By frequent practice of these several modes of intonation on single syllables, the voice will be prepared for the precise use of intervals, in the syllabic successions of speech.

The preceding explanations have been extended rather beyond what is absolutely necessary for comprehending the proper science of Analytic Elocution, now to be first set forth. Thus the nature of Key and Modulation in music, has been described, with some care, although speech is not constructed upon the principles of either. It was presumed, however, that it would not be uninteresting to some inquirers to know wherein the differences of the cases consist.

I feel how perplexing it is, I was about to say, it is impossible, to render the separated parts of a science, so well divided in method yet so closely related in detail, as that of music, clearly intelligible. But if what has been said will enable the reader to understand the system and particulars of the four scales, and to execute them, he will not have much difficulty in pursuing our further history of a new and beautiful Science of the Human Voice.

SECTION II.

Of the Radical and Vanishing movement of the voice, and its different forms in Speech, Song and Recitative.

We have been willing to believe, on faith alone, that nature is wise in the contrivance of speech. Let us now show, by our works of analysis, how she manages the simple elements of the voice, in the production of their unbounded combinations.

When the letter a, as heard in the word day, is pronounced simply as an alphabetic element, without intensity or

emotion, and as if it were a continuation, not a close of utterance, two sounds are heard continuously successive. The first has the nominal sound of this letter; and issues with a certain degree of fulness. The last is the element e, as heard in eve, which gradually diminishes to an attenuated close. During the pronunciation, the voice rises by the concrete movement through the interval of a tone or second; the beginning of the a and the termination of the e being severally the inferior and superior extremes of that tone. The nature of this concrete rise may be thus visibly represented.

But as a curvature of lines seems to me to afford a more graceful analogy to the peculiar effect of this vocal concrete on the ear, it will throughout this work be represented thus:

As the description here given, may not in practice, be at once recognized by the reader, on account of the limited extent of the concrete, its delicate structure, and momentary duration, I shall endeavor to throw some particular light of explanation upon it.

That the sound denoted by the letter a, when thus uttered concretely, has the diphthongal character, will be obvious on deliberately drawing out this single element, as if it were a question put with great surprise. For in this case it will be perceived that its commencement is what I have called

the nominal a; and its termination in e, at a high pitch will be no less distinguishable.

By the same mode of interrogation, the fulness or greater volume of sound upon a, and the diminishing close in e, will be equally obvious to an attentive ear. And it is not improbable that the feebleness of this last constituent of a, in its ordinary pronunciation, is at least one cause that the diphthongal structure of this element, has, so far as I know, never before been perceived.

Now, that a, when uttered simply as the head of the alphabet, without any striking expression, and as if it were a continuation not a close of speech,-does rise through the concrete interval of a tone, may be made manifest to the reader, by his ability to intonate the diatonic scale. For let him ascend discretely by the alternate use of a and e, prolonging each as a note, and making a slight pause between them. This will render him familiar with the relationship of the two elements, when heard on the extremes of a tone: as illustrated by the following diagram; where from

line to line, is one degree, or a tone of the scale; where the oval figure, with its attenuated rising termination, represents the prolonged note, with the faint and rapid concrete issue which closes it; and where the size of the subscribed letters represents the proportional duration and volume of voice, in the different parts of each impulse of pronuncia

tion.

Then let him ascend the scale by a kind of union of the concrete and discrete progressions; that is by beginning with a slightly prolonged, and proceeding to e in the second

place, without breaking the continuity of sound, and thence after slightly prolonging the e passing concretely to a in the third place as illustrated by the following diagram; where

full notes are connected by slender concretes. This practice will make him familiar with the effects of a concrete rise through a tone, when the upper extreme is rendered remarkable, by the stress and prolongation it receives at the second place of the scale.

Supposing then the interval of a tone to be distinguishable, when thus uttered with a full volume of sound on the two extremes a and e, or with what may be called a double stress; it may be proved, in the following manner, that the simple utterance of a in day, passes through the same interval.-Let the a and e be repeatedly pronounced with this double stress, united by the weaker concrete, till the effect of the interval, is for the moment impressed upon the ear. Then let the stress on e be gradually diminished in the repetition as illustrated by the series of symbols in the following diagram. The audible effect, even with this diminution,

[ S S S S S S S

A-E A-e A-e

A-e

A-e

A-e A-e

will so resemble that of the double stress, that the cases, as far as regards intonation, will be admitted as identical. For as the interval of a tone is plainly cognizable, when both ex

tremes receive the stress, so in returning to the simple pronunciation of a, by omitting the stress at its upper extremity, the perception of this interval will be kept up through the gradual progress of the change.

If there should at any time be a doubt as to the extent of the concrete interval, let stress be applied at its summit. When the interval is a tone, the two sounds will form the commencement of the diatonic scale: for with a little experience the course of this scale can always be recognized, upon the execution of its first and second degrees.

The diphthongal sound of a does then in this case pass through the concrete interval of a tone; the movement being divided between the sounds of a and e, the first gliding imperceptibly into the last. But as the question here refers to the extent of the interval traversed, and to its upward direction, as well as to its concrete progress, it is necessary to guard against the utterance of the literal element with any emotion: for if it be done in a plaintive manner, with surprise, interrogation, or other impressive sentiments, or as if it were the close of a sentence, the concrete will be some other interval than the tone, or will move in a downward direction; this tone or second, being, as will be shown hereafter, the instinctive mode of intonation, by which the mind denotes its simple thoughts, exclusively of feeling or passion.

The peculiar structure of this movement suggested the division of it, by terms, into two parts; and the use of this division, for explanatory purposes in the following history, will show its propriety.

I have called the first part of the concrete, or that of a, in the above instance, the Radical movement; because, with a full beginning or opening, the following portion of the concrete proceeds from it as from a base or root.

I have called the last part, or that of e, in the example, the Vanishing movement, from its becoming gradually weaker as it rises, and finally dying away in the upper

extreme of the tone.