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extreme feebleness from age, exhaustion, sickness, fatigue grief, and even joy, and other feelings, in which ardor or extreme tenderness predominates.
In the reading or the recitation of lyric and dramatic poetry, this function of voice is often required for full, vivid, and touching expression. Without its appeals to sympathy, and its peculiar power over the heart, many of the most beautiful and touching passages of Shakspeare and Milton become dry and cold. Like the tremula of the accomplished vocalist, in operatic music, it has a charm, for the absence of which nothing can atone; since nature suggests it as the genuine utterance of the most delicate and thrilling emotion.
The perfect command of “ tremor,” requires often-repeated practice on elements, syllables, and words, as well as on appropriate pas. sages of impassioned language.
1. The Tremor of Age and Feebleness. (“Pure Tone :" " Subdued” force of Pathos : Tremulous utterance,
STANZA FROM A POPULAR BALLAD.
2. Exhaustion and Fatigue. (" Aspirated pectoral and oral Quality :” “Suppressed” force :
- Tremor” throughout.)
FROM “ As YOU LIKE IT." - Shakspeare. Adam, [to Orlando.] Dear master, I can go no farther : Oh! I die for food! Here lie I down, and measure out my grave. Farewell! kind master.” (" Pure Tone:” “Subdued” force of Pathos : Occasional“ tremor
of Tenderness.) Orlando, [to Adam.] “Why, how now, Adam!—no greater heart in thee ? Live a little ; comfort a little ; cheer thyself a little. For my sake be comfortable; hold death awhile at the arm's end : I will here be with thee presently. Well said! thou look’st cheerily: and I'll be with thee quickly.-Yet thou liest in the bleak air: Come, I will bear thee to some shelter. Cheerly, good Adam !”
3. Sickness. KING JJHN, [ON THE EVE OF HIS DEATH, TO FAULCONBRIDGE.] - Shakspeare. ("Aspirated pectoral Quality :" "Suppressed” force : Gasping and
tremulous utterance.) “O cousin, thou art come to set mine eye: My heart hath one poor string to stay it by, Which holds but till thy news be uttered ; And then all this thou seest, is but a clod And module of confounded royalty.”
4. Excessive Grief. Eve, [TO ADAM, AFTER THEIR FALL AND DOOM.] --Milton. (" Aspirated pectoral and oral Quality :”> “Impassioned ” force :
Weeping utterance : “ Tremor,” throughout.)
5. Extreme Pity. (“Pure Tone:” “Impassioned" force : Weeping and tremulous
Against my very heart! Poor souls! they perished.
6. Joy and Admiration. [ALONZO'S EXCLAMATION, ON BEHOLDING HIS SON FERDINAND, WHOM HE HAD
SUPPOSED DROWNED.]-Shakspeare. (“Pure Tone:” “Impassioned expulsive” force : “ Tremor" of
“ Now all the blessings Of a glad father compass thee about!” (“Pure Tone:" 66 Impassioned expulsive” force : Ecstatic “tre
of joy, wonder, and love.)
The various modes of " stress” have been so copiously illustrated, that it seems unnecessary to add special exercises, at the close of this chapter. Before proceeding to the next subject, however, the student will derive much benefit from reviewing the examples of the different forms of " stress,” and practising them in conjunction with the elementary sounds and combinations, and with the addition of the following words, as classified for this purpose.
« Subtonics." Maim Nun Rap Far Sing Babe Did
Gag madam nine rip
gig mime noun rock hear
dared Gog Valve Zone Azure Ye Woe Lull THine Joy revolve zeal measure yon way
Zoll THey judge velvet zest pleasure you
"Atonics.” Pipe Tent Cake Fife Cease He Thin Push Church pulptat cark fief
hail thank hush chaste pop tut
casque fitful stocks hand thaw harsh chat
Words comprising elements of opposite character and forma
Awe AnArm End Eve In Ooze Up Ice In Old On all add ah! ebb leel if fool isle if Jown odd always at art ell Jear it poor ugh!ides it sore off
Lull Cake Maim Tent Rap Far
rip bear lily kick mime tut
rock hear Nun Cease Zone Thin
Azure Fife nine
disease thinketh measure fief noun stocks disowns thanketh pleasure fitful
Teachers who are instructing classes will find great aid in the use of the black board, for the purpose of visible illustration, in regard to the character and effect of the different species of “stress.” Exercises such as the following, may be prescribed for simultaneous practice in classes.
(Repeat six times in suc(“Radical Stress.")
cession, with constantly
increasing force.) ("Vanishing Stress.") ("Median Stress.") ("Compound Stress.") (“Thorough Stress.") 1" Tremor.")
To commence with a definite idea of the mode of stress in each instance, set out from the standard of a given emotion decidedly marked, and let the degree of emotion and the force of utterance be increased at every stage. Thus, let D represent the “ radical stress” on the sound of a, in the word all, in the following example of authoritative command : “Attend all!”- the “ vanishing
on the same element, in the following example of impatience and displeasure : “ I said ALL, not one or two."
the “ median stress" on the same element, in reverence and adoration : “ Join ALL ye creatures in His praise'
the 6 compound stress," in astonishment and surprise : “ What! ALL? did they all fail ? ” the " thorough stress," in defiance : “ Come one come ALL!”
the “ tremor" of sorrow : “Oh! I have lost you all!”. The practice of the examples and the elements should extend to the utmost excitement of emotion and force of voice. Ocular references may seem, at first sight, to have little value in a subject which relates to the ear. But notes and characters, as used in music, serve to show how exactly the car may be taught through the eye; and even if we admit the comparatively indefinite nature of all such relations, when transferred to the forms of speech and of reading, the suggestive power of visible forms has a great influence on the faculty of association, and aids clearness and precision of thought, and a corresponding definiteness and exactness in sound.
The word “ melody” may be applied to speech in the same general sense as in the technical language of music, to designate the effect produced on the ear, by the successive notes of the voice, in a passage of music or of discourse.
The use of this term presupposes, both in music and in speech, a certain "pitch," or initial note, whether predominating in a passage, or merely commencing it, and to which the subsequent sounds stand in the relation of higher or lower or identical.
The term “ melody,” used as above, does not necessarily imply a melodious or pleasing succession of sounds, or the reverse. It has regard merely to the fact just mentioned, that the successive sounds to which this term is applied, are comparatively higher or lower on the musical scale, or in strict unison with the first sound of a series. In this technical sense, the word “ melody” applies to speech as well as to music.