produce it, all the muscles of the body are held firm, and those of the throat, pharynx and especially at the base of the tongue, are held rigidly contracted. When these muscles are held thus hard and firm they give to the vocal tone a harsh, rasping rattling, growling quality which joined with the upward tones of emphasis produce a most startling effect. It requires great practice and must never be given with the muscles relaxed. It is the tone of the will when impelled by the wildest passions, anger and rage.

Try the following:

Wretch! you could enjoy yourself like a butcher's dog in the shambles, while the slaughter of the brave is all around you, but you shall die, base dog.

Blood! blood! Iago, Blood!

I'll tear her all to pieces.

I tell thee I hate the Moor.
Blaze with your serried columns.

But here I stand and scoff you. Here I fling hatred and full defiance in your teeth.

I want you to understand, if I am a gipsy, I am not a dog. You have come here and insulted me; have called me a thief, a cur, a felon, and now leave me or by all that's holy, I'll kill you,---that's what I'll do !

Hear me, heaven! The orphan whose sole heritage has been disgrace and shame, here swears to be avenged! To follow him as shades pursue the night, as swift as eagles, and as sure as death. The mountain shall not hide, the darkness shall not cover, the distance shall not conceal, the grave itself shall

not protect him from my hate; for from his shroud I'll drag him reeking forth, tear out his heart, his false and traitor heart, and trample, trample, trample it to dust.

MELODY.

You will observe that the Pitch varies with the phrases. No two consecutive phrases should have the same Pitch of Voice. Thus we have the fundamental principle of modulation.

If a sentence has three, four, or six phrases, then the pitch will be changed three, four or six times, according to the number of ideas. If the phrases form a series, the pitch will be higher for each successive phrase. In general, the voice ascends until the prime phrase is reached, after which it descends. this sentence, "Heaven is not reached at a single bound," the voice will ascend in pitch until the word single is reached, when it will descend, thus giving the Cadence of voice.

In

In the word indis-pen-sable there are three parts: Ist, A rise of the voice as it approaches the accented syllable. 2d, A climax at the accent. 3d, A cadence. of the voice as it proceeds to the end of the word. The same thing is true of any phrase of speech except where the first or last syllable has the accent. Where the first syllable has the accent, there will be no rise of the voice; where the last syllable has the accent, there can be no such cadence. This is not so much a matter of Pitch as of Power of Voice. The voice grows in fulness and intensity until it reaches the Accent, when the power and intensity decrease for the

ending. The entire phrase may have an upward or downward movement of pitch even when the Accent is on the last syllable. But the tendency is to the highest pitch, as well as the fullest power and intensity at the Accent.

Thus a sentence of several phrases may rise, step by step, upon succeeding phrases until the principal center of thought is reached, and then gradually descend to the close.

PRACTICAL EXAMPLES.

I hold this thing to be grandly true:
That a noble deed is a step toward God,
Lifting the soul from the common sød
To a purer air and a broader view.

A.

Read 1st line ordinary pitch; 2d, lower; 3d, slightly above ordinary; 4th, ordinary or lower.

B.

Read 1st line low; 2d, high; 3d, ordinary; 4th, below ordinary.

These phrases could be arranged in numberless ways. Take another example:

Those evening bells! those evening bells!

How many a tale their music tells,

Of youth, and home, and that sweet time
When last I heard their pleasing chime.

Here we have at least six phrases. Try this melody. The numbers apply to the phrases. Read Ist, low; 2d, higher; 3d low; 4th, high; 5th, higher; 6th, low.

Try this sentence as follows, reading first with gradual ascent to the close; then with gradual descent. The lines will suggest the pitch:

Thus in any phrase, the words fall in melody and are capable of many arrangements. The above phrase may be rendered in many different ways from those marked.

Intaning Sentences.

In the following sentences make each word full, clear, strong, open and vibratory, and deliver each phrase with an evenly rising or falling melodic modulation. This steadiness of utterance as it approaches the monotone gives grandeur and dignity to the voice.

I.

And they shall know that I am the Lord.

2. Holy! holy! holy! Lord God Almighty.

3.

Earth to earth; ashes to ashes, and dust to dust! Man that is born of woman is of few days and He cometh forth like a flower and is

full of trouble.

cut down.

pursueth.

He

fleeeth like a shadow and no man

4. Softly now the light of day,

Fades upon my sight away.

5. "In silence and at night the conscience feels That life should soar to nobler ends than power." So sayest thou, sage and sober moralist!

But wert thou tried? Ye safe and formal men,
Who write our deeds and with unfeverished hand
Weigh in nice scales the motives of the great,
Ye cannot tell what ye have never tried.

6. The cloud-capped towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this unsubstantial pageant, faded,
Leave not a rack behind.

7. Night, sable goddess! from her ebon throne,
In rayless majesty, now stretches forth
Her leaden sceptre o'er a slumbering world,
Silence how dread! and darkness how profound!
Nor eye nor listening ear an object finds.
Creation sleeps. 'Tis, as the general pulse
Of life stood still, and nature made a pause,
An awful pause, prophetic of her end.