ll suggest vehemence, approach,
and its visual synonym, growth, as well as that decreasing
intensity will suggest withdrawal, dwindling, and placidity.

The suggestion brought about by pattern is very familiar.
It was one of the first signs of the breaking away from
the conventional trammels of the contrapuntal style of the
sixteenth and seventeenth centuries. The first madrigal of
Thomas Weelkes (1590) begins with the words, "Sit down," and
the musical pattern falls a fifth. The suggestion was crude,
but it was caused by the same impulse as that which supplied
the material for Wagner's "Waldweben," Mendelssohn's "Lovely
Melusina," and a host of other works.

The fact that the pattern of a musical phrase can suggest kinds
of motion may seem strange; but could we, for example, imagine
a spinning song with broken arpeggios? Should we see a spear
thrown or an arrow shot on the stage and hear the orchestra
playing a phrase of an undulating pattern, we should at once
realize the contradiction. Mendelssohn, Schumann, Wagner,
Liszt, and practically everyone who has written a spinning
song, has used the same pattern to suggest the turning of a
wheel. That such widely different men as Wagner and Mendelssohn
should both have adopted the same pattern to suggest undulating
waves is not a mere chance, but clearly shows the potency of
the suggestion.

The suggestion conveyed by means of pitch is one of the
strongest in music. Vibrations increasing beyond two hundred
and fifty trillions a second become luminous. It is a curious
coincidence that our highest vibrating musical sounds bring
with them a well-defined suggestion of light, and that as
the pitch is lowered we get the impression of ever increasing
obscurity. To illustrate this, I have but to refer you to the
Prelude to "Lohengrin." Had we no inkling as to its meaning,
we should still receive the suggestion of glittering shapes
in the blue ether.

Let us take the opening of the "Im Walde" symphony by Raff as
an example; deep shadow is unmistakably suggested. Herbert
Spencer's theory of the influence of emotion on pitch is well
known and needs no confirmation. This properly comes under
the subject of musical speech, a matter not to be considered
here. Suffice it to say that the upward tendency of a musical
phrase can suggest exaltation, and that a downward trend may
suggest depression, the intensity of which will depend upon
the intervals used. As an instance we may quot