It is true that the concrete semitonic rise, in continuation with a subsequent fall below the radical, may be given to the last constituent, and that a plaintive expression may thereby be communicated to it: but in this case the perception of the close will not be so complete as when made in the manner of the above notation.

The tripartite chromatic cadence may also be made by assuming the above construction, and by joining the constituents through a downward vanish: the plaintive character still flowing from the semitonic rise of its two first constituents, thus:

When the plaintive close is spread over two syllables, the first constituent rises through a concrete semitone, and the voice is continued from this vanish, into the last syllable, which ends in a feeble movement, in this manner :

The chromatic close may be made on a single long syllable but its effect is bad, and it is perhaps never used in correct speech, except for some special design of expression, which has no necessary connexion with the mere cadence. The inadmissible nature of this cadence arises from the use of the upward semitone, which must be heard on the first part of that syllable, for the purpose of giving a plaintive construction to the close. Now the continuation of this rising semitone into the downward third produces an element of expression, if I may so call the combination, which may indeed carry the power of a close: but it does at the same time, join with it an

intonation of affected mockery, altogether foreign to the desirable and appropriate character of the simple cadence.

There is still another form of the Chromatic close, resembling the skipping cadence of the diatonic melody. It consists of a concrete semitone on the antepenult syllable, and an immediate discrete descent by radical pitch to the final constituent of the triad; omitting the second altogether. It is unnecessary to give a diagram of this form, since it is shown by the last example of notation, when deprived of the concrete junction of the two constituents. It is rarely used as a close; and only when some peculiar emphasis, as, of surprise, may happen to lie on the last word of the sentence.

As in the diatonic cadence, so in the chromatic, there are different degrees of repose: and these depend on the construction. That entire consummation which is demanded at the period of discourse, is effected by the tripartite form of the first of the above notations. The second which is still tripartite, but which has its constituents conjoined by the downward vanish, has perhaps a character of somewhat less repose than the first since the radicals in this case, are less distinctly marked by the explosive fulness which belongs to them when they are not conjoined; and it is this conspicuous display of the descent of the radical pitch which gives the marked effect of conclusion. The third construction represented above, is the most feeble form of the chromatic cadence; for being made upon two syllables, it has less of the character which is derived from the change of downward radical pitch. This mode of cadence then falls short of the expression required for a satisfactory close.

In concluding this history of the five enumerated intervals of pitch, and of their uses in elocution, I have only to add, that, as far as my observation goes, I believe the intervals of the Fourth, Sixth, and Seventh are used in speech for peculiarities of expression similar to those of the intervals which adjoin them, and which have been described above. The third, fifth and octave which are adjacent to those omitted intervals, are more easily recognized by the ear, not only upon the discrete steps of an instrumental scale, but also through the continuous slide, in the human voice. It is on this account I have limited the enumeration in the preceding sections, to certain five inter

vals of the natural scale. I have not satisfactorily ascertained the properties of the remaining three, if indeed they possess any that are peculiar: and I have not thought the investigation worth further trouble.

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 and in like manner with the rise, the descending transition is both by a concrete movement, and by a discrete change or leap of the radical pitch. The effect of the descent, whether done concretely or by discrete skip, may be manifested, and the characteristic expressions of the several intervals rendered precisely cognizable, by means of the following experiments.

Let the reader express himself familiarly on the exclamatory phrase, well done,' in the way of high astonishment: taking care that the first word is assumed at a high pitch; that the last has an unusual prolongation of quantity; and that the words

are uttered as if they formed the close of a sentence. If the intonation of the word 'done' be according to the manner here proposed, it will exemplify the Downward concrete of the Octave. Again—let him give the interjection, heigh ho,' with that degree of emphasis which may throw these two words on the extremes of the compass of the natural voice. He will thereupon find that the transition from the elevated pitch. on '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, both in its concrete pitch and in its discrete radical change, may be made audible by employing a somewhat less vivid coloring of intonation than the last, on these same words.

The concrete Descent of the Third may be heard 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 a concrete descent to fill up the close, the voice of necessity leaps over the place of the second constituent and terminates the cadence 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 a diatonic cadence, in its tripartite form. 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 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 change of Radical pitch in a downward course

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 I 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 rising, immediately return through the same interval, whilst the impressions of its extremes are fresh 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.

I have been speaking of the downward movement when made 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 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 refer this expression of the downward concrete, to a more general class of phenomena in vocal science; and thus satisfy our present ignorance of its cause. I can not however avoid offering here the suggestion, for I wish to be cautious in touching 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