sideration of this point should have been united with the last. For if an attempt to prolong the elements be made without reference to the equable concrete of speech, it will be very apt to run into the note of song. The difference between these two modes of intonation is readily perceptible to a musical and attentive ear, even when made upon a single tonic, by a comparison of their respective effects with the well known impressions of current speech and of song. Let each individual act of intonation be assumed as the beginning of a series if it be the equable concrete, it will not seem to be the opening of a song. The pupil then without confusing his ear by other particulars, should exercise himself in the natural radical and vanish, on all the extendible elements. An unerring power of execution in this function, however long the quantity may be, will always ensure to speech, an entire exemption from the characteristic of song.

In this elementary intonation of the equable concrete, particular attention should be paid to the structure of the vanish. The pupil must therefore endeavour to give it that delicate. expiration which may render its limit almost imperceptible. We often lean the ear in delight, if I may say so, over this smooth knitting of sound with silence, by singers and the master in elocution shall hereafter know, that one of those graces of speech which he could never name, and thought 'beyond the reach of art,' consists in that attenuation and close of the syllabic impulse which are here recommended as a lesson for a school boy.

Of Practice on Force. It is scarcely necessary to say how loudness or strength of voice is to be acquired. It is not essential in discipline that the elements should be uttered separately with regard to force: since after the other accidents are brought under command, the exercise on loudness may be effected during the current of discourse. Still I believe the ends of instruction would be somewhat easier attained by the elementary process in this particular. Few persons are aware of the influence that loud speaking or vociferation has on the quality of the voice. I have before said that it is one of the artificial modes of producing the orotund. It takes the voice from its meagre mincing about the lips, and transfers it, at least in semblance, to the back of the mouth or to the throat.

It imparts a grave fulness to its quality; and by creating a strength of organ, gives confidence to the speaker in his more forcible efforts, and an unhesitating facility in all the moderate exertions of speech.

Of Practice on Stress. Though the mode of elementary exercise on loudness may not be required, I must urge its importance, upon the subject of stress. There is a nicety of analysis in this matter, which will be definitely recognized, and consequently can become familiar, only through the deliberate practice and unembarrassed observation, afforded by trials on the separate elements.

It was said formerly that the radical stress is made with emphatic strength only on the tonics; still an attempt to perform this function on the subtonics is not to be entirely neglected. The full power of the radical abruptness is obtained by opening the elements into utterance by a sort of coughing explosion.

For the median stress or swell, no particular direction is required. It is generally employed on the wave, and is therefore connected with the practice on pitch.

The vanishing stress may be practised by assuming in speech something like the effort of hiccough, for the wider intervals of the scale; and something like sobbing, for the minor third and the semitone.

It is not necessary to speak of exercising the voice on the compound stress, the thorough stress, and the loud concrete. These are, indeed, philosophic points, but they are of little importance in a practical view.

Of Practice on Pitch. The scale of pitch which is used in this essay, is that long ago formed and named in music. It was described in the first section. The order of its proximate intervals and the span of its wider transitions, must be learned from an instrument or the voice. With a few days attention to the effect of the various rising and falling movements on the keys of a piano-forte, a pupil who has the least musical ear, will be able to execute the same successions in his voice, and thus to recognize the concrete pitch and the change of the radical, when they are made on elemental or syllabic utter

ance.

When the pupil has passed this preliminary step, I would

have every interval of pitch, both in an upward and downward direction, and in concrete movement and radical change, practised on every tonic and subtonic element.

The semitone is easily taught, and the scholar may always hit its interval by affecting a plaintive utterance. Let him devote some time to putting it through all the elements, and he will thereby render it readily obedient to the sentiments which require its expression.

I must negatively describe the effect of the simple and uncolored interval of the second, by saying,-it is not the semitone, with the plaintive character of which we may now suppose ourselves well acquainted ;-nor is it the third or fifth or octave, also well known as the sign of interrogation ;—nor the wide downward movement of surprise. If then in syllabic utterance, we produce none of these effects, we may be sure we have gone through the simple second of the plain diatonic melody. Let the pupil practise this interval on all the tonics and subtonics, and he will be able always to command the constituent of this plain melody; nor will he be in danger of infecting its appropriate character by the whine of the semitone, the sharp inquisitiveness of the fifth and octave, or with the more offensive affectation of the higher forms of the wave.

That the pupil may ascertain when he is executing a downward interval, let him familiarize his ear to the effect of the last constituent of a cadence, consisting of a gradual descent upon three distinct syllables. This will give him the character of the falling second: and if he studiously repeats the elements with a reference to this movement, he can create nearly as clear a perception of the peculiarity of the interval, as he has of the sounds of the elements themselves. When he has prepared himself with this downward vanish, he may contrast it with the rising second, and he will thus soon become acquainted with the audible character of each. Upon knowing the second, the wider falling intervals may be easily recognized, by continuing the downward progress, till the intonation assumes the expression of command: the extent of the downward movement through a third or fifth or octave, being proportional to the less or greater degree of that sentiment. When these intervals have become familiar, let them be compared with the higher intervals in a rising direction. The difference

between the intonation of a question and a command, will thus be made manifest.

I would have the pupil, in going through the elements, play upon them in the movement of the wave. His practice here must be governed by his perceptions of the simple intervals which variously compose its different kinds. The wave of the second is of great importance, in the grave,and dignified cast of the diatonic melody. I can not by any graphic sign or by direct description bring this function before the reader's attention but in giving prolonged quantity to indefinite syllables, if the effect of the upward or downward wider intervals is not recognized, -nor the peculiar note of song;-nor the marked impression of the higher waves,-nor that of the plaintive semitone, it may be concluded that the voice is moving in the wave of the second.

Of Practice on Melody. One of the most difficult things regarding intonation, is the perception of the radical changes of the second in the progression of the current melody. If the pupil has a musical ear, he may easily acquire the habit of varying the several phrases in the manner formerly mentioned. Should he not have a nice discernment of sound, nor ingenuity in experiment, he must learn the diatonic progression from the voice of a master.

The flow of melody can not be made on single elements, therefore the cultivation of this function must consist of exercise on connected syllables. The best method is to select a portion of discourse, to keep in mind the manner in which it should be naturally read, and yet to pronounce only the tonic element of each syllable. In this case, the ear not being embarrassed by the subtonics, the difference between rise and fall in radical pitch, will be more apparent, and consequently the power of avoiding monotony, and of mingling all the phrases in an agreeable variety, more easily attained.

Of Practice on the Cadence. The cadence is an important part of the melody of speech. I shall, in the last section, notice the faults of speakers on this point. I here propose the form of elementary practice; by which I mean that the pupil should bear in mind the different modes of intonation for terminating a sentence, and should exercise his voice on one, two, or three elements or syllables, considered as a close.

If the application of the various species of the cadence be made with attention to their mode of construction and effect, the command over intonation in this particular, will be more completely acquired than when the aims of the pupil are confused by the ordinary system of imitative discipline. After the proper time has been devoted to the plan here recommended, a speaker will find himself provided with an ample fund for variety in his periods; nor will he be likely to incur difficulty or awkwardness in the execution of them.

Of Practice on the Tremor. The tremulous movement is one of those functions which should be practised on individual elements. With a knowledge of its construction, the scholar may correct himself in his task, and finally acquire that nicety which is essential to this expressive species of intonation.

I know that the habit of laughing and crying does here furnish a wide field of practice; but it is to be recollected that we laugh and cry, in a natural way for our own delight or relief. When we wish to furnish a picture of the tremulous function to an audience, it should be done, not only according to the sentimental dictates of nature, and within the pale of her truth, but also with that utmost degree of refinement in mode, and beauty in execution, which nature herself may never find purpose enough to accomplish; though she may be ready to acknowledge their entire consistency with the spirit of her laws.

Of Practice on Quality of Voice. The quality of voice, or its particular kind of sound, is capable of improvement; and the practice in this case may be either on the elements, or on the current of discourse. But as the quality is most perceptible on the tonic sound of a syllable, perhaps the elementary mode is the best plan for instruction. In whichever way

the improving exercise is conducted, by it, a harsh quality may be somewhat softened: a husky voice may be brought nearer to pure vocality; the piercing treble may be reduced in pitch, and the thin and meagre voice endowed with fulness and strength.

There is, however, a deception on this subject, which deserves to be noticed here.

The qualities, or, as they are called, the 'tones,' of the voice, are said to be unlimited, and like the face, peculiar to each in