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Two examples are here given of the melody of pauses, with the variety recommended. If the effect of the scoring in this and the preceding diagrams, is carefully impressed on the ear, a perception of the right use of pausal melody will be obtained.

On the thirti'th of June, one thousand six hundred and eighty

five, the Earl of Argyle was bro't from the cas - tle, first

to the Low Council House,and thence to the place of ex-e-cu-tion.

On Linden when the sun was low,

All bloodless lay the un- trod - den snow,

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On the subject of closes of the voice, we may remark, by way of recapitulation, that a complete separation of sense between the parts of discourse, requires the cadence. Some persons never make a cadence and thus deny all repose to the ear. You look up at the end of a discourse to assure yourself they have concluded, for the voice gives no notice of it by a perfect fall. The effect of the cadence, when properly introduced, is always grateful; and the converse is true, the ear is always disappointed when it is denied to it at proper places. Persons who desire to captivate the ear by the finished graces of discourse, must acquire a ready command over the fall of the voice. The effect of this can scarcely be described, but it is powerfully felt in all speaking of a serious character. A public speaker can scarcely be eloquent without it.

The different forms of the cadence which we have described, will enable the reader and speaker to make a selection. The triad separates most; the form consisting of two syllables less; and that of a single syllable, the

least; then succeed, in regular order, the falling ditone, the monotone, and the rising ditone, each having the falling slide upon the last syllable.

From what has been stated, it will be evident that discourse can seldom continue long in the melody appropriate to simple thought; melodic emphasis, interrogation and emotion being excluded from it. But if it be preserved where it ought to be, other intervals when required will come with all the advantage arising from proper contrast, and will on that account, represent with audible precision, the ideas they ought to convey. But if thirds, fifths, and the higher waves, equal and unequal, are introduced without assignable cause, into discourse, the susceptibility to their impression, when they are required, is necessarily weakened. The beau ideal of melody consists in the use of the simplest form, (that of the second,) for the expression of plain thought, and in reserving the higher intervals, entirely for the purposes of giving expression to words which are emphatic or display emotion. Those intervals constitute the strong lights and shadows of discourse, and should follow not as the result of faulty and indefensible habits, but from the order of its ideas and sentiments.

There are two phrases of melody, which if predominant in discourse, give it a peculiar expression. These phrases are the alternate phrase, and the monotone. The first is most appropriate to lively subjects, the latter, united with quantity, to all grave and solemn ones.

QUESTIONS TO RECITATION SIXTH.

1. What is meant by radical pitch, as opposed to con

crete pitch?

2. How is a rising ditone formed?

3. Furnish an example.

4. How is a falling ditone formed?

5. Furnish au example.

6. How is a rising tritone formed?

7. Furnish an example.

8. How is an alternate phrase formed?

9. Furnish an example.

10. How a monotone?

11. Furnish an example.

12. How is the triad of the cadence formed?

15. Furnish an example.

14. The student is required to score out the sentence, page 77 on the black board.

15. What conditions of pitch belong to the simple melody of speech, and to what portions of discourse is it limited?

16. What is the most prevalent defect in the use of that melody?

17. What are the provisions for avoiding it?

18. What are the different forms of cadence?

19. Score an example of each upon the black board. 20. What is the peculiar effect of the rising slide in expression?

21. What of the falling?

22. What is the special effect of the cadence in expression

23. What are the circumstances which justify a departure from the diatonic melody?

RECITATION SEVENTH.

FULL CADENCE.

THERE is another form of the cadence, which marks the termination of a subject more completely than any yet described. The fuller close of the voice effected by this cadence, is produced by falling a discrete third, or fifth, upon some syllable preceding the common cadence, and near enough to it to be connected with it by the ear. It is exemplified in the following diagram.

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And peace-ful slept the mighty Hector's shade.

The voice descends here a discrete third upon the word "slept," which occasions a more perfect close than if the word were retained within the range of the simple melody. This cadence should often be employed at the end of a paragraph, and always at the close of a discourse.

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