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it enables the voice to carry on a long quantity, without the risk of falling into the intonation of song.

The wave in all its forms, is modified by the application of stress to different parts of its course: the particulars of which will be described in another place. But it may be remarked here, that it is applied at the beginning or at the end of the line of the wave, or at the place of junction of its constituents; and that the addition of force to its termination gives to the several species of the equal wave, a coloring of temper and of scorn, which they do not possess in the natural or dwindling form of the concrete.

SECTION XXV.

Of the Equal Wave of the Octave.

THE Equal Wave of the Octave, is made by a continuous movement of the voice, in the succession of its upward and its downward interval. It may be either single, consisting of two constituents; or double, consisting of three: though this double form is scarcely used. It may also be differently constructed, by the first constituent ascending, and the second descending, which forms the direct wave; and by a reversed succession, which forms the inverted wave.

The equal wave of the octave in its single form is rarely employed in serious discourse. If used in the lower range of pitch, so as to avoid the sharpness of the falsette, it gives an appropriate expression to the strongest sentiment of astonishment and of admiration. When it assumes the higher range, as it is apt to do, it loses its dignity as an impressive

symbol. Children sometimes employ it for mockery in their contentions and their jests. Its double form has the same expression, under a more continued quantity. The reverse order of its constituents, give a different character, respectively, to its single direct and its inverted forms; for the latter by ending in an upward concrete carries the power of interrogation; whilst the former by a downward final movement, has the positiveness which was ascribed to the falling intervals when uncompounded. When the direct and inverted wave of the octave is double, the rule of final expression will be reversed; for the direct will then end with the rising or interrogative movement.

On the whole, this element, claims attention rather as a part of our physiological history, than as a subject of oratorical propriety and taste; and may in point of use and expression, be classed among vulgar mouthings.

SECTION XXVI.

Of the Equal Wave of the Fifth.

ENOUGH has been said of the nature of the Wave, and of intervals, to render it unnecessary to define the Equal Wave of the Fifth. Its nomenclature is descriptive of its structure. Nor need it be shown particularly of this, nor indeed of the succeeding sectional heads of the wave, in what manner their single and double, their direct and inverted forms are made.

The equal wave of the fifth, in each of its modes, is used as one of the means of emphatic distinction; and has therein an expression varying with its form. The equal single di

rect wave of the fifth consists of an ascending and descending concrete, which have in their separated state, respectively, the sentiment of interrogation and surprise. But the conjunction of the opposite movements of those concretes, takes from the ascending interval, its indication of a question, and leaves the impressiveness of surprise or admiration on the syllable to which it is applied. But there is another effect produced besides this annulling of interrogation. We have already learned that there is some difference between the expression of the rising and of the falling concrete. The former is more cheerful and animated in its cast, the latter more deliberate and grave. Now, when discourse, which requires an impressive intonation of the fifth, is of a dignified character, that impressive intonation is given to the emphatic syllable by a continuation of the upward into the downward flow of this interval, in the form of its direct wave. But further, this wave is used instead of the separate rise or fall of its interval, for the purpose of giving more quantity to the syllable which bears it. The emphasis of the simple fifth, was described in the fourteenth section, without a special reference to its time: but if the sentiment of the phrase is such as to require an unusually long quantity, this wave or continuous and downward turn of the fifth, takes the place of that simple ascending interval, which, in unskilful intonation, might be liable to pass into song.

The inverted wave of the fifth has the compound expression of surprised interrogation, arising out of the termination of its last constituent in the upward vanish of an interrogative interval.

There is not much difference between the expression of the single and of the double wave of the fifth, except that arising from a change of structure by the addition of a third constituent. The double direct here assumes an interrogative expression, from the vanishing rise of its last constituent; and the double-inverted has the meaning of surprise from its downward termination. Perhaps there is a little scorn conveyed by the double forms of the equal wave of the fifth.

This is certainly the case when the last constituent receives greater stress than the others. On the whole, however, this double form is not very frequently used as a symbol of expression.

SECTION XXVII.

Of the Equal Wave of the Third.

THE Equal Wave of the Third, as regards the degree of its expression, bears such a relation to the equal wave of the fifth, as the simple rise of the third bears to the simple rise of the fifth.

In all its forms, whether single or double, direct or inverted, the expression resembles respectively the different species of the equal wave of the fifth. The third, however, has in its several forms, a moderated degree of the characteristic expression of the several forms of the fifth. From its reduced degree, it is of more frequent occurrence as the means of emphasis in unimpassioned utterance, than the fifth and the octave, which belong especially to the spirit of colloquial dialogue, and to the forcible emphasis of the drama. It also serves, like the other intervals of the wave, to extend the quantity of syllables in deliberate and dignified discourse; and to preserve, at the same time, the characteristic concrete of speech.

The equal wave of the minor third, by the duplication of the single interval enhances its plaintive expression. It may be occasionally used as a mode of emphasis in the chromatic melody, but its more common employment is for enforcing the effect of crying. The expression of the inverted wave of this interval, does not differ much from that of its direct form.

SECTION XXVIII.

Of the Equal Wave of the Second.

We come now to consider the most frequent, and one of the most important forms of the wave.

In speaking of the expressive power of melody in the tenth section, it was said that the predominance of the phrase of the monotone was instrumental in the expression of dignity and solemnity: and the first few lines of the second book of Paradise Lost, were noted in illustration of this principle. I must now add that a long quantity, on the accented and emphatic syllables, is an essential condition in the accomplishment of that dignity of expression. But it is necessary, for the full perfection of this character, that a certain mode of intonation should be set upon these long quantities; and the requisite mode is that of the Equal Wave of the Second, either in its single or double, its direct or inverted form.

The diatonic melody was described as if the vanish of every syllable is upward, whatever the character of the plain discourse may be. It has since been shown that the downward vanish of a second is occasionally introduced with a view to vary the current. The difficulty of making a perspicuous arrangement in a subject altogether new, and of giving a full description of parts which are elementary, and closely related, but which must be successively explained, has obliged me to proceed in the way of gradual and partial development, of frequent reconsideration, and of addition, which distinguishes the descriptive method of this essay. Consistently with this order, I have now to add that the upward movement of the voice, through any interval, except the semitone, has more gayety of expression than the downward. Hence discourse of an easy and sprightly character,

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