Part Second.-Inflexion.

I. GENERAL PRINCIPLES.

1. There is an essential difference between the movements of the voice in speech and in song. In singing, the voice dwells monotonously, for a definite time, upon every note, and leaps (or sometimes slides) upwards or downwards to the next. In speaking, the end of each note is invariably a slide, and the voice rarely dwells for a measurable space on any note, but is constantly changing its pitch by upward or downward movement, or inflexion.

2. The kind and degree of inflexion with which words are pronounced, are peculiarly expressive of their relation to the context, or to the feeling of the speaker. Thus the rising turns are connective, referential, dubious, appellatory, or tender in expression; and the falling inflexions are disjunctive, independent, positive, mandatory, or harsh.

3. The vocal expressions constitute a NATURAL LANGUAGE, of the import of which mankind are intuitively conscious. The language of tones is most perfectly developed when the feelings are excited, and the speaker is free from all restraint. Children, before their utterance is denaturalized by school-discipline in "reading," speak with the most beautifully expressive intonation; and all persons of sprightly temperament deliver themselves, in animated conversation, with little short of the expressive perfection of infantile oratory.

4. The universally observed difference in the intonations of reading and speaking, arises, in a very great measure, from the erroneous manner in which children are taught

to read. A natural expressiveness may, and should be given, even to the A, B, C. Nothing, unfortunately, seems to be so little understood in schools as the MODULATION OF

THE VOICE. THE principles of intonation are either not understood, or they are most shamefully neglected.

II. MECHANISM OF THE INFLEXIONS.

5. Inflexions are either SIMPLE or COMPOUND in mechanism. Simple inflexions consist of two points, the pitch accented, and the termination unaccented. Thus :

rising, (-)

falling. . (~)

:

Compound inflexions consist of three points, by the union of the two simple movements with one accent. Thus :

6. The most important fundamental principle of inflexion is primarily a mechanical one; for if the inflexions are faultily formed, they will be neither pleasing nor expressive, but harsh to the ear, false to the sentiment, and injurious to the voice. An illustrative diagram will best explain this principle.

This diagram represents the speaking voice divided into an upper and a lower half, the middle line denoting the middle pitch, the upper line the highest, and the lower line the lowest pitch..

7. If inflexions are commenced on the middle tone of the voice, as in the first division of the diagram, the speaker, manifestly, has but half his vocal compass through which to range upwards or downwards; and the voice will crack, or croak, shrilly or hoarsely, if a forcible or emphatic inflexion be attempted.

8. Still more limited and powerless will the inflexions

be, if rising turns are pitched above, or falling turns below, the middle tone, as in the second section of the diagram.

9. Grace and energy are attained by depressing the radical part of the inflexion below the middle tone for a rise, and by elevating it above the middle tone for a fall, as in the third and fourth sections of the diagram, the greater or less extent of the accentual elevation or depression of pitch corresponding to the emphasis of the utter

ance.

10. Thus, then, the most extensive rising inflexion may not actually rise higher than a comparatively weak and unimpassioned movement, but it will begin lower, and with greater radical intensity; and, on the same principle, the most extensive falling inflexion will not be that which falls lowest, but that which, with radical intensity, begins highest.

11. Unemphatic inflexions are formed as in the first and second divisions of the diagram. It is sufficient in practice to distinguish two modes - the emphatic and the unemphatic; the latter limited within one half of the voice, the former ranging through a greater degree of the vocal compass.

12. The tones are capable of great variety, not only in radical pitch, but also in extent of inflexion. The rise or fall may be made through any interval, and with an almost endless diversity of pitch. The following diagram shows a simple Rise from a uniform pitch through each of the musical intervals within the octave.

13. The mechanism of the compound inflexions exemplifies the same principles of vocal range. The compound

Rise consists of a simple falling tone finished with upward inflexion; and its commencement (the accented part) is pitched within the lower half of the voice in the less emphatic mode, and in the upper half, in the more emphatic. The compound Fall consists of a simple rising tone finished by downward inflexion, and its accented commencement is pitched within the upper half of the voice in the less emphatic mode, and in the lower half, in the more emphatic.

14. In the utterance of these compound tones, the following principle is to be noted. The voice reaches the turning point in the pronunciation of a single syllable. The termination of the tone may be prolonged through any number of subsequent syllables. The termination may extend to the same pitch as the commencement, or it may stop short of it, or go beyond it. The expression of the tone, of course, varies. with the range.

15. The following diagram illustrates the mechanism of the compound inflexions. A rising Double Wave is exhibited in the second division of the diagram. This consists of an ordinary Compound Fall, finished with upward inflexion. The voice reaches the second turning point in the pronunciation of the accented syllable. Ä falling Double Wave is a compound tone that is never used. Its effect is not pleasing. The rising Double Wave is frequently employed, and its effect is beautifully expressive.

No. I.

U

No. II.

III. NOTATION OF THE INFLEXIONS.

16. Our NOTATION of the inflexions* is. founded on the principle of their mechanism. The marks are placed below the word when the pitch of the accented syllable is in the lower half of the voice, and above the word, when

*See Expressive Exercises," in a subsequent section.