SECTION XIX.

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 it was shown that the voice may take a reverse direction; that the radical movement, opening with fulness on a given place in the scale, descends through its destined interval, with that 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 named in speaking of its rise. In like manner with the rise, the descending transition is both by a concrete movement, and by a discrete change or skip of the radical pitch. The effect of the descent, whether done concretely or by discrete skip, may be perceived, and the characteristic expressions of the several intervals rendered precisely cognizable, by means of the following experiments.

Let the reader express himself with astonishment on the exclamatory phrase, well done; taking care that the first word is assumed at a high pitch; that the last descends concretely from that height with an unusual prolongation of quantity; and that the words are uttered as if they formed the close of a sentence. Should the intonation of the word done be according to the manner here proposed, it will exemplify the Downward concrete of the Octave. Againlet him give the interjection, heigh ho, with that degree of emphasis which may throw these two words on the ex

tremes of the compass of the natural voice. He will thereupon find that the transition from the elevated pitch of heigh, to the inferior place of ho, will be by a discrete or skipping descent. Now this transition, when the intonation is pointedly marked as above directed, is made by the downward Radical pitch of the octave.

The Downward Fifth, may, in like manner be distinguished, both in its concrete pitch and in its discrete radical change, by respectively applying them to the words of the preceding examples; but with less emphasis, and with a less vivid coloring of 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 from the utterance 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 made familiar, by attending to the last constituent of the diatonic triad. The radical change of the second may be heard 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 it is true, as I have ventured to assert of the chromatic current melody, that its downward change of Radical pitch, is like that of its cadence, a whole tone, it follows that we

have no instances 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 each of the intervals of the scale, he may, after ascending, immediately return through the same interval, whilst the impression of its extremes remains on his ear; and thus in another manner become familiar with the different extent of the downward movement, both in its concrete and discrete progress.

We have been considering the downward movement on long quantities: but like the rising progress, it may be shown on immutable syllables: the transit through the given interval being rapidly performed. Yet it must be remarked that when the characteristic expression of an interval is required on immutable syllables, the transition is generally made by the change of radical pitch.

The expressive powers of the downward radical and vanish will be assigned, in a subsequent consideration of the particular intervals of the scale. As a general remark on its character, it may be said in contradistinction to the effect of the rising Third, Fifth, and Octave, which have an interrogative meaning.-that the downward progress through these divisions of the scale expresses a positiveness of affirmation which is directly the reverse of the doubt contained 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 a mere analogical argument, that the positiveness of character which belongs to it, may arise from its conjoining with its emphatic import, a certain degree of the final impression of the cadence: for this seems to preclude the expectation of further doubt or reply, by the satisfactory repose of the ultimate intonation on a finished sense. In corroboration of this suggestion, let us bring to mind, that the replications of doubtful argument in dialogue, from the yielding of mutual

civility between the speakers, are not marked so freely 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 employed as the definite seal of self-confident affirmation.

After all, however, the strict duty of philosophy reproves us for our conjectures, and allows us here, only to set forth this new instance of the consistent ordinations of nature: for as the sentiment of inquiry is the direct contrary in the human mind, to that of assured declaration, so in the instinct of the voice, for the expression of these opposite sentiments, the very opposite movements of rise and of fall, are employed for their respective modes of intonation.

The downward vanish is used for the purpose of emphasis, as will be particularly marked in a future section. It has nearly an equal power of attraction over the ear, with the upward vanish. The expression of amazement, wonder, surprise, and admiration, when not conjoined with an interrogative meaning, is generally made by this form of intonation; the extent of the interval being proportional to the degree of energy in the sentiment. As the downward concrete is formed in the same manner with the rising, having, metaphorically speaking, but a different direction, we may ascribe the same mode of construction to each. The same explosive fulness should mark the radical; there should be the same equable movement in its descent; the same delicate and smooth diminution and final vanish into silence.

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

crete.

SECTION XX.

Of the Interval of the Downward Octave.

THE Concrete Downward Octave, in addition to the expression, ascribed generally to the downward movement, conveys in the colloquial uses of the voice, the vivacity of facetious surprise, as in the instance of the phrase well done, given above. It is in this case, the very picture of amazement, and so to speak, raises the brow and opens the eye of the voice. In its more dignified uses, there is the highest degree of admiration or astonishment, either alone, or united with other sentiments. Thus the astonishment and positiveness marked by this interval, may be coexistent with the complacent feeling of mirth and sociability, or with the repugnant sentiment of fear, or contempt, or hatred, or in short, with almost any state of mind which is not contradictory to that astonishment and positiveness. For though these superadded sentiments have other symbols in expression, yet when they go with this high degree of astonishment, the downward octave is the true and only sign of the combination.

But as the same interval can thus represent different sentiments, it may be inquired,-whether some modification of its structure may not be necessary; and if so, how it is modified. It will be particularly shown in a future section, that the concrete movement, whether its direction is upward or downward, may bear with distinguishable audibility, additional force on the beginning, or on the middle, or on the end of its progress through a prolonged quantity. The names and further uses of these three kinds of stress will be given hereafter. Now in the appropriation of these forms of the downward octave, to the different sentiments which