Chapter I: PITCH. Pitch must be considered under three heads: first, as

referring to the prevailing elevation of tone assumed by the voice in the reading of a whole sentence, passage, or selection, called _general_ or _sentential pitch_; second, as referring to the degree of elevation assumed by the voice in the utterance of the opening, or radical, of any syllable, called _initial_ or _radical pitch_; third, as referring to the tone-width of the intervals in the utterance of the syllable concrete.

=Sentential Pitch= in its various modes is descriptive of the general position in the scale taken by the tones of the voice in uttering a sentence or passage. It may be spoken of as _medium_, _high_, and _low_. =Medium Pitch= should correspond with the _normal pitch of discourse_ previously described. It is natural to the expression of all unimpassioned thought, and also of all emotions, except the livelier, and the deeper and more intense. =High Pitch= and =Low Pitch= are only relative terms. They do not represent fixed and definite modes of utterance; and all that can be said is, that for the interpretation of what may be called the lighter feelings and emotions, such as cheerfulness, joy, exultation, interest, and so on, also for the expression of raillery, facetiousness, humorous conversation, laughter, and the like, sentential pitch of a degree somewhat higher than normal pitch is appropriate; and, on the other hand, for the interpretation of what may be called the graver and deeper feelings, such as awe, reverence, humility, grief, and melancholy, and the more impassioned emotions, as disgust, loathing, horror, rage, despair, as well as for the expression of all very serious and impressive thought, sentential pitch of a degree somewhat lower than normal pitch is appropriate. The degree of elevation and depression must be determined by the judgment and good taste of the reader; but it must be borne in mind that this degree may vary from passage to passage, and from sentence to sentence, and even from phrase to phrase.

In every style of diction, no matter how unimpassioned it may be, there will be frequent changes in the train of thought, and frequent changes in the intensity of feeling; to represent these changes there should be corresponding variations, or =transitions in sentential pitch=. These transitions also serve another purpose, namely, to indicate an interpolated or parenthetical idea. In making transitions the voice follows the general law of all vocal interpretation; strong contrasts in thought and feeling are marked by transitions of wide intervals, and lesser contrasts by lesser intervals.

_Transitions in pitch are naturally accompanied by corresponding changes in force, rate of utterance, and phrasing_; and, like all other modes of expression, these receive their color from the intensity of thought and feeling of which they are the symbols. For example, in the rendering of a parenthetical clause (since, as a rule, the thought expressed in the parenthesis is of less gravity than the thought in the main sentence), the voice will manifest itself in lighter force and generally in quicker movement, that is, in lighter, less contrasting colors; but whether the pitch be raised or lowered depends upon the sentential pitch appropriate to the main sentence,--it should be in contrast with that. And it may be remarked in passing, that the reading of the parenthesis should end with a phrase melody similar to that appropriate to the words immediately before the parenthesis, so that the ear may naturally be carried back to the proper place in the main clause for the continuation of the expression of the principal thought.

=Radical Pitch=, that is the pitch with which the opening of a syllable is uttered, is, in respect of appropriate employment, the most important element of reading or speaking; but all that can be done here, is to call attention to this, and leave the student to exercise his taste and judgment in regard to its use. The importance of appropriately varying radical pitch so as to impart melody to continued utterance will be seen at once if a simple sentence (for example, "_Tom and Jim sat on a log_") be read, first in that monotonous voice (that is, with unvarying radical pitch) so often heard in the labored reading of improperly taught young children, and then with those appropriate intonations heard in animated colloquy. When properly rendered, even if read with but little animation, each syllable, or concrete, passes through an interval of a second, and the several syllables are discretely uttered; but the _radical pitch varies from syllable to syllable_, forming a diatonic melody. _For the rendering of any given sentence in appropriate diatonic melody, positive direction as to the order of succession in respect of radical pitch cannot be given_; the same words may be uttered with equal appropriateness in many varieties of melody. The ignoring of this fact has led to the most absurd pretensions.

A group of two or three syllabic concretes is called a =phrase of melody=; and as phrases vary with respect to pitch, in the order of succession of the radicals of their constituent syllables, they receive different names: such as the _monotone_, in which the radicals are all on the same pitch; and the _ditone_ and the _tritone_, groups of two tones and three tones respectively, with radicals of different pitch; and, again, the concretes in these phrases may have upward or downward intonations: but fixed rules cannot be laid down for their use. The reader must bear in mind, however, that it is upon the tasteful use of phrases and cadences, that is, upon the tasteful employment of variation in radical pitch, that the melody of uttered language depends; and that if it be devoid of this melody, it is both wearisome and unimpressive to the hearer.

The intonations of the voice must necessarily be through either rising intervals or falling intervals, and there is a generic difference in the meaning of these. =The rising interval= is heard naturally at the end of a direct question; that is, one to which "_yes_" or "_no_" is an expected answer, as "_Are you going home?_" The suspensive tone which the voice assumes at the end of the interrogation is indicative of incompleteness of thought; and _indication of incompleteness is the characteristic function of all rising intervals_.

=The falling interval= is heard naturally at the close of a complete statement, as "_I am here_"; and hence, _words indicating completeness, positiveness, resolution, are appropriately uttered with downward intervals_. In effecting a downward intonation the voice operates in one of two ways: either the _weaker mode_, in which it descends from a radical pitch at or near the current tone to a lower pitch; or the _stronger mode_, in which it assumes discretely a radical pitch as much _above_ the current tone as the emphasis requires, and descends concretely either to the current tone or below it.

As every sentence is more or less incomplete until the end is reached, _rising intervals are the rule in intonation, and falling intervals the exception_, and it is this infrequency of use which gives to the falling movement its value as a mode of emphasis. But where the emphasis is that of doubt, uncertainty, surprise, or interrogation, the suspensiveness of these emotional states is appropriately expressed by rising intonations; and hence, too, in all sentences in which the interrogative element is strongly present, the rising interval should characterize every syllable in it, and the sentences be uttered with interrogative intonations throughout. If in any such sentence, a particular word is to be especially emphasized, this is effected by giving to the word a low radical pitch and retaining the rising interval indicative of interrogation.

=The width of the interval= depends, as is natural, upon the intensity of the thought or emotion of which the concrete is intended to be an expression. For example, suppose the statement, "=You= _are the culprit_," be answered by the surprised and indignant interrogation, "=I?=" The emphatic words here used may be appropriately uttered with intervals of a tone, a third, a fifth, or an octave, according to the emphasis supposed necessary.

=The Semitone=, as has been said before, is an interval sometimes heard in language of distress, complaint, grief, sorrow, tenderness, compassion, pity. Occasionally it is introduced in diatonic melody as an appropriate emphatic mode of uttering a single word; as, for example, "_Other friends have flown before; on the morrow_ HE _will leave me_." At times diction may assume what may be called a _pathetic drift_, and for the suitable interpretation of this drift semitonic intervals may be used, and the mode of progression cease for a space to be diatonic and become semitonic, or _chromatic_, as it is called.

=The Wave= is one of the most impressive of the elements of expression; but its proper use demands great flexibility in the vocal organs and a high degree of taste in the reader. Like all other unusual modes, its employment lends color and contrast to utterance; that is, it makes it more effective for the purposes of emphasis or distinction. The wave, as has been described, is a concrete with an upward and a downward movement united; but its last constituent is that which most affects the ear and leaves upon it the stronger impression, and hence, especially if it be given with a wide interval, _its dominant characteristic will be that of the second movement_; for example, if the second movement be upward, the wave may express interrogation mingled with surprise or scorn; if the second movement be downward, the wave may express astonishment mingled with indignation. The intervals which are given to the wave depend upon the diction to which it is applied. To express great surprise or vehement indignation it may sweep through a fifth or a whole octave. In these extreme modes _the wave frequently is given a wider interval in the second movement than in the first_, and its effect intensified by the appropriate use of stress, and (for the expression of such emotions as scorn, contempt, irony, ridicule, and so on) of the impure qualities of voice. When used with intervals of the second, the characteristics of direct and inverted forms lose some of their distinctness; but in this degree the wave is effectively used to put into relief occasional words, or, with median stress and long quantities, to give to the otherwise short and tripping character of the second a dignified and impressive effect suited to the rendering of all serious and important diction that is not impassioned.

=The Wave of the Semitone= is generally employed when time, or syllabic quantity, is needed as an element in the expression of the language of complaint or pathos. The effect is much the same whether it be direct or indirect.

=The Tremor= may be used to express grief, supplication, tenderness, in which the interval through which it ranges may be wide, or, for a more plaintive effect, be limited to the semitone. With constituent intervals other than the semitone (that is, of a tone or otherwise), and ranging through an aggregate interval of less or greater width, it may be used to express laughter; as, for example, in the utterance of the syllables "_ha_, _ha_, _ha_, _ha_, _ha_," which, when rapidly effected, resembles one syllable uttered with discrete intervals. Combined with stress, aspiration, and guttural vibration, in suitable modifications, this laughing tone may be made to express scorn, derision, exultation, triumph, and so on.