therefore I refer the reader for the exemplification of that technical nomenclature, which I have here no other means than that of words and diagram to explain.

The different degrees of Pitch in music are marked on what is called the Scale: the formation of which may be thus illustrated:

When the bow is drawn across any one of the strings of a Violin, and the finger at the same time gradually moved, with continued pressure on the string, from its lower attachment, to any distance upwards, a mewing sound, if I may so call it, will be heard. This mewing is caused by the gradual change from gravity to acuteness, through the successive shortening of the string: and as the sound thus rises in acuteness by an uninterrupted line of momentary changes, it is called a continuous or Concrete sound. This movement of pitch, on the violin, is termed a Slide.

The reader may himself exemplify this concrete mode of sound, by uttering the single syllable 'hay,' as if he were asking a question with the expression of earnest surprise, yet rather deliberately; beginning at the gravest and ending at the most acute point of his colloquial voice. The gradual course of sound in this case is concrete.

Now the sounds of what is called the scale in music, are not continuous or concrete, but are made-by drawing the bow whilst the finger is held stationary at certain places on the string: thus showing an interruption of the continuous upward slide. These places are seven in number, and their distances from each other are determined by a scientific rule for subdividing the string, which we need not consider here. Other sounds still ascending on the string may be made, by a similar interrupted progression. But since the second series of seven, though of higher pitch, yet adjusted by the same rule, do so accord respectively with the first seven, that they may be considered as a kind of repetition of them,-and as the same is true of other classes 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 but the simple scale of seven sounds, in different ranges of pitch.

I give, in the margin, a diagram of the places at which we suppose the string to be pressed: and have marked numerically two of the repeated T series of seven sounds; using the initials T and S, respectively for Tone and Semitone, to which I shall presently refer.

T

Upon comparing this picture with the above account of the production of concrete sound, and supposing the latter to be represented by the continued vertical line on which these black points s are set, it will be seen that some of the concrete is lost, when the finger skips from place to place T on the string. The sounds thus produced by intermissions of the concrete slide, are called Discrete Sounds *

T

The explanation which has thus been given of the manner of concrete and discrete progressions, s in an upward direction, is to be understood of the downward course also, under a reverse movement of the gradual slide and skip on the string.

J

The variations of pitch on most musical instruments are discrete. The violin and its varieties T derive much of their peculiar power in execution, from being susceptible of the concrete movement; and it is one of the great sources, as I shall show hereafter, of Expression in the human voice.

T

S

The several points at which we have supposed the sounds to be made in the discrete progression, T and which are numerically designated in the diagram, are called the Places, Points or Degrees T of the scale: and these are by relative position, either Proximate or Remote.

* The idea of this continuity and disjunction of the line of pitch is perhaps known to musicians only under the names of slide and scale. The terms concrete and discrete, as here applied, are found in the higher works of the art alone, and are borrowed from mathematics; in which science they designate the two great generic divisions of quantity. Thus Magnitude is the concrete quantity; for the lines, surfaces, and solids which constitute it, have their parts, so to speak, concreted or united immediately with each other:-whereas Number is the dis

The distance between any two points in the scale, whether proximate or remote, is called an Interval. The intervals in their proximate order are measured as follows:*

The interval, or the quantity of concrete omitted between the first and second places, as numbered in the diagram, is called a Tone.

That between the second and third is likewise a tone.

That between the third and fourth, which appears as but half the space of a tone, is called a Semitone.

The interval between the fourth and fifth; fifth and sixth; sixth and seventh, is each a tone-and lastly, that between the seventh and eighth, or first of the next series, a semitone.

The intervals between the remote places or degrees of the scale, are designated numerically; the extreme degrees being inclusively counted. Thus, from the first to the fifth, and from the fourth to the eighth, is each the interval of a Fifth. And so of the rest.

Though the several discrete sounds of the scale are named according to their ordinal number, yet the first, relatively to its rising series, is generally called the Key-note: whereas the eighth, when considered in relation to the previous key-note, is called the Octave; for otherwise it may be regarded as itself the key-note of the following series.

The succession of the seven sounds of any one series, to which the octave is usually added, is called the Natural or Diatonic Scale. It consists of five tones and two semitones; the latter being the spaces between its third and fourth, and its seventh and eighth degrees. The scale then contains these several kinds of intervals,-a semitone; a second, or whole tone; a third; fourth; fifth; sixth; seventh; and octave.

crete quantity; since the succession of its constituent integers is altogether different from any kind of continuity.

The most familiar illustration of these terms, as applied to the two kinds of quantity in musical sound, is furnished by the form of a ladder, in which the side rails represent the concrete, and the rounds the discrete.

The well informed reader should regard this general view of the scale, and the manner of its illustration, with a thoughtfulness of my design. I have omitted the theoretic distinction of greater and lesser tone, of diatonic and chromatic semitone, and of the major and minor scale, together with other particulars, both melodic and harmonic, with the intention to notice only what is preparatory to the description of speech.

By the diagram, the interval between the second and fourth, is numerically a third, yet contains but one tone and a semitone: whereas, that between the first and third contains two whole tones. From this difference in extent the former is called a Minor Third and the latter a Major Third. But since the minor third is of rare occurrence in speech, the term Third will, in this work, always refer to the major interval; and the minor will be specified when meant.

Having thus far, by description, endeavoured to give some idea of the construction of the Musical Scale, I here advise the reader, who may not be a musician, and who may never have heard of the nature of that scale, to ask, from some qualified master, an audible exemplification of its upward and downward progression, and of its several intervals; the varied practical exercises on which are, in the language of vocal science, called Solfaing and Solmization. Let him studiously imitate this exemplification, and commit what he hears to memory. Let him not, if destitute of what is called a 'musical ear,' think he can not learn that which he now considers as a part of music. In communities where the cultivation of this art is the fashion, these things are all learned by thousands, who, with their natural ear, would never have caught up even a fragment of the commonest tune. And I am sure there is no one into whose hands this book will ever fall, who can possibly avoid perceiving the several differences of meaning or expression, when he is addressed in the language of narrative, of surprise, complaint, authority, or interrogation. Now these various expressive effects are perceptible to him, and accurately so, only because they are concrete or discrete movements of the voice through different intervals of the scale. His ear therefore really recognizes these slides and divisions in speech. I have here only given to his understanding and his tongue, their musical method and names.

When an instructor can not be met with, the use of a well tuned Piano-Forte may assist the perception of those who have no acquaintance with the scale. On the key-board of this instrument there is a front row of white keys, as they are called, and a rear row of black ones: an illustration of the forms and positions of which is given in the following diagram; where a

portion of the Great Scale or Compass of the instrument is shown; and the white keys numbered in repeated septenary series; and in continuation as far as twenty-one.

2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21

Now certain series of the white keys,-of which there are three in the diagram, the first beginning on its extreme left,― when struck successively ascending towards the right, give the seven discrete rising sounds of the diatonic scale. The black keys, whose effect in modifying this scale will be noticed presently, are set between the white ones, for the purpose of dividing the whole tones into semitones. Hence we see that the black keys are wanting at the semitonic intervals of the scale, where, of course, their design can not apply. This omission visibly separates the black keys alternately into pairs and triplets.

With the foregoing explanation, the reader can have no difficulty in finding a diatonic series on the white keys of a Piano-Forte, since the key-note or beginning of the series always lies next below the pair of black keys. Let him then, on that series which suits the pitch of his speaking voice, severally utter the vowels, and some of their syllabic combinations, in unison with the instrumental sounds, both in their diatonic order, and with the wider transitions of the other intervals of the scale, till the whole is familiar to his ear, and at the call of his memory. It is true the Piano-Forte can show him only the discrete movements of pitch; but when these are under his command, the concrete, which are perhaps the most important in speech, can readily be measured by them. But to return to our definitions,

The sound produced at any of the places of the discrete scale, is called a Note. This term note, which signifies the continuation of sound on one unvarying line of pitch, is to be carefully