284 Music of Speech. [July, 
those terms which belong alike to both, or are restrictively 
appropriated to each.” The different degrees of pitch in 
music are denoted by what is termed the scale, the relation of 
which to speech may be thus illustrated. When the bow 
is drawn across the string of a violin, and the finger at the 
same time gradually moved, with continued pressure on the 
string, from its lowest attachment to any distance upwards, 
a mewing sound, if it may be so termed, is heard. This 
mewing is caused by the gradual change from gravity to 
acuteness, through the gradual shortening of the string: 
and as it thus rises by a succession of uninterrupted 
momentary changes, each continuous or concreted, as it 
were, in its increments of time and motion, let it be called 
a concrete sound. ‘This movement of pitch on the violin is 
termed a slide. 
The reader may himself exemplify this concrete sound by 
uttering the single syllable aye, as if he were asking a 
question with the expression of earnest surprise, yet rather 
deliberately, beginning at the lowest and ending at the 
highest limit of his voice. The gradual rising-movement in 
this case is concrete; yet as the voice, and any other tunable 
sound may be continued in one interrupted movement upon 
the same line of pitch, without rising or falling, it 1s proper 
to remark that the term concrete is in this paper applied 
only to an uninterrupted movement in a visemg and in a 
falling direction. Now, the sounds of what is called the 
scale in music do xzot rise by connected or concrete move- 
ments; but are made by drawing the bow only while the 
finger is held stationary at certain successive places on the 
string, thus showing an interruption of the continuous 
upward slide. These places are seven in number; their 
distances from each other being determined by a natural 
law, and rendered precisely measurable by a scientific rule 
for subdividing the string, which we need not consider here. 
Other sounds, still ascending on the string above these seven, 
may be made bya similar interrupted progression. But 
since the second series of seven sounds, though of higher 
pitch, yet adjusted by the same rule, do each to each in order 
so nearly accord with the first seven that they may be con- 
sidered as a kind of repetition of them, and as the same is 
true of all the series of seven that may be formed between 
the lowest and the highest limit of sound, the whole extent 
of variation in acuteness and gravity is regarded as consisting 
of the simple scale of seven sounds, repeated in different 
series or ranges of pitch. Thus, while we take the line in 
the annexed diagram to represent the concrete progress of 
