By increasing the emphasis of surprise and making the interrogation more piercing, together with extended quantity upon the word "your" in the sentence, "your friend," accompained with the former example, the inverted wave of the fifth will be heard.

"I said he was my friend." If the word "my" is uttered with a strongly taunting and at the same time positive expression, that word will show the unequal direct

wave.

If the word "your" in the sentence "your friend" is colored strongly with scorn and interrogation, it may be made to show the inverted unequal wave.

Practical Remark.-The degree of scorn will be increased by adding force to the wave; and will bear a proportion to the extent and inequality of the slides which constitute it.

The wave of the semitone remains to be mentioned. If suspensive quantity together with a plaintive expression is put upon the words "poor" and "old"—of the following sentence, they will display the direct wave of the semitone.

"Pity the sorrows of a poor old man.”

The word "man" may be made to display the inverted wave of the semitone by making it plaintive, with long quantity, and causing the voice to fall upon the second part of the wave.

ELEMENTARY EXERCISES ON THE SLIDES OF THE VOICE.

As a command over these elements of the voice is of the utmost consequence, and as the power of making the

deeper downward slides, at will, is possessed by few persons, we subjoin a table of alphabetic sounds for exercise, and we recommend diligent practice upon them. Let the rising and falling slides of a second, third, fifth, and octave be each in their turn shown upon the following elements: also the direct and inverted equal and unequal waves described above.

I conclude this display of the slides of speech by recommending a diligent practice upon the elementary table. These slides give conspicuous expression to syllables. The downward slide is (as will be seen hereafter) one of the most striking means of emphasising words, of expressing positiveness of conviction, indignant resolution, and other affections of the mind, which cannot be conveyed by mere writing, and which the voice alone can exhibit. A discriminating perception of the difference of these respective elements of the voice, and a full command over them will be best attained by the tabular exercises here enjoined. They should be frequently repeated and not abandoned until the objects for which they are instituted are accomplished.

QUESTIONS TO RECITATION FIFTH.

1. What are the circumstances worthy of attention in the consideration of the slides of speech?

2. What is meant by the radical and vanishing movement?

3. Let it be demonstrated in sounding the alphabetic elements contained in page 67.

4. A demonstration is required I. of a rising slide of a second; II. of a third; III. of a fifth; IV. of an octave; V. of the falling slide of a second; VI. of a third; VII. of a fifth; VIII. of an octave.

5. The student is required to draw on a black board, and explain a diagram, shewiug these slides.

6. The student is required to give an instance of the rising slide of a semitone,—of a falling slide of the same. 7. How is a rising second popularly distinguished from a rising third?

8. How is a third distinguished from a fifth?

9. How is a fifth distinguished from an octave?
10. How is a falling second known?
11. How is a falling third distinguished?
12. How is a falling fifth known?

13. How is a falling octave known?

14. The student is required to give an instance I. of the direct equal wave of the second; II. of a third; III. of a fifth; IV. of an inverted equal wave of a second; V. of a third; VI. of a fifth; VII. of a direct unequal wave; VIII. of an inverted unequal wave; IX. of a wave of the semitone.

15. The student is required to demonstrate these varied intervals of the superscribed table-alone, or in class.

RECITATION SIXTH.

RADICAL PITCH.

We have now given an account of the slides of speech and have shown the method of determining the pitch of any slide, or in other words the distance in point of pitch from its commencement to its termination; and we have seen that the expression conveyed is invariably effected by the extent of the slide. The student now perceives that the change of pitch in the slide, is strictly concrete and takes place during a single impulse.

We are now to speak of pitch and its varieties as derived from a comparison of different impulses. Now in comparing the pitch of different syllables with each other, the comparison is of a series of successive impulses, and in estimating their relative pitch, we must disregard their slides and compare them with each other exclusively, at their commencing points. We thus ascertain the discrete pitch of syllables with reference to each other. The beginning of a syllable always makes a greater impression on the ear, than the part of the slide which follows. This is best proved by sounding one of the long vowels.

If a, i, or o, be opened with fullness and distinctness, and be uttered with smoothness and extended quantity, it will be perceived that the volume of the voice lessens (as we have before observed) during the slide, and that it ends in a delicate vanish at the termination of the syllable where sound and silence may be said to meet. This lessening volume of sound takes place in the utterance

of short syllables, but owing to their shortness it is not as perceptible. This difference of the opening and termination of syllables it was, which induced Dr. Rush to call the one the radical and the other the vanishing part of the syllable, and in our future remarks when we refer to the pitch at which syllables BEGIN as compared with other syllables; we shall employ the term RADICAL pitch to distinguish it from the pitch of their respective slides or concrete pitch. In considering the combinations of Melody arising from the difference in the radical pitch of syllables, we shall consider each syllable, in the examples, as having the rising slide of a tone, except when otherwise specified.

Particular combinations of Melody arising from special

differences in the radical pitch of syllables.

When in a succession of two syllables, the beginning of the second rises a single tone above the beginning of the first, the combination is called a rising ditone, because it includes two syllables, the second rising a tone above the first.

io.

A rising ditone may be exemplified in the sounds ¿ When in a succession of two syllables, the beginning of the second falls a tone below the beginning of the first, the combination is called a falling ditone-because there are two syllables of which the second falls below the first, This may be exemplified upon the sounds i。.

A succession of three syllables in which the second begins a tone above the first, and the third a tone above the second is called a rising tritone; because three syllables are included in the combination rising in the order described.