beside the triad, making six in all. The first is the one just referred to, and is called the Rising Triad, from the concretes of its first two syllabic constituents being upward.

Sweet

Triad of the Cadence.

the

breath of

morn.

The second form differs from the first only in all of its syllables being executed in falling concretes. This is called the full cadence, from the completeness of the conclusion formed by the combined radical and concrete descent.

The third form is executed on but two syllables, the first of which is assigned to a descending concrete interval, equal in extent of concrete pitch to the sum of the first and second constituents of the full cadence. This is called the First Duad form, and is illustrated in the following sentence:

First Duad.

With tur · ret crest and sleek en - am el'd neck.

The fourth form is also confined to two syllables, and differs from the first Duad, in the syllable taking one fall

ing concrete, of the extent of the last two constituents of the falling Triad. This is called the Second Duad.

Second Duad.

The mean - ing not the name I call.

The fifth form of the cadence is that in which the descent of the voice through the space of three tones is made on one long syllabic concrete. This is called the Monad form, and sometimes, on account of its being the least conclusive in its effect, the feeble cadence.

There is still another, or sixth variety, of the cadence. It marks the close of a subject more completely than any of the preceding, and is effected by the radical descent of a third, on some syllable of the current melody preceding any of the forms of the cadence (except the monad or feeble form), and given near enough to the close to be connected with it by the ear. This is called, from its peculiarity of structure, the Prepared Cadence.

The falling skip of the third seems to give notice, as it were, that the voice is about to fall into some of the cadent phrases. Other cadences denote in different degrees the conclusion of a particular thought. This cadence denotes that the subject itself of a paragraph, chapter, volume, or entire discourse is finished.

The Prepared Cadence.

Through E- den

took their sol i

· ta

ry way.

161. The several forms of the cadence here given represent various degrees of conclusiveness and repose. It is the fullness of the radical which impresses the ear most forcibly, and calls attention to the order of syllabic succes sion. Thus, in the triad it is the three radicals which so conspicuously mark the descent of the voice, and constitutes it the most positive form of the cadence or close, particularly when the concrete pitch of its constituents is also downward.

In the duad forms, the number of radicals being lessened, the impressiveness of the cadencial character is proportionately so; while the monad form, where there is but one radical, and the descent in pitch is entirely concrete, is the least impressive or conclusive of all.

In nam

A third is the nominal interval for this cadence, as it is the smallest downward concrete that has in its place the effect of a close. Its effect is such as to allow of either a pause after it or a continuation of the discourse. ing the character of this cadence as feeble compared with the other forms, allusion is made to its employment in the diatonic melody in which it is executed on a simple equable concrete. In expressive melody, it will be found that it passes into the wider intervals of the fifth and octave, when combined with the forms of force, and assumes a character as strongly conclusive as any of the other forms of the close.

We shall also find in expressive melody, that the constituent concretes of the other cadences may pass into the

wider intervals, though preserving relatively similar proportions to those here described, the principle underlying both the thoughtive and expressive cadences being the same.

The diatonic melody of speech proceeds always by whole tones; it can not, therefore, have what in music is termed key, and hence there is no fixed point or key-note upon the scale to which any melody must return in order to satisfactorily conclude. This being so, the cadence may be effected by a descent from any degree of the speaking compass (except, of course, the two lowest notes), through all of its various forms.

Inexperienced readers often produce what has been termed the false cadence by allowing the voice to drop a discrete third to the last place of the concrete. This should be avoided. Omitting the second constituent produces what is called a False Cadence.

162. The seven diatonic phrases, in their many possible forms of combination and variety of progression through the compass of speech, are sufficient, when judiciously employed, to prevent the common fault of monotony, arising from a repetition of the same phrases at regular intervals, producing what is termed a recurring melody. It is by no means to be expected that the varied phrases of melody can be intermingled in a regular order, or by special choice, at the ordinary rate of reading or speaking; but if very small sections of sentences are slowly read at a time, subject to the correction of the student's own, or of a teacher's ear, with a view to the employment of a varied

M. E.-19.

melody in time, and by perseverance the voice will unconsciously employ an agreeable variety. A clear perception of the effect of the falling ditone should be acquired, and a command over its use, so that it may frequently play among the syllables of discourse.

This movement, and the falling tritone, are phrases most difficult of execution, as the descending movements in radical pitch are like the falling concretes, least employed in the ordinary, and frequently faulty, uses of the voice.

The phrase of alternation produces a light, tripping movement that is very expressive in animated description. The monotone is equally expressive of dignified and solemn language. The movements in the first use of the diatonic melody must be stiff and formal until the mere mechanism yields to an artistic command of their variety in melody.

The notations are used only to illustrate possible and agreeable combinations of the phrases of melody, and are not absolute; i. c., they do not prescribe any one melodic form as the only means of correctly uttering the language given. Each person must be free within the limitations of certain principles to form his own current melody and choose the form of his cadence.

PRACTICAL EXERCISES ON THE MELODIC SUCCESSIONS.

163. To obtain a clear idea of the radical changes through a tone:

Let any of the notated sentences be taken, and keeping in mind the diatonic character of the melody and the sense of the words, utter only the tonic element of each with a clear, full radical.

The successive notes of the melody, and their relative position on the scale, will thus be clearly marked, for, although every element in perfected utterance must be heard in the syllabic impulse, yet the tonic being generally