126 



THE POPULAR EDUCATOR 



.1 |s :d' 



thy heart's de - 



:=i-p=Ei: 



-f- 



d 1 :t .1 



.1 |s .n :f 



wait pa - tient - ly 



for 



s .s :- .1 



give thee thy 



^jzz^ziz^zisn;pzzi 

 .d 1 :t .1 



and He shall 



In 



heart's 



sires. 



Is .s :- .1 



give thee thy 



Notice the effect of ME, in each case where it occurs on the 

 strong parts of the measure, but especially in the last case in 

 this quotation. What full-hearted satisfaction and perfect 

 rest it brings? The words and the music aid each other to 

 move the heart. 



For the effect of " boldness and decision," which DOH, ME, 

 and son (sung somewhat quickly) give to a tune, we may 

 quote the martial music of Handel. " See the conquering Hero 

 comes " begins thus : 



KEY G. 



The chorus in Judas Maccabasus, " Lead on ! Lead on ! " 

 begins thus: KEY D. : s | d 1 : s | d 1 : s | d 1 : B j d 1 . The 

 call to arms in the same oratorio makes the most emphatic 

 use of these notes. The most inspiring call is evidently that 

 in which the "trumpet note" son is chiefly used. The follow- 

 ing are some of the phrases in which the call to arms is the 

 most bold and decided : 



KEY C. 



Arm ! 



Again, in " Let the bright Seraphim," you have the follow- 

 ing bold phrase at the opening. Could this bold character 

 have been given to the words by any other note of the scale ? 



KEY D. 



READING AND ELOCUTION.-XVII. 



ANALYSIS OF THE VOICE (continued). 

 X. EXPRESSIVE TONES. 



THE word "tone," in elocution, maybe used, as in music, to 

 signify the interval which exists in successive sounds of the 

 voice, as they occur in the gamut, or musical scale. But it is 

 commonly used as equivalent, nearly, to the term " expression " 

 in music, by which is meant the mode of voice as adapted, or 

 , to feeling. Thus we speak of the " tones " of 

 passion of a " false" tone of a " school " tone. 



Every tone of the voice implies 1, a certain "force," or 

 "quantity," of sound; 2, a particular "note," or "pitch;" 3, 

 a given " time," or "movement;" 4, a peculiar " stress ;" 5, 

 a special "quality," or character; 6, a predominating " inflec- 

 Thus, the tone of awe has " a very soft force," a " very 

 low pitch," a " very slow movement," " medial stress," and 

 " pectoral quality," or that deep murmuring resonance which 

 makes the voice seem, as it were, partially muffled in the chest, 

 together with a partial " monotone," prevailing at the opening 

 of every clause and every sentence. All these properties belong 

 to the natural utterance of awe ; take away any one, and the effect 

 of emotion is lost the expression sounds deficient *o the ear. 



Example 1. The bell | strikes | one. We take 



no note of time, 



But from its loss : to give it, then, a tongue, 

 [m.s.] Is wise | in man. As if an angel | spoke || 

 [p.g.] I feel the solemn sound. If heard aright, 

 It is the knell of my departed hours. 

 Where are they ? With the years beyond the flood. 

 The first five of the properties of voice which have been 

 enumerated, are the ground of the following classification and 

 notation : 



KEY TO THE NOTATION OF " EXPRESSIVE TONE." 



" Force." 



