« PreviousContinue »
Compassion. (“Pure tone :” “Subdued” force : “Median stress :" "Middle pitch :"
“Semitone proper," and "chromatic third,” prevalent.)
BRUTUS, [ON THE NIGHT BEFORE THE BATTLE OF PHILIPPI, TO THE BOY
LUCIUS, HIS ATTENDANT.) - Shakspeare.
“ Bear with me, good boy, I am much forgetful.
“ This is a sleepy tune : - O murderous Slumber!
Pity and Tenderness.
(“Pure tone:" “Subdued” force : “ Median” and “Vanishing” stress :
“High pitch :" " Semitone proper,” and “chromatic fifth," through
out.) MIRANDA, [TO FERDINAND, WHEN HE IS UNDERGOING THE TASK OF CAR
RYING AND PILING LOGS, AT THE COMMAND OF HER FATHER.]— Shakspeare.
" Alas! now, pray you,
“If you 'll sit down,
Feminine Grief and Sorrow. (“Pure tone:” “Subdued” force: “Median stress :" “ High pitch :' “Semitone,” throughout, and occasional “chromatic third.”
[DEATH OF A CHILD AT SEA.] - Anonymous.
Manly Grief and Sadness. (“Effusive orotund:” “ Subdued” force : “Median stress :" “ Low
pitch :" "Semitone" prevalent, with occasional “chromatic third.”) (THE EXILE OF THE “Forest SANCTUARY,” RECALLING HIS WIFE'S VES
PER HYMN AT SEA.]-Mrs. Hemans.
Oh! the deep soul it breathed ! the love, the woe,
As it went floating through the fiery glow
Which seemed responsive in its murmuring flow.
Was in those notes, with day's last glory dying
On the flushed waters ! — seemed they not to swell
From the far dust wherein my sires were lying,
• Ora!' — with all the purple waves replying,
Regret, Penitence, Contrition. (“Pure tone:” “Subdued” force : “Vanishing” stress : “Low pitch :” “Semitone,” throughout, with occasional “chromatic third.")
[REFLECTIONS AND RESOLVE OF THE PRODIGAL Son.] How
many hired servants of my father's have bread enough and to spare, and I perish with hunger! I will arise and go to my father, and will say unto him, Father, I have sinned against heaven and before thee, and am no more worthy to be called thy son: make me as one of thy hired servants !”
Complaint. (“Aspirated pectoral quality :" "Impassioned" force : “Vanishing
stress :” “Low pitch :” “Semitone” throughout, with occasional (6 chromatic third” and “ fifth.”)
[LAMENTATION OF JOB.) “And now my soul is poured out upon me; the days of affliction have taken hold upon me. My bones are pierced in me, in the night season: and my sinews take no rest. He hath cast me into the
and I am become like dust and ashes. I cry unto thee, and thou dost not hear me: I stand up, and thou regardest me not. Thou art become cruel to me: with thy strong hand thou opposest thyself against me. Thou liftest me up to the wind; thou causest me to ride upon it, and dissolvest my substance. For I know that thou wilt bring me to death, and to the house appointed for all living!”
Condolence. (“Pure tone:" "Subdued” force : Gentle “vanishing stress :" “ Mid
dle pitch :" "Semitone," throughout, with occasional “chromatic
“O my lord,
So good, so noble, and so true a master?
Pathetic Supplication and Intercession. (“Effusive orotund :” “Subdued” force: “Median stress :” “Low
pitch :" “ Semitone,” throughout, with occasional “chromatic third.") 1.- [KING Henry VI. AT THE DEATH-BED OF CARDINAL BEAUFORT.]
Penitential Supplication and Entreaty. (“Pure tone, pectoral quality :" “Subdued” force : Soft, but earnest
“vanishing stress :” “Very low pitch :” “Semitone,” throughout, with occasional “chromatic third” and “fifth.”)
[THE PSALMIST'S SELF-HUMILIATION AND CONTRITION.] “ Have mercy upon me, O God, according to thy loving kindness : according unto the multitude of thy tender mercies, blot out my transgressions! Wash me thoroughly from mine iniquity and cleanse me from my sin. For I acknowledge my transgressions; and my sin is ever before me. Against thee, thee only, have I sinned, and done this evil in thy sight. Hide thy face from my sins, and blot out all mine iniquities! Deliver me from blood-guiltiness, O God, thou God of my salvation !”
CULTIVATION OF PURE TONE.
[Our desire to render this manual conducive, as far as possible, to a perfect development of the voice, induced us to solicit the aid arising from the perfect discipline to which the organs are subjected, in the elementary practice of the art of music. Professor G. J. Webb, of the Boston Academy of Music, has, in compliance with our request, furnished the following directions for the cultivation of per
fect purity of tone, the want of which, in elocution, is a prevalent fault, both in public speaking and private reading.)
It is important that the pupil, at the very outset of vocal study, should have the ability of appreciating purity of tone.
Unless he has some distinct perception of it; in other words, unless a model of pure tone has been formed in his own mind, all merely physical effort to acquire it will be likely to fail.
The practice of the scale in swelling tones, is chiefly relied upon by teachers of vocal music, for developing the voice, and for acquiring purity, mellowness, flexibility, and an adequate breadth of tone.
Immediately before singing each sound, breath should be taken so as completely to inflate the lungs; and after pausing an instant with the chest well expanded, the sound should commence with firmness, but with great softness, then gradually augmented to the loudest degree, succeeded by being as graduaily diminished to the degree of force with which it began. Each tone should be prolonged from eighteen to twenty seconds.
This exercise, as a general rule, should be continued for about two months; singing the scale daily about four times.
In the delivery of the tones of the chest register," the air ought to escape without touching the surfaces of the mouth; the tones of the “medium register,” are best acquired by directing the air a little above the upper front teeth :— in those of the “head register,” the air is directed vertically