursed) or spread?

57. TONGUE POSITION

58. TONGUE POSITION
Types of Vowels Examples Production
high front
vowels
[i]
he [hi]
the tongue is high in
the mouth and the front
part is raised
high back vowel [u]
who [hu]
the tongue is high in
the mouth and back
part of the tongue is
raised
low back vowel [a]
hah [ha]
the back of the tongue
is low in the mouth
[ɪ] and [ʊ]
hit [hɪt], heat [hit]
put [pʰʊt], hoot
[hut]
slightly lowered tongue
positions

59. TONGUE POSITION
Types of Vowels Examples Production
low front vowel [æ]
hack [hæk]
produced with the front
part of the tongue low
in the mouth, similar to
the low vowel [a], but
with the front rather
than the back part of
the tongue lowered
front mid vowels [e] and [ɛ]
bait [bet]
bet [bɛt]
raising the front of the
tongue to a position
midway between the
high and low vowels
back mid
vowels
[o] and [ɔ]
boat [bot]
bore [bɔr]
raising back of the
tongue to a position
midway between the
high and low vowels

60. TONGUE POSITION
Types of Vowels Examples Production
lower mid
central vowel
[ʌ]
butt [bʌt]
the tongue is not strictly
high nor low, front nor
back
schwa vowel [ə]
about [əbaʊt]
sofa [sofə]
articulated with the
tongue in a more or less
neutral position
between the extremes
of high/low, front/back
the schwa is used
mostly to represent
unstressed vowels

61. LIP ROUNDING
Types of Vowels Examples Production
rounded vowels [u] boot
[ʊ] put
[o] boat
[ɔ] bore
produced with
pursed or
rounded lips
Unrounded
vowel
[i] cheese
[a] bar, bah, aha
with the lips in
the shape of a
smile

62. LIP ROUNDING

63. DIPHTHONGS
 A diphthong is a sequence of two vowel
sounds.
 Diphthongs are present in the phonetic
inventory of many languages, including
English.
 The vowels we have studied so far are
simple vowels, called monophthongs.

64. DIPHTHONGS
Diphthongs Sound Sequence Examples
[aɪ]
[a] father
followed rapidly
by the [ɪ] sound
of fit
bite [baɪt]
[aʊ]
[a] followed by
the [ʊ] sound of
put
bout [baʊt]
[ɔɪ]
[ɔ] of bore
followed by [ɪ]
boy [bɔɪ]

65. NASALIZATION OF VOWELS
 Vowels can be produced with a raised velum
that prevents the air from escaping through the
nose, or with a lowered velum that permits air to
pass through the nasal passage.
 Nasal vowels occur for the most part before
nasal consonants in the same syllable, and oral
vowels occur in all other places.
 The words bean, bone, bingo, boom, bam, and
bang are examples of words that contain nasalized
vowels.
 To show the nasalization of a vowel in a narrow
phonetic transcription, an extra mark called a
diacritic—the symbol ~ (tilde) placed over the
vowel, as in bean [bĩn] and bone [bõn].

66. TENSE AND LAX VOWELS

67. PHONETIC SYMBOLS AND SPELLING
CORRESPONDENCES

68. PHONETIC SYMBOLS AND SPELLING
CORRESPONDENCES

69. PHONETIC SYMBOLS AND SPELLING
CORRESPONDENCES

70. RULES ON WORD STRESS
 1. Two-Syllable nouns and adjectives
 In most two syllable nouns and adjectives, the first
syllable takes on the stress.
 Examples: SAM-ples CAR-ton Col-or-ful RAI-ny
 2. Two-Syllable verbs and prepositions
 In most two syllable verbs and prepositions, the
stress is on the second syllable.
 Examples: re-LAX, re-CEIVE, di-RECT, a-MONG
 Verbs and prepositions usually get stress placed on
the second syllable, but there are exceptions to this
too.
 a-SIDE
 be-TWEEN

71. RULES ON WORD STRESS
 3. Three-Syllable words
 For three syllable words, look at the word
ending (the suffix), using the following as your
guide.
 4. Words ending in er, or, ly
 For words ending with the suffixes er, or, or ly,
the stress is placed on the first syllable.
 Examples: DI-Rect/DI-rec-tor, OR-der/OR-der-ly,
MA-nage/MA-nag-er

72. RULES ON WORD STRESS
 5. Words ending in consonants and in
y
 If there is a word that ends in a consonant or
in a y, then the first syllable gets the stress.
 Examples: RA-ri-ty
 OP-ti-mal
 GRA-di-ent
 CON-tain-er

73. RULES ON WORD STRESS
 6. Words with various endings
 Take a good look at the list of suffixes below
(suffixes are word endings). Your stress is
going to come on the syllable right before the
suffix. This applies to words of all syllable
lengths.
 able: ADDable, ARable, DURable
 ary: PRIMary, DIary, liBRary
 cial: juDIcial, nonSOcial
 cian: muSIcian, phySIcian, cliNICian
 ery: BAkery, SCENery
 graphy: calLIgraphy, bibliOgraphy, stenOgraphy

74. RULES ON WORD STRESS
 ial: celesTIal, iniTIal, juDICial
 ian: coMEdian, ciVILian, techNIcian
 ible: viSIble, terRIble, reSIstible
 ic: arCHAic, plaTOnic, synTHEtic
 ical: MAgical, LOgical, CRItical
 ics: diaBEtics, paediAtrics

75. RULES ON WORD STRESS
 ion: classifiCAtion, repoSItion, vegeTAtion
 ity: imMUnity, GRAvity, VAnity
 ium: HElium, ALUminum, PREmium
 imum: MInimum, MAXimum, OPtimum
 logy: BIology, CARdiology, RAdiology
 tal: caPItal, biCOAstal, reCItal

76. RULES ON WORD STRESS
 7. Words ending in ee, ese, ique, ette
 Words that use the suffix ee, ese, eer, ique or
ette, have the primary stress actually placed on
the suffix. This applies to words of all syllable
lengths.
 Examples: ee: agrEE, jamborEE, guarantEE
 eer: sightsEER, puppetEER
 ese: SiamESE, JapanESE, cheESE
 ette: cassETTE, CorvETTE, towelETTE
 ique: unIQUE, physIQUE

77. RULES ON WORD STRESS
 8. Prefixes
 Usually, prefixes do not take the stress of a
word. There are a few exceptions to this rule,
however, like: un, in, pre, ex and mis, which are
all stressed in their prefix.
 Examples: ex: e-XAM-ple, ex-pla-NAtion, e-XAM-ine
 in: IN-side, IN-efficient, IN-terest
 mis: MIS-spoke, MI-stake, MIS-spelled
 pre: PRE-cede, PRE-ar-range, PRE-li-min-ary

78. RULES ON WORD STRESS
 9. Stress on the second from the end
syllable
 You put stress on the second syllable from the
end of the word, with words ending in ic, sion
and tion.
 Examples: i-CON-ic
 Hy-per-TEN-sion
 Nu-TRI-tion

79. RULES ON WORD STRESS
 10. Stress on the third from end
syllable
 You put stress on the third from end syllable
with words that end in cy, ty, phy, gy and al.
 Examples: de-mo-CRA-cy
 TREA-ty
 Ge-O-graphy
 AL-ler-gy
 NAU-ti-cal

80. RULES ON WORD STRESS
 C. Compound verbs
 A compound verb is when a subject has two or
more verbs. The stress is on the second or on
the last part.
 Examples: Matilda loves bread but de-TESTS butter.
 Sarah baked cookies and ATE them up.
 Dogs love to eat bones and love DRIN-king water.
 D. Noun + compound nouns
 Noun + compound Nouns are two word
compound nouns. In noun + compound
noun, the stress is on the first word.
 Examples: AIR-plane mechanic
 PRO-ject manager
 BOARD-room member

81. RULES ON WORD STRESS
 B. Compound adjectives
 A compound adjective is an adjective
composed of at least two words. Often,
hyphens are used in compound adjectives. In
compound adjectives, the stress is placed
within the second word.
 Examples: ten-ME-ter
 rock-SO-lid
 Fif-teen-MI-nute

82. RULES ON WORD STRESS
 11. Word stress for compound words
 A. Compound noun
 A compound noun is a noun made out of two
nouns in order to form one word. In a
compound noun, the first word usually takes
on the stress.
 Examples: SEA-food
 ICE-land
 TOOTH-paste

83. RULES ON WORD STRESS
 12. Phrasal verbs
 Phrasal verbs are words made from a verb and preposition.
 In phrasal verbs, the second word gets the stress (the
preposition).
 Examples: Black OUT
 break DOWN
 look OUT
 13. Proper nouns
 Proper nouns are specific names of people, places or things.
For example: Jeniffer, Spain, Google.
 The second word is always the one that takes the stress
 Examples: North DAKOTA
 Mr. SMITH
 Apple INCORPORATED

84. RULES ON WORD STRESS
 14. Reflexive pronouns
 Reflexive pronouns show that the action affects the
person who performs the action. For example: I hit
myself. The second syllable usually takes the stress.
 Examples: my-SELF
 Them-SELVES
 Our-SELVES
 15. Numbers
 If the number is a multiple of ten, the stress is
placed on the first syllable.
 Examples: TEN
 FIF-ty
 ONE-hundred

85. INTONATION

86. INTONATION
 The falling tone

87. INTONATION
 The low rising tone

88. INTONATION
 The high rising tone

89. INTONATION
 The fall-rise tone

90. PART 4

91. INTRODUCTION
 Humans’ ability to communicate using
formalized systems of language sets us
apart from other living creatures on the
Earth.
 The ironic feature of public speaking is
that while we recognize that it is an
important skill to have, many of us do
not like or want to give speeches.
 Anyone can learn to give effective
presentations.

92. BENEFITS OF PUBLIC SPEAKING
Public
Professional
Personal
• allow you to participate
in democracy at its
most basic level
• is required at any
professions
• enhances chance of
securing employment
and advancing in career
• fulfills essential roles in
family and community
• builds self-confidence

93. MODELS OF COMMUNICATION

94. MODELS OF COMMUNICATION

95. THREE TYPES OF PUBLIC SPEAKING
 1. Speeches that inform
 Explain
 Report
 Describe
 Clarify
 Define

96. THREE TYPES OF PUBLIC SPEAKING
 2. Speeches that persuade
 Designed to convince or influence beliefs
or attitudes
 3. Speeches that entertain
 Use humor to influence an audience
 Goal: to warm audience up

97. SPECIAL OCCASION SPEECHES
 A special occasion speech includes one
of several kinds that celebrate an
occasion.
 More specifically, it might introduce a
speaker, entertain an audience, or inspire
people.
 Another term for special occasion
speech is ceremonial speech.

98. PURPOSE OF SPECIAL OCCASION SPEECHES
 Magnification
 It means giving benefit to the audience,
amplifying emotion, and exceeding
expectations.
 Identification
 It involves creating familiarity and closeness.

99. TYPES OF SPECIAL OCCASION SPEECHES
 Speech of Introduction
 Toast and Roast
 Speech to Present an Award
 Acceptance Speech
 Keynote Address
 Commencement Speech
 Commemorative Speeches and Tributes
 After-Dinner Speech

100. TYPES OF SPECIAL OCCASION SPEECHES
 Speech of Introduction
 A speech of introduction is a brief presentation
used to introduce the main speaker of an event
and to inspire the audience to listen to that
speaker.
 The introductory speech usually has three
components:
1. provide a brief backdrop or background of
the main speaker
2. introduce the speaker’s topic
3. an invitation from the audience to warmly
welcome the speaker

101. TYPES OF SPECIAL OCCASION SPEECHES
 Toast
 A toast is a brief tribute
to a person or event.
 Roast
 A roast is a variation of
the toast in which the
speaker pays tribute to
a person by poking fun
at her or him in a
friendly way.

102. TYPES OF SPECIAL OCCASION SPEECHES
 Presentational Speech
 Also called a speech to
present an award, the
presentational speech serves
to highlight the merits of the
award recipient and to point
out the purpose and
significance of the award
being given.
 Acceptance Speech
 Also called the speech to
accept an award, the
acceptance speech gives the
recipient an opportunity to
express appreciation for the
award as well as humility and
grace.

103. TYPES OF SPECIAL OCCASION SPEECHES
 Keynote Address
 The keynote address
represents the keynote
of a larger idea taking
place at a conference
or exposition usually
organized around a
central theme.

104. TYPES OF SPECIAL OCCASION SPEECHES
 Commencement
Speech
 The commencement
speech is given by a
well-known person
of local, national, or
international acclaim
to mark a university
or secondary school
graduation
ceremony.

105. TYPES OF SPECIAL OCCASION SPEECHES
 Commemorative or Tribute Speech
 A commemorative or tribute speech is one
that pays special accolades to an occasion,
extraordinary person, event, idea, or
monument.
 Such a speech is intended to reflect the
emotions of the audience.

106. TYPES OF SPECIAL OCCASION SPEECHES
 After-dinner Speech
 During the after-dinner speech, audiences
expect to be entertained by a speech that
informs them about a particular issue.
 This speech sometimes uses humor to
make a serious point.

107. IDENTIFYING YOUR SPEAKING STYLE
 Cool presenter
 Hot presenter
 Dull presenter

108. SPEAKING COMPETENCIES
 Useful Topic
 Engaging Introduction
 Clear Organization
 Well-Supported Ideas
 Closure in Conclusion
 Clear and Vivid Language
 Suitable Vocal Expression
 Corresponding Nonverbals
 Adapted to the Audience
 Adept Use of Visual Aids
 Convincing Persuasion

109. DELIVERING YOUR PRESENTATION
 Methods of Speech Delivery
 Effective Verbal Delivery
 Effective Nonverbal Delivery
 Final Tips for Rehearsing and Delivering

110. METHODS OF SPEECH DELIVERY
 Manuscript Speaking
 Rarely done well enough to be interesting
 Guidelines
1. Type your manuscript in short, easy-to-
scan phrases
2. Use appropriate nonverbal messages
3. Do not read the speech too quickly
4. Vary the rhythm, inflections, and pace of
your delivery
5. Use gestures and movement to add
nonverbal interest

111. METHODS OF SPEECH DELIVERY
 Memorized Speaking
 Guidelines
1. Do not deliver your memorized speech
too rapidly
2. Avoid patterns of vocal inflection that
make the presentation sound recited
3. Use gestures and movement to add
interest and emphasis to your message

112. METHODS OF SPEECH DELIVERY
 Impromptu Speaking
 “off the cuff”
 Guidelines
1. Consider your audience
2. Be brief
3. Organize
4. Draw upon your personal experience and
knowledge
5. Use gestures and movement that arise
naturally from what you are saying
6. Be aware of the potential impact of your
communication

113. METHODS OF SPEECH DELIVERY
 Extemporaneous Speaking
 Method of delivery preferred by most
audiences
 Guidelines
1. Use a full-content preparation outline
when you begin to rehearse your
presentation
2. Prepare an abbreviated delivery outline
and speaking notes
3. Do not try to memorize your message
word for word
4. As you deliver your presentation, adapt it
to your audience

114. METHODS OF SPEECH DELIVERY
RECAP Methods of Delivery
Manuscript Reading a speech from written text
Memorized Giving a speech word for word from memory
without using notes
Impromptu Delivering a presentation without advance
preparation
Extemporaneous Speaking from a written or memorized outline
without having memorized the exact wording of
the presentation

115. KNOW YOUR AUDIENCE
 Make up of Audience
 Superiors
 Peers
 Team members
 Special interest groups
 Mixed groups

116. TIME TO OUTLINE
 Gather materials
 Examples
 Statistics
 Testimony

117. PREPARING THE OUTLINE
I. Introduction
II. Body
A. Main point
B. Main point
1. Sub-point
2. Sub-point
a. Sub sub-point
b. Sub sub-point
III. Conclusion

118. BUILDING THE BODY
 Begin developing your speech by working
on the middle first, or the body.
 The body covers everything you want to
say during your speech.
 The body should have three to five main
points for a 20 minute to half hour
presentation.
 And if you want your audience to
remember those points, the most effective
approach is point development.
 Once your speech is over, the audience is
going to remember main points only.

119. MAKING AN EFFECTIVE INTRODUCTION
 Get the attention of the audience.
 You can get attention and interest by relating the
topic to the audience. People pay attention to
things that affect them directly.
 Startle the audience with an arresting or
intriguing statement.
 “Almost one year ago today, a perfect stranger
saved my best friend’s life.”
 Arouse Curiosity.
 Give an arresting synopsis of what you will explore.
Or you may question your audience. This draws
the audience in immediately.

120. PREPARING THE CONCLUSION
 Two Purposes
1. Let the audience know you are ending
2. Reinforce central idea

121. EFFECTIVE VERBAL DELIVERY
• Using words well
• Crafting memorable word structure

122. USING WORDS WELL
• Specific, Concrete Words
– Refers to an object or action in the most specific
way possible
• Unbiased Words
– Do not offend any sexual, racial, cultural, or
religious group
• Vivid Words
– Add color and interest to your language
• Simple Words
– Immediately understandable
• Correct Words
– Grammatical and usage errors communicate a
lack of preparation

123. CRAFTING MEMORABLE
WORD STRUCTURES
• Figurative
Language
– Metaphors
(implied
comparisons)
– Similes (over
comparisons)
– Personification
(attribution of
human qualities
to non-human
things or ideas)

124. CRAFTING MEMORABLE
WORD STRUCTURES
• Drama
–Omission (strip a phrase or sentence of
nonessential words that the audience
expects)
• Do you believe that he can cope …?
–Inversion (invert the usual subject-verb-
object sentence pattern)
• Him the crowd adores.
–Suspension (saving a key word or
phrase for the end of a sentence)
• They tried, they fought, they did their best.

125. CRAFTING MEMORABLE
WORD STRUCTURES
• Cadence
– Parallelism (two or more clauses have the
same grammatical pattern)
– Antithesis (the two structures contrast)
• From rags to riches, from beans to beef, from water to
wine.
– Repetition (repeat key word or phrase)
• The game was lost. The game was finished before it
began. The game was a farce of sportsmanship.
– Alliteration (repetition of an initial
consonant sound several times in a phrase,
clause, or sentence)
• They have bribed us with promise,
blackmailed us with threats, and bled us with

126. EFFECTIVE NONVERBAL DELIVERY
• Eye contact
• Physical delivery
– Gestures
– Movement
– Posture
• Facial expression

127. EFFECTIVE NONVERBAL DELIVERY
• Vocal Delivery
–Volume
–Pitch
–Rate
–Articulation
• Appearance

128. EFFECTIVE NONVERBAL DELIVERY
RECAP Characteristics of Nonverbal Delivery
Gestures should be relaxed, definite, varied, and appropriate.
Movement should be purposeful
Posture should feel natural and be appropriate to your topic,
audience, and occasion
Eye Contact should be established before you say anything and
sustained throughout your presentation
Facial Expression should be alert, friendly, and appropriate
Volume should be loud enough to be heard and varied
Pitch should be varied to sustain audience interest
Rate should be neither too fast or too slow
Articulation should be clear and distinct
Appearance should conform to what the audience expects

129. FINAL TIPS FOR DELIVERING YOUR
PRESENTATION
 Finish your full-content outline several
days before you must deliver the
presentation
 Practice, Practice, Practice
 Practice good delivery skills while
rehearsing
 If possible, practice your presentation for
someone else
 Tape record or videotape your
presentation

130. FINAL TIPS FOR DELIVERING YOUR
PRESENTATION
 Re-create the speaking situation in your
final rehearsals
 Get plenty of rest the night before you
speak
 Arrive early
 After you have delivered your
presentation, seek feedback from
members of your audience.