with its full notes of the discrete scale, false intonation is immediately obvious, even in the successions of melody; and in the co-existent notes of harmony, the effect is still more remarkable. But speech is a solo, as well as a concrete performance, and therefore, any slight want of accuracy at the point of the vanish, even if perceptible, is nevertheless, under my observation, of very little consequence. If our sentiments were marked in degree, by nice distinctions, it would be proper to express them, by like gradations in the voice. But as in the grammatical variation of adjectives, the three degrees sufficiently distinguish the countless shades of comparison, so with the interrogative intervals, a difference of third, fifth and octave, is sufficient for present practical use of their vocal expression.

The second it has been shown, has what we call a plain diatonic character, appropriate to narrative, and unimpassioned discourse. It may then be asked, whether a want of precision, in marking the interval would destroy that character. By my observation, it would not; provided the variation be slight, and not diminished one half, down to a semitone, nor extended half a tone, up to a minor third; the former producing a plaintive expression, and the latter, as a fault, being inadmissible into speech. But should the voice, in executing its various intervals, even exceed, or fall short of the exact points of the scale, let others decide the question of its impropriety. To my ear however, for all the precision required by this case, there is no false intonation at the close of the vanish, that has ever marred the purpose of a correct and elegant elocution.

But admitting precision of interval to be a matter of importance, the command over it may be easily acquired; since the vanish cannot be attenuated beyond the ability of the ear to measure it. The place in pitch, of a prolonged note of song, with what is called a diminuendo, is still cognizable, as long as it is heard; and it is equally so in the vanish, or diminuendo of a concrete interval of speech: though the sentiment is conveyed more forcibly by the louder voice. How far this accuracy of intonation may be required in speech, when we shall have arranged the chaos of our thoughts and feelings, into some effi

cacious system of definite ideas, with open and honorable purposes, must be determined by time. From the past, present, and prospective disorderly state of the human mind and passions, I have, in this essay, probably assigned more definite degrees, and forms of intonation, whether true or false, than will ever be used by the greater part of oratorical mankind.

If this trifling matter is really indeterminable, let it be excluded, with all like refinements, from what should be a Practical, not a Contentious system of elocution. Those who have so dogmatically asserted the impossibility of measuring, what they call the 'tones of the voice,' could not have referred to the point under consideration. For had the renowned Adam Smith,-who, as one of the number, may fairly represent them,― only carried his sagacious powers of inquiry, thus far into speech, he would have clearly seen that the determination of this question is of little if any importance to an effective elocution.

SECTION XX.

Of the Downward Radical and Vanishing Movement.

THE functions of pitch hitherto described, are performed principally by a rising progress of the concrete, and of the radical change.

In an early page of this essay we learned, that the voice takes a reverse direction; that the radical movement, opening with fulness on a given place in the scale, descends through its destined interval, with the same equable concrete structure and diminishing force which characterizes the upward vanish. We must now consider the varieties of form in the downward concrete, the occasions of its use, and the nature of its expression.

The downward progress of the voice is made through all the intervals of the scale. In like manner with the rise, the descent is both by a concrete movement, and by a discrete change or skip of radical pitch. The characteristic effect of the descent, whether made concretely, or by discrete skip, and the expression of the several intervals, may be learned, by the following experiments.

Let the reader express himself with astonishment, on the exclamatory phrase, well done; assuming the first word at a high pitch; bringing down the last concretely from that hight, on a prolonged quantity; and uttering the phrase as if it were the close of a sentence. Should the intonation on the word done, be measured by the scale, it will in his yet unskillful attempt, exemplify the Downward concrete Octave, or near it. Again, let him give the interjection, heigh-ho, with a degree of emphasis that may throw these two syllables on the extremes of the compass of the natural voice. He will thereupon perceive, the transition from the elevated pitch of heigh, to the inferior place of ho, is by a discrete or skipping descent. Now this transition, when measured by the scale, illustrates the down-" ward Radical pitch of the octave, or near it.

The Downward Fifth, may, in like manner be distinguished, both in its concrete pitch and its discrete radical change, by respectively applying them to the words of the preceding examples; but with less emphatic force, and with a less striking intonation.

The concrete Descent of the Third may be illustrated, by pronouncing the word No, as if it were the last word of a sentence; observing to give it some length, and to exclude every expression, except the simple indication of the cadence. The downward Radical pitch or skip of the third, may be exemplified by pronouncing the phrase, made an attack, as if it were a full close; giving the syllables, made an at, in the monotone, and making the satisfactory close on tack. For, in this case the syllable at is the first constituent of the triad; and being by its short quantity, incapable of completing the cadence through the descent of the slow concrete, the voice of necessity leaps over the place of the second constituent, and closes on tack, in the proper point. of the third.

The effect of the Downward concrete Second or tone may be heard on the last constituent of the diatonic triad; and the radical change of the second, in the descent of the constituents of the same cadence, since its radicals succeed each other by the downward difference of a tone.

The downward concrete of the Semitone was described in the last section, as being plaintively obvious in the vocal transition. from the eighth to the seventh place of the scale. If the downward change of the Radical pitch, in a chromatic melody, is like that of its cadence, but of which I have made a question, in the last section, it follows that we have no instance in speech, of the discrete downward pitch of the semitone. But we leave this for future observers.

If the reader is by this time, expert in ascending both concretely and discretely, through every interval of the scale, he may, after ascending, immediately return through the same interval, with the impression of its extent upon his ear; and thus by practice on all the intervals, become familiar with the different degrees and characters of the downward movement, both in its concrete and discrete forms.

We have been considering the downward movement on long quantities: but like the rising progress, it may be rapidly performed on immutable syllables. Yet when the characteristic expression of a downward interval is required on immutable syllables, the transition as with the upward, is generally made by the change of radical pitch.

The expressive powers of the downward radical and vanish will be assigned, in a future consideration of the particular intervals of the scale. As a general remark on its character, it may be said, in contradistinction to the interrogative effect of the rising Third, Fifth, and Octave, that the downward progress through these intervals, whether concrete or discrete, denotes positive affirmation; directly the reverse of doubt, implied in a question. Some other inquirer may hereafter, more accurately refer this expression of the downward concrete, to a general class of phenomena in vocal science; and thus satisfy the demands of philosophy. I cannot, however, withhold the suggestion, yet

wishing to be cautious with mere analogical argument, that the positiveness may arise from its conjoining with an emphatic import, a certain degree of the decisive character of the cadence: for this seems to preclude the expectation of further doubt or reply, by a satisfactory repose of the ultimate intonation on a finished sense. In support of this suggestion, let us bring to mind, that the replications of doubtful argument, from mere courtesy between speakers, are not so often marked with complete cadences. as the termination of the sense in many of the phrases would otherwise bear. But we know that when assertions become authoritative from truth, or dogmatic from opinion, the closing intonation of the cadence is freely employed as the definite seal of self-confident affirmation.

After all, however, Truth, the strict monitor of philosophy, reproves us for our conjectures, and allows us here, only to set forth this new instance of consistency in the ordinations of nature for as the sentiment of inquiry is contrary to that of assured declaration, so in the instinct of the voice, for the expression of these opposite sentiments, the very opposite courses of rise and of fall, are employed as their respective intonations. The downward movement, whether in its concrete, or discrete form, is used for the purpose of emphasis; and will be particularly described in a future section. It has perhaps an equal power of attraction over the ear, with the upward movement in each of its forms. The expression of amazement, wonder, surprise, and admiration, when not conjoined with an interrogative meaning, generally assumes this form of intonation; the extent of the interval being proportional to the degree of energy in the sentiment. Since the downward progression differs from the upward, only by its taking a different direction, we may look for the same characteristic construction in each. The same explosive fulness should mark the radical; the same equable movement, its descent; the same delicate diminution, its final vanish into silence.

After these general remarks on the subject, we proceed to the history of the particular intervals of the downward concrete.