PURPOSES OF PHRASING:
the sentence.
 To catch one’s breath
 To make meaning clear
 To emphasize an idea
INTONATION
 In phonetics, it is the melodic pattern of an
utterance. It conveys differences of expensive
meaning (e.g., surprise, anger, or delight), and
it can also serve a grammatical function.
 Intonation is primary a matter of variation in
the pitch of the voice. In such languages as
English, it is often accompanied by stress and
rhythm to produce meaning.
 Tone is also a form of pitch modulation, but
the term describes the use of pitch to
differentiate word and grammatical
categories.)
 In many languages, including English,
intonation distinguishes one type of phrase or
sentence from another.
 When a person begin with a medium pitch and
ends with a lower one (falling intonation), the
sentence is a simple assertion, but when a
person uses a rising intonation (high final
pitch), it is a question.
INTONATION PATTERNS
 The intonation pattern for statement,
commands, and WH questions is basically the
same- the voice starts at a normal pitch, rises
at the intonation focus word, falls back to
normal after the intonation focus word, and
falls to low at the end of the sentence.
 YES OR NO QUESTIONS the pitch starts at
normal and rises at the end of the sentence.
THREE BASIC PITCHES IN ENGLISH:
 Normal pitch is where the voice usually is.
 High is where the voice rises to indicate
information focus.
 Low is where the voice falls, usually at the end
of the sentences.
(Very high pitch- strong emotions such as surprise,
anger, or fear)
 In most conventions the voice is normal at the
beginning of the sentences, rises at the
information focus word (or syllable) then falls
back to normal, and drops to low at the end of
TIPS FOR LEARNING INTONATIONS
1. Use proper intonation and stress yourself.
2. Watch TV shows to learn different types of
intonations.
3. Dialogues and Emotion
EMCEEING AND HOSTING SIMILAR BUT NOT QUITE
WHAT IS EMCEEING?
 Emcee or MC means Master of ceremonies. He
presides at a formal event or program. He
makes the proceedings move by formally
introducing the speakers, performers and
other participants.
 The emcee is somewhat limited to formally
introducing the features of the program.
WHAT IS HOSTING?
 A Host traces its roots from one who receives
and entertains guest socially, as a social
obligation, profession or business.
 From its “Social hosting” origin, the host has
evolved into- “carrying on a show”.
 A host, therefore, does not only preside. He is
more than just a emcee because he is licensed
to do other thing-like entertaining, aside from
just introducing the features of the
presentation.
 In some events, the host is the star of the
event.
TRAITS OF AN IDEAL HOST OR EMCEE- An ideal host or
emcee is one who has everything that an audience
looks for: good look, intelligence, nice sounding, voice
and many others.
 GOOD ORAL COMMMUNICATION SKILLS-
Hosting/ emceeing is basically communicating
one’s thoughts and feeling to audience.
 STRONG PERSONALITY-Personality is the sum
total of what we are. It also refers to the
pleasing qualities of a person’s character.
 WIT AND SENSE OF HUMOR- the ability to look
at the lighter side of things. Most filipinos are
gifted with this ability.
 GOOD PUBLIC SPEAKING VOICE- A host/emcee
is not only seen. He is heard.
  LOVES THE COMPANY OF PEOPLE-
Hosting/emceeing is simply interacting with
people.
 CONFIDENT ON STAGE- Confidence is the
projection that you are sure of yourself.
FACTORS THAT ADVERSELY AFFECT EFFECTIVE
EMCEEING/ HOSTING
1. Phycological Factors- those that emanate from
our minds.
 Shyness
 Nervousness
 Fear of making a mistake
2. Technical Factors- refer to the techniques in
hosting/ emceeing or “how’s”
 Don’t know what to say
 Don’t know how to say it
 Don’t know what to do
UNDERSTANDING THE AUDIENCE
Audience- assembled group that watches or listens.
There will be no program or show without an
audience. Like customers, the audience is king.
Audience is a source of inspiration. Understanding the
nature of an audience is therefore very important
because a host/emcee can adjust accordingly.
Let us look at an audience closely and try to
discover some of their general characteristics:
1. People who compose the audience don’t
necessarily have the same degree of interest
or motivation attending the event- different
individuals have different needs, wants and
motivation.
2. An audience does not think or react uniformly
to the performers or features of the program-
since and audience is composed of varied
individuals, it follows that they do not react
uniformly to what’s going on in a program.
3. An audience is sensitive to issues or remarks
that insult their beliefs, values or ways of life-
a host/ emcee must be very careful with his
remarks as not to hurt the sensitivities of the
audience.
4. An audience becomes restless after a certain
period of time- a program or a show, can be
enjoyable up to a certain point. After that,
people become restless.
5. The average filipino audience is basically
reserved- some performers say that the filipino
is hard to please.
6. An audience applauds spontaneously-There
are two sure parts in a performance where the
audience applauds spontaneously regardless of
whether the artist is unknown or popular.
7. Some members of an audience are potential
hecklers- Hecklers are those who intentionally
or unintentionally disturb or distract the event
of the performer.
Why are there hecklers in the first place?
 Some hecklers are uneducated and uncultured
 Some hecklers are actively participating
 Some hecklers are peeved with the program,
performer or situation.
 Some hecklers want attention.
HANDLING HECKLERS
 The first three general rules are: IGNORE,
IGNORE, IGNORE.
 Put him on the spot
 Make a heckler a part of your performance or
the program.
DEALING WITH UNRESPONSIVE OR NOISE AUDIENCE
1. Be interesting- An emcee should not fault the
audience. The audience, being the customer, is
king. The audience has the right not to pay
attention.
2. Stay focused on what you are saying- As host/
emcee, you have a job to do and that’s to carry
on with the show. You have an agenda,
objective and game plan in relation to the
program or show.
3. Look for somebody in the audience who
seems to be interested- Address your spiels to
somebody in the audience who seems to be
interested in you as host/ emcee.
4. Introduce a “jolt- a jolt is a form of activity that
will engage the audience into a physical
response.
5. For opening spiel, start with a blackout and a
fanfare music- If the event permits, start with
a big bang.
PUT YOUR BEST FOOT FORWARD
1. Delivers the opening spiel- An opening spiel is
Not the opening remarks. An opening spiel is a
 host’s/ emcee’s introductory statements which
aims to gets the attention.
2. Introduces the features in the program- The
GUIDELINES THAT NEED EXTRA THOUGHT
introduction of the participants, performers
and other features of the program is one of the
main responsibilities of a host/ emcee.
PLAY THE RULES FOR AN EFFECTIVE INTRODUCTION
 Introduce with sincerity and conviction-
Believe in the person you are introducing
 Highlight the performer’s uniqueness or good
points- Be resourceful to discover a
performer’s uniqueness and good point.
 Be excited- Excite yourself so you will be able
to make your introduction
 Choose your words well- Right words paint a
good picture, tickle the audience’s imagination.
 Relate him to the audience- Find a connection
between the person you are introducing and
the audience.
 Talk to the performer personally- Most of the
time, an emcee depends on cue cards for the
introduction.
 Call him with intensity- when calling the
performer. The delivery of the name should be
hypes. “hype” means with intensity.
ATTENTION-GETTING PHRASES FOR INTRDUCTION
3. Fills. The gaps or “dead-air”- In programs or
shows, a gap (or dead-air) is a break in
continuity or a blank space.
4. Connects all unrelated numbers for
continuity- most numbers in a program,
specially in a variety show, are unrelated to
each to other-form dancing to singing.
5. Sometimes, he directs- normally, a program
has a director whose function includes
planning, coordinating, etc.
6. Coordinates with performers and other
participants- it will provide the host/emcee
the necessary information about their
performance how they will enter and exit,
what number will they perform.
7. Sometimes, he does the voice-over (VO)-
There are some instances in a program or show
that need a voice-over. An act of announcing
off stage that does not need the appearance of
that particular person.
8. Does the closing spiel- A closing spiel is Not
the closing remarks. A closing spiel is a creative
summary of what has transpired in the
program.
1. Establish rapport immediately in your opening
spiel- Try to achieve rapport with your
audience immediately during your opening
spiel
2. Don’t over-sell yourself- Your voice, spiels and
personality will be enough to see yourself
3. Don’t be late for any engagement- Being late
is not only unprofessional, you contribute to
organizers’ woes.
4. Build up the person you are introducing-
Never put down the person you are
introducing.
5. Avoid lengthy spiels- The emcee is not the
main star. He is there to make the program
move.
6. Don’t show that you are emotionally affected-
there are times when an emcee or a host is
hurt or peeved or embarrassed.
7. Don’t advertise your nervousness- on stage,
performers get nervous. Don’t advertise it.
8. Don’t mispronounce somebody’s name- on
stage, it’s a sin to mispronounce the speaker’s
or performance name.
9. Don’t tell private jokes- A private joke turns
off the entire audience. It is only appreciated
by a few.
10. Beware of your mannerism- out of
excitement, a host/ emcees is not aware of his
mannerisms.
11. Don’t be predictable- introduce new things
every time you enter the stage. Like a product,
an emcee/ host must have something new to
share.
12. Be yourself- By simply being yourself is
already a style.
13. Don’t be the cause of a gap or dead-air- when
a performer is done with his number, the
emcee/host should immediately enter and
deliver his spiel.
14. Don’t over-dress- Be reminded that, although
an emcee frequently enters the stage, he is not
the main star.
15. Don’t leave when the speaker is not on stage
yet-After the emcee/ host calls out the name
of the speakers, he should not leave the stage.
16. Don’t read your spiels- Reading projects
insincerity. You lose warmth and contact.

SPIELS DEVELOPMENT, WHAT’S THAT AGAIN?
WHAT DOES “SPEIL” MEAN?
 Spiel, pronounced as ‘spel, is a brief and
concise remark designed to influence the
mood and to arouse the audience’s
interest towards the program or show.
SPIELS DEVELOPMENT
 The art and process of conceptualizing,
organizing thoughts, and choosing the right
words to communicate a thought or
feeling in order to achieve a desired effect
from the audience.
To develop a good spiel, observe the five
important ingredients:
1. Concept of the speil- is an idea with an
imaginable form and style.
 Conceptualize according to the event
 Conceptualize according to how you feel
about the occasion
 Conceptualize according to a filipino
sentiment
 Conceptualize according to the venue
2. Substance-refers to the quality content of your
spiel. It supports what you are trying to say to
the audience.
3. Transition statement- This statement
creatively connects two unrelated ideas or
thoughts. A transition statement starts with an
“extro”, an acknowledgement of the preceding
performer or number. Connectors- connectors
are ready-made words and phrases that give
you the opportunity to shift to another topic or
thought.
4. Organization- A spiel, no matter how short it
may be, needs organization. A disorganized
spiel confuses the listeners’ mind and,
eventually loses impact.
Example of an outline
 Extro (praise his performance)
 Transition statement (talk about the
effect of message on you
 Intro (connect to three of his good
points)
THE OPENING LINE
 In some situations, an emcee enters the stage,
get hold of the microphone and, suddenly,
forgets the opening line of the spiel.
Here are some techniques to open your spiel:
1. Use a rationale- a rationale is a basic reason or
explanation. It is a general statement is
followed by a semi-specific statement with
substantiates the rationale. A rationale is the
springboard of whatever you will say next.
2. Ask a question- Asking a question is an exciting
way to start a spiel question:
 It gets the audience’s attention, interest and
involvement through a collective response.
 A question should be light and simple to
enable the audience to answer even without
thinking or fearing that their answer is wrong
3. Express a feeling- Expressing a feeling as an
opener is the most common and the most
natural.
4. Quote from the speaker’s lines- If you spot a
particular word, phrases or line from a speaker
that has value, pick it up and use it as your
opener.
5. Pick up from current event or issues-Reading
the newspaper or watching a popular tv
program provides great ideas for opening lines,
people can relate to what they are familiar
with.
6. Open with joke- A joke, if well said, is an
excellent opener. A good joke is good
entertainment but it should be related to your
topic.
7. Acknowledge your introduction or introducer-
Acknowledging the introduction or the
introducer is not only proper; its serves as a
good cue for transition statement.
8. Relate your opening line to the program,
audience or organizers- It is also a compliment
to the organizers and the audience.
9. Repartee as an opening line- is a clever witty
reply.
THE OPENING SPIEL- An opening spiel should not talk
about the details of the program otherwise it will
duplicate the opening remarks.
THE CLOSING SPIEL- The closing spiel is not the closing
remarks. The closing spiel, does not only announce the
end of the program.
Here are some various techniques:

 Summarize the program- The most common

technique is to summarize the highpoints in
the program.
 Use a rationale- Closing with a rationale that
perfectly blends with the contents of the
program is not only proper but very effective.
 Use the speaker’s most memorable thought
or statement- Another technique that can be
used for a closing spiel is by borrowing or
relating to the main speaker’s message or
statement that made a mark in the audience’s
mind.
 Close with an expression of good wishes- the
listeners would naturally like to leave the hall
in feeling-good spirit.

GIVE AN ADLIB

On adlibbing- Adlibbing means talking out of script.

Adlibbing is not talking out a pleasure. It has an
important purpose-to enhance the quality of one’s
spiel.

SOME GUIDELINES TO MAKE ADLIBS MORE

EFFECTIVE:

1. An adlib should be relevant to the next

performance or preceding number.
2. An adlib should fill a gap.
3. When an emcee feels more confident adlibbing
rather than merely reading a script.
4. If you have a “prepared adlib”, create a
transition statement.