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.

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 . 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.

α

A rising tritone may be exemplified upon the sounds aio. When four or more syllables follow each other of which the couplets rise and fall a tone alternately, the combination is called the alternate phrase of melody. The following sounds, and their arrangement, will exemplify the alternate phrase.

e o

a i

When two syllables, or any greater number follow each other, beginning at the same pitch, the combination is called the phrase of the monotone. The following sounds may be employed to exhibit the monotone. a, e, i, o.

When three syllables follow each other of which the second begins a tone below the first and the third a tone below the second, the third having a downward slide of a tone, the combination makes the triad of the cadence. A cadence produces the same satisfactory effect upon the ear, at the close of a sentence, which the key note does at the end of a tune. The combination above described is called a triad, because it is effected by three syllables, and a cadence because it possesses the properties of a perfect close.

A cadence may be exemplified upon the following sounds. a

i

All the combinations above described, occur in the following sentence. They are called phrases of melody.

But from the tomb the voice of na-ture cries.

MONOTONE. RIS. DITONE.

ALTERNATION.

And in our

ash-es live their wont-ed fires.

RISING TRITONE.

FALL. DITONE.

TRIAD OF THE CADENCE.

In addition to the above described discrete intervals of speech, successive syllables differ from each other at their commencing points in the following respects, as Discrete rising thirds, fifths, and octaves. Discrete falling thirds, fifths, and octaves.

We need not consider other intervals in the science of speech.

SIMPLE MELODY OF SPEECH.

Some portions of discourse, consist of plain thought. Things are described as they are in themselves, not as related to us as beings susceptible of emotion. In those parts which are restricted to such description, and in which no word has emphatic import above another, the melody of the second, as respects both slide and radical pitch, is alone required. In other words, every syllable should be restricted in its slide to the interval of a tone, and no two successive syllables should differ, in radical pitch, more than a tone from each other. If other intervals are introduced, the syllables on which they occur acquire a prominence and peculiarity, which break up the order and disturb the natural expression of the simplest form of discourse. There must, therefore, always be a definite and assignable reason, in the nature of the ideas, to justify a departure from the simple melody of speech.