SEVENTH EXERCISE.

This Exercise exhibits the analysis of words in which there are difficult combinations of elements.

This is an Exercise in Pitch. The first four notes, counting from below, belong to the natural voice; the fifth, to the falsetto. The pupil should pronounce the letters, a, e, i, a, in the ascending and descending order of the scale, and with the rising and falling inflection, as represented by the notes. He should then, in like manner, pronounce each vowel element - ascending and descending, as before.

Diag. 2.

-ú-ù-| Mr. President,

|-á-à-|-é-è-|-í-ì--ó-ò‒‒ú-ù- Mr. President,

|—á—à—|—é-è̟-|-í-ì——6— -ú-ù- Mr. President,

e

|-á-à

-í–ì——ó–ò——ú-ù- Mr. President,

|-á-à-|-é-è-|-í-í-|-6-8-|-ú-ù- Mr. President,

NINTH EXERCISE.

The pupil should pronounce all the vowels, which admit of long quantity, alternately with the rising and falling inflection, through various intervals of pitch, as shown by the Diagram.

field,

house, temple. thunder, battle, heaven,

A storm of universal fire, blasted every field, consumed every house', and destroyed every temple.

Then shook the hills with thunder riv'n,
Then rush'd the steed to bat'tle driv'n,
And louder than the bolts of heav'n,
Far flash'd the red artillery.

Diag. 25.

Diag. 26.

tower, shine, glad, terrible. man, woman, child, beast. Ye are the things that tower, that shine, whose smile makes glad', whose frown is terrible.

They did not see one man, not one woman, not one child, not one four-footed beast', of any description whatever.

Diag. 27.

Diag. 28.

exulting, trembling, raging, fainting. disturbed, delighted, raised, refined.

Exulting, trembling, ra'ging, fainting,
Possess'd beyond the Muse's painting.
By turns they felt the glowing mind,
Disturb'd, delight'ed, rais'd', refin’d.
Diag. 29.

seasonless, herbless, treeless, manless, lifeless, death,

clay.

The populous and the powerful was a lump, Seasonless, herb.less, tree 'less, man'less, lifelessA lump of death — a chaos of hard clay,.

How poor, how rich', how abject, how august',
How complicate, how wonderful is man!

Diag. 31.

time,

wrong, contumely, love, delay,

office,

spurns,

For who would bear the whips and scorns of time,
The oppressor's wrong, the proud man's contumely,
The
pang of despised love, the law's delay',
The insolence of of 'fice, and the spurns,
That patient merit of the unworthy takes,
When he himself might his quietus make
With a bare bod,kin?

INTERROGATIVE SENTENCES.

There is nothing peculiar in the melody of interrogative sentences, when they are pronounced with the falling inflection; but, when they are pronounced with the rising inflection, they are characterized as follows:

When a question is asked simply for information, and there is but one emphatic syllable in it, this syllable rises concretely from the pitch-note line, through the interval of a third, or fifth (or thereabouts), according to the degree of energy with which the sentence is pronounced. And the syllables which follow the interrogative note (if I may so call it), are pronounced in the pitch of the upper extreme of this note, thus:

When a question is asked with surprise, the interrogative note begins a degree below the pitch-note, and rises, concretely, about a fifth, or an octave, thus:

Should Susan's also be pronounced with emphatic force, but with less energy than you, the melody would be as follows:

--

Diag. 34.

With you! and

quit my

Susan's side!

Should side, instead of Susan's, be made emphatic, the melody

And should you, Susan's, and side, be all pronounced with emphatic force, the melody wonld be as follows:

Diag. 36.

With you! and quit my Su san's side!

The following sentence is apt to be read to the melody of diagram 33; it should, however, be read to that of Diagram 37.

Diag. 37.

With you! the hap - less

husband cried,