SECTION XXVII.

Of the Equal Wave of the Third.

THIS wave, as regards its degree of expression, bears such a relation to that of the last section, 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 similar 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 or the octave, which belong especially to the spirit of colloquial dialogue, and to the forceful emphasis of the drama. It also serves, like the other intervals of the wave, to spread out the quantity of syllables in deliberate and dignified discourse.

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 much differ 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 Milton, 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 that way of gradual and partial development, of frequent reconsideration, and of addition, which distinguishes the descriptive method of this essay. Consistently with this chosen order, I have now to add that the rising movement of the voice whatever be the interval, (except the semitone,) has more gayety of expression than the downward progress. Hence discourse of an easy and sprightly character, of quick time, and of short quantity, is generally carried on with the rising vanish of the employed interval; as may be seen in foregoing representations of the diatonic melody. But if the discourse should

be of a grave cast, and necessarily call for long quantities, as indeed happens in some of the examples which we have noted. merely with the rise, then the wave of the second is to be used. For the subsequent descent of the interval, forming thus the direct wave, takes off the light and familiar expression which belongs to the simple rise of the second: whilst the length of the quantity being consumed by the line of contrary flexures, the voice is still kept within the rule of the equable intonation of speech.

What is here said of the use of the direct wave of the second, in adding dignity and solemnity to a diatonic melody, is also true of the inverted wave. For if the reader be able to make the rise and continued fall through a tone, or reversely the fall and the rise, on any chosen literal element or word, he will observe a difference in the effect. But each case will be equally destitute of that striking intonation, which belongs to the wider intervals, whether upward or downward, and which would be incompatible with the avowed character of the diatonic progress; except for the occasional purpose of emphasis. But these two contrary forms of the wave of the second, without adding any high coloring to the melody, serve to give variety to the intonation of solemn discourse.

I am not aware that the double form of the equal wave of the second has any peculiar expression or power beyond that of its single form, except in extending the quantity of syllables. Indeed, the unusual protraction of quantity in the diatonic melody, instinctively produces the double form of the wave; since the voice may take this serpentine line, through the second, without producing any unpleasant snarl, similar to the double wave on some of the higher intervals.

I spoke above, of a Continued form of the wave, or a progress of the line of contrary flexures beyond the term of three constituents. It is upon the time of an equal wave of the second in a diatonic melody, that this extension is most conspicuous and useful; if indeed it is in any other case admissible. For should some extraordinary expression of solemnity upon an indefinite syllable, require an unusually protracted quantity; and should the time of the syllable not be exhausted, when the voice has passed through the three constituents of the double wave, it must necessarily be carried on in the note of

song, or it must continue in the flexures of the wave. If it take the course of the flexures, the bad effect of the former case will be avoided nor will this multiplied repetition of the rise and fall, through this small interval of a tone, produce any positive or unpleasant impression.

I have ascribed an importance to the subject of this section, because it opens the way to one of the most useful principles in the art of reading well. I have all along kept in view, a distinction between the plain melody formed by the rise or fall of the voice through the interval of a tone, and a melody produced by the use of other intervals which endow the utterance with what was distinctively called Expression. There are very few readers able to execute this plain melody, in the beautiful simplicity of its diatonic construction. Some give constantly the rise of a third, or a semitone: or mark every emphatic syllable with one of the forms of the wave. Perhaps these faults arise from an attempt to give a greater degree of dignified expression or of variety to the simple melody, than an unpractised reader is able to accomplish by the management of the second alone: and in this attempt, some of the above mentioned elements of intonation are fallen upon, which produces a disgusting monotony. For the impressiveness of these higher intervals leaves such deep tracks upon the ear, that, when unduly employed, their identity becomes conspicuous and offensive. Whereas the simple interval of the second, like the smaller particles of speech, may be frequently repeated without producing a marked or tiresome impression: and the several forms of the equal wave of this interval throw sufficient variety into the diatonic melody, without destroying its characteristic plainness. They give time and dignity, whilst the simple rise belongs to a shorter quantity, and to a gayer kind of expres

sion.

No one, who has not made an analysis of this subject, or has not had its peculiar effect distinctly pointed out, can be aware of the unpretending force, diversified succession, and severe simplicity of the diatonic melody, when conducted on the principles of the radical change formerly laid down; and varied by the appropriate disposition of the single rise and fall, the direct and inverted wave, and certain modes of stress to be described in a future section. Upon the plain level of this melody, the

occasional expression of the higher elements comes with all the power which variety of impulse, and measureable contrast must necessarily produce. Whereas he who is constantly dealing out his semitones, thirds, fifths, and wider waves, allows no repose to the ear; and when the real occasions for their application occur, the sensibility to their contemplated influence is exhausted.

SECTION XXIX.

Of the Equal Wave of the Semitone.

THE chromatic melody was formerly described as consisting of the repetition of the radical and vanish of the semitone. But it was even then stated, that there may be a conjunction of the rising and the falling interval, for the purpose of giving a more remarkable impression of the plaintiveness of this symbol, and for adding length to the quantity of syllables. In the varieties of its construction, the semitonic is like the other species of the wave. Its direct, inverted, and double forms carry greater dignity and feeling than the simple rise; and at the same time. furnish means for diversifying the current of the melody.

The mingling of the reverse forms of the wave, for this last purpose, is peculiarly necessary in the chromatic species; for the continued repetition of an impressive interval, and the predominance of the phrase of the monotone make it desirable to vary as much as possible the character of the wave, without destroying the essential nature of its plaintive constituent. Now this is effected, in a degree, by the above named appropriate disposition of the direct and inverted wave of the semitone. For these contrary movements have a difference of character which may be perceived by comparative trials; and a delicate and critical ear will be struck with the effect of a well ordered