lable _pae_ as a concrete, with rising
and falling intervals, severally, of a _second_, _third_,
_fifth_, and an _octave_; also with intervals of a _semitone_;
also with a _tremor_. Let the exercise be varied so as to
include many degrees of initial pitch. Use a diagram of a
musical staff for reference.

2. Read with exaggerated impressiveness, "_Am_ =I= _to be your
slave?_ =No!="

In the pronunciation of the letter [=a], as in _pate_, two sounds are
heard: the first is that of the name of the letter, which is uttered
with some degree of fulness; the second is that of _[=e]_ in _mete_,
but, as it were, tapering and vanishing;--in the meantime the voice
traverses a rising interval of one tone, that is, of a second. The
utterance of these two sounds, although the sounds themselves are
distinct, is completely continuous, from the full opening of the one to
the vanishing close of the other, and it is impossible to say where the
first ends and where the last begins. It is essential, however, to
consider them separately. The first is called the =radical movement=,
and the second the =vanishing movement=; and these together constitute
the entire concrete.

All the vowels do not equally well exemplify in their utterance a
_distinction of sound_ in their radical and vanishing movements, because
some vowel sounds are less diphthongal than others, and some, again, are
pure monophthongs; but _these two movements and the concrete variation
of pitch, the result of one impulse of the voice, are the essential
structure of every syllable_, and are characteristic of speech-notes as
contradistinguished from those of song.

When the radical and vanishing movements are effected smoothly,
distinctly, and without intensity or emotion, commencing fully and with
some abruptness, and terminating gently and almost inaudibly, the result
is the =equable concrete=. This of course may be produced with
intervals, either upward or downward, of any degree--tone, semitone,
third, fifth, or octave. It must be said, however, that some syllables,
and even some vowels, lend themselves more easily than others to that
prolonged utterance which is essential to the production of wide
intervals and the perfectness of the vanishing movement.

The equable concrete is the natural, simple mode of utterance; but under
the influence of interest, excitement, passion, and so on, the utterance
of the concrete may be greatly varied from th