66 Solemnity. (Pitch still lower.) May sea and land, and earth and heaven be joined, Awe. ("Very low pitch.") When oceans roar, or thunders roll, May thoughts of Thy dread vengeance shake my soul!" If we bring our analysis of a sentence into still closer distinctions of melody and pitch, we pass from clauses to phrases. The "melody of phrases" and their relative 'pitch,' ,"involve topics too numerous and too intricate for discussion in an elementary work. These subjects will be found fully explained in the work of Dr. Rush. We will select a few points of practical application and of primary importance. The "phrases of melody," in a sentence, admit of being arranged in two classes: 1st, those which prevail in the body of a sentence; 2d, that which occupies the last three syllables of a sentence, and forms the cadence. The former is termed the "current melody; "the latter, the "melody of the cadence." - The investigation of melody and pitch, in phrases, requires attention to the important distinction of "discrete" and "concrete" sounds. "Discrete" sounds consist of notes produced at intervals, or in close succession, but in detached and distinct forms, as in running up or down the keys of a piano, or the chords of a harp; or producing similar sounds on a violin, by twitching the strings with the finger, instead of gliding over them with the bow; or in the laughing utterance of delighted surprise, as when we "fifth" or an laugh a "" octave up the scale, on the interrogatory interjection "eh?" or when, in the laughing utterance of derision, we run down the scale, in the same way, in the long-drawn sound of the word "no!" these last-mentioned instances, every note is executed by a distinct and separate little jet, or tittle, of voice. To such 66 In sounds, then, the word "discrete," in its proper etymological sense, may be justly applied, as intimating that they exist apart. "Concrete" sounds, on the other hand, are produced by a succession of notes gliding into each other so imperceptibly to the ear, that they cannot be detached from each other; as when the violinist, in playful execution, sometimes makes his instrument seem to hold dialogue, in the tones of question and answer, by drawing the bow across the strings, while he slips his left hand, upward and downward, so as to shorten or lengthen the strings, and thus cause the sounds to glide up or down the scale, in one continuous stream of " mewing" sound. A parallel illustration may be drawn from the natural use of the voice, when we pronounce the interrogatory "eh?" of surprise, in a serious mood, but with great earnestness, — merely causing the voice to slide smoothly up the scale, through the interval of a fifth or an octave," or when we utter the word "no!" in the tone of full and bold denial, and make the voice sweep continuously down the scale, through a similar interval. 66 In the "current melody" of a sentence, every syllable includes a "radical" and a 66 vanishing movement," united, which, in unimpassioned expression, occupy the space, on the scale, of one tone, or pass from one note to the next above it on the scale. The succession of "concrete' tones, is uniformly at the interval of a tone, upward or downward on the scale, as the case may be. The rise of voice within each syllable may therefore be called its concrete pitch;" and the place that each syllable takes above or below another, the "radical pitch." The "melody of phrases," prescribes no fixed succession of radical pitch, although it usually avoids a repetition of the same "radical pitch," unless for special effect, in extreme cases; and it forbids the see-saw tone of exact alternation, or measured recurrence, of "radical pitch." The convenience of using specific and exact terms, in relation to "melody" and "pitch," as they exist in speech, renders the following distinctions important to the student of elocution. 66 When two or more "" concretes occur in succession, on the same radical pitch," they form a monotone," or produce upon the ear the effect of unity or sameness of sound or tone. This concrete pitch is often used in con junction with the low notes of awe, sublimity, and solemnity, for impressive effect, resembling that of the deep tolling of a large bell. Monotone," however, is not to be confounded with monotony, the besetting fault of school reading, and which consists chiefly in omitting or slighting the "radical stress," and sometimes abolishing even the "radical movement of elements. "Monotone "" is the sublimest poetic effect of elocution: monotony, one of the worst defects. 66 When the "radical pitch " of a sound, is above or below that of the preceding tone, it is termed a Rising" or a "Falling Ditone." When the radicals of three successive "concretes," rise or fall, they become a "Rising or a Falling Tritone.” When there is a series of three or more, alternately a tone above and below each other, they form an "Alternate Phrase." When three "concretes gradually descend in their "radical pitch" at the close of a sentence, the “vanish" of the last, instead of ascending, descends; so as to give the peculiar closing effect to the cadence. This descent is, accordingly, for distinction's sake, termed the "Triad of the Cadence." It is in this peculiar "phrase" of "sentential melody," that the very general fault, popularly called " a tone," exists. The common style of cadence, instead of being spoken, is usually such as causes it to be sung, more or less, by deviating from the melody of the "triad," and, at the same time, losing " radical," and assuming "median stress," accompanied by a half-musical wave or undulation of voice. A clear, distinct, and exact succession of "radical pitch," in the form of the "triad," would, in most cases, destroy the false tone, and impart to reading more resemblance than it often possesses, to speech or to conversation. The student will derive much assistance, in this branch of elocution, from repeating the "tonic elements," and appropriate words selected from the exercises in the chapter on enunciation, with a view, first, to observe the " concrete" character of the elementary sounds of speech in their initial" radical" and rising "vanish." Let letters, syllables, and words, then be practised, successively, in the forms of the phrases of the "monotone," "falling" and "rising ""ditone," and "tritone," and the "triad of the cadence." The following illustration, selected from the work of Dr. Rush, will suggest the idea how the exercises in this department may be practised in classes, by the use of the chart of exercises, or of the black-board. The object in view, in the use of such diagrams as the following, is not to exhibit the strict application of any rule or principle of elocution, but merely to aid the mind in attaining an exact apprehension of the nature and character of the elements of vocal sound, in certain relations. It is not meant that either the couplet from Pope's Homer, which is introduced in the following illustration, or the lines which follow it, must be read with the precise melody exhibited in the diagram, or that they cannot be appropriately read with any other. The design of this exemplification, is merely to show the different forms of "radical pitch," as they occur in the actual use of the voice, and to render the practice of them definite and exact. The repetition of the exercise will render the ear accurate and discriminating, and will preserve the student from inadvertently contracting the false intonation arising from the general neglect of this part of elocution, and from the impossibility of discussing or explaining its peculiarities, till the means of instruction were furnished by exact analysis and precise nomenclature, benefits for which science and education stand equally indebted to the discriminating genius and philosophic investigation of Dr. Rush. “That quarter most the skilful Greeks annoy, Monotone. Falling Ditone. Rising Tritone. Rising Ditone. Where you wild fig trees join the walls of Troy." Falling Tritone. Alternation. Triad of the Cadence. To secure the full benefit of discrimination and of exact practice, it will be a useful exercise to repeat the phrases of melody in the diagram, on the "tonic" and other ele ments, on syllables, and on words, and on the following couplets. 1. "Lo! the poor Indian, whose untutored mind Sees God in tempests, hears him in the wind." 2. "There where a few torn shrubs the place disclose, The village preacher's modest mansion rose." 3. "Thus every good his native wilds impart, Imprints the patriot passion on his heart." 4. "The conscious swains, rejoicing in the sight, Eye the blue vault, and bless the useful light." THE SLIDE." We proceed to the examination of another function of the voice, connected with "melody," or the transition of vocal sound from one note to another of the musical scale. -The transit from the radical to the vanish of a sound, is, it will be recollected, limited, in "concrete pitch," to a single tone, or the distance measured to the ear, in passing from one note to the next above, on the scale. We should hear this transition exemplified in the sound of a in the word arm, in the following unimpassioned and incomplete phrase, if read as it would be in the case of a person suddenly interrupted, at the moment of uttering that word, in the act of reading a sentence; thus, "He raised his arm The broken or interrupted, progress of the voice, is here indicated by the fact that the sound of a in the word arm does not descend, but remains suspended by the effect of |