Let the lines in this scale, and the spaces between them be the places occupied by the notes. When measuring the intervals of these notes let these lines and spaces be counted in succession, thus, line 1 space 2, line 3 space 4, and so on, whether we are counting upwards or downwards. The first figure of the scale commencing on line 1, and reaching into space 2, represents a rising slide of a second, the second figure a rising third, the third a rising fifth, the fourth a rising octave. The remaining figures represent in the order in which they appear on the scale a falling second, third, fifth and octave. The intervals here enumerated are the only ones (with the exception of the semitones,) requiring attention in the science of speech; the slides of a fourth, sixth, and seventh, will therefore not be regarded in this grammar.

The slide of a second upwards and downwards may be called the simplest slide of speech, while the others increase in intensity in proportion to the extent of the interval.

Popular methods of determining the pitch of the slides of the voice, by the meaning or expression they convey.

1. RISING SLIDE.

It is not absolutely necessary to be acquainted with music in order to determine the nature of the slides used in speech or to be able to apply them correctly in discourse. Let the following sentence be uttered in a very deliberate manner, and with a perfectly distinct enunciation. "As soon as I arrived, he conducted me to his house." Let particular attention be given to the

sound of the 'I.' Then let that part of the sentence ending with 'I' and including it, be uttered without the remaining portion, the voice breaking off after uttering that word, with the intonation a person would naturally employ, who was going to speak the whole sentence, but who was suddenly interrupted at the moment he had completed the described section, "As soon as I:" -the 'I' will in this case be found to have the rising slide of a second. Let the 'I' be next pronounced alone with the same slide it had in the superscribed section of the sentence; and the rising second cannot be mistaken afterwards. It is to be noticed that the intonation is such as to leave the ear in a state of suspense, and, (though the voice actually ceases,) to apprise the mind that all has not been said that was to be expected. Let it be farther remarked, that the 'I' conveys no expression of emphasis, of emotion, or of interrogation, nothing more than the simple notion inseparable from the sound.

More intensive slide of a third. Let the following sentence next be uttered as it would naturally be if the answer yes or no were expected to it; all earnestness or emotion being excluded. "Did he say that it was I that did it?" If the question be so spoken as to convey merely the idea of simple inquiry, such as would require the answer "yes or no," or, "he said it was you," the 'I' will have the rising slide of a third.

Intense slide of a fifth. But if the question be asked with some surprise, and with strong emphasis on the ‘I' that syllable will have the rising slide of a fifth. "Did he say it was I?”

More intense slide of an octave. Let the emphasis be rendered still stronger upon the 'I,' and let the interrogation be rendered still more piercing and expressive of excessive surprise, and the slide will reach through the rising octave. Children and females whose emotions are particularly lively, frequently ask a question with the intense piercing slide of the octave.

2. FALLING slide.

Simple falling slide. If the imaginary sentence, "Good evening Mr. I." be uttered with the natural fall which the voice always assumes at the end of a common sentence, and without the least emphasis on the 'I' conveying an expression of antithesis, that word will display the falling slide of a second.

If the sentence He said it was 'I' be uttered with just such a degree of emphasis as will place the 'l' in antithesis with you (understood,) it will exhibit the falling slide of a third.

Intense downward slide upon the 'I.' Let the emphasis be made so strong as to express a considerable degree of positiveness upon that word, and the slide will fall through a concrete fifth.

He said it was '1' [not you.]

Most intense downward slide. Let the highest degree of dictatorial positiveness and energy be now given to the 'I' and it may be made to reach the downward octave during its pronunciation.

If a syllable be uttered with a plaintive expression, it will have the slide of the semitone. In solfaing on the

common scale, a plaintive expression is constantly heard when the third and fourth, or seventh and eighth notes are sounded in immediate succession; and if the voice slide through the concrete interval of a semitone it will have a plaintive expression, whether it ascends or descends. The converse is true, or, in other words, whenever a plaintive expression is heard in speech the voice moves through the slide of a semitone.

Let a plaintive or mournful expression be given to the word I, but to no other, in the following sentence, and that word will exhibit the rising slide of a semitone, the contrast of which with the slides of a tone, upon each of the other syllables, will be very striking.

"I will be a good boy."

Let the word " boy" be rendered plaintive or mournful with a fall of the voice, and it will show the falling slide of the semitone.

CIRCUMFLEX SLIDES OR WAVES OF THE VOICE.

THE Voice may rise and fall in its slide upon the same syllable. This rise and fall is called a Wave. If there are only two parts to the wave, that is, if the voice rises and falls only once in its slide, such rise and fall are called a single wave. If there are three parts and not more, that is, if the voice rises and falls and rises again, or falls and rises and falls again upon the same syllable, the slide is called a double Wave. If there are more parts than three, the wave is called a continued Wave.

If the rise and fall of a voice on a wave are through

If it

If the

the same interval, it is called an equal wave. If it rises first and then falls it is called a direct equal wave. falls first and then rises, an inverted equal wave. interval of the rise and fall of the voice upon a wave is not the same, it is called an unequal wave. If it rises first and then falls, a direct unequal wave: if it falls first and then rises, an inverted unequal wave.-See Philosophy of the Human Voice.

"Hail! holy Light."

EXAMPLES.

If the word "hail" is uttered with long quantity with a perceptible downward ending, and without any emphasis except that which arises from its prolongation, it will show the direct equal wave of the second.

"High on a thrōne of rōyal state."

If this sentence is uttered with extended quantity it will show the inverted equal wave of the second on the syllables "high," "throne," " roy."

"I said he was my friend.”

If this sentence is deliberately uttered, with very long quantity upon the "my" and an exclusive emphasis implying that the person spoken of was not your friend— that word will show the direct equal wave of a third.

If the answer is "your friend" and the word "your" is uttered with very long quantity, with a slight degree of surprise and an interrogatory emphasis, it will show the inverted equal wave of the third.

If the sentence is reiterated, "I said he was my friend," with a strongly positive emphasis on the "my," together with very long quantity, the direct equal wave of the fifth will be heard.