Each musical sound then is of some pitch, of some loudness, of some quality, and of some duration. And music is composed of an assemblage of such sounds. Thus a succession of single musical sounds duly ordered in respect of their pitchdistinctions, forms Melody or Song. Two or more musical sounds differing by proper intervals of pitch heard at the same time, form a Chord; and a proper succession of chords forms a Harmony. The sounds of a melody, chord, and harmony, may individually be of a greater or less degree of loudness, which degree may be uniform throughout its duration, or it may increase or diminish its loudness in the various forms of swell. And the sounds may each successively become louder or fainter. The sounds of a melody, chord, and harmony, may be harsh, or smooth, or reedy, or silvery. They may be produced by flutes, violins, voices, &c. In the human voice of song the terms Natural, Pure tone, and Falsetto, are employed to designate three species, of which there are many varieties described in the vocal school. The sounds of a melody, chord, and harmony, may be of a greater or less duration The musical system of duration is one of proportion, continually as 2 to 1-thus two minims are

equal in duration to one semibreve-two crotchets

are equal to one minim-two quavers to one crotchet, and so on. But there is an expedient of producing another ratio, viz. that of 3 to 1; as when a note is dotted. Thus a dotted semibreve is equal in duration to three minims-a dotted minim is equal to three crotchets a dotted crotchet is equal to three quavers.

In order to preserve the proportionate duration of the successive sounds, every piece of music is divided into equal portions of time, called Measures, which are shewn by perpendicular lines drawn through the staff, called bars. And according to the duration-value of the measure the time of the music is named-thus when the multiple is 2 the time is Common, when the multiple is 3 the time is Triple. And these times have varieties according as a semibreve, a minim, a crotchet, or a quaver, is the integer.

In a succession of musical sounds, as in an air, some are accented while others remain without an accent. The term accent does not mean greater loudness, but it is a certain stress which periodically returns and marks the measure of the music, to the ear even of those who are unacquainted with mu

sical science. To indicate the sounds which are to be accented the composer adjusts the bars. Thus he places a bar immediately before the strong part of the movement, so that the bars serve a double purpose, they divide the music into equal measures, and they indicate the accented notes. And the measure and the accent together constitute musical rhythmus. This twofold purpose which the bars serve, occasions most music to begin and end with imperfect measures the former with the unaccented, and the latter with the accented parts.

This outline of the elements and rhythmus of music will probably lead to the perception of similar elements and rhythmus in the music of reading and speaking. Thus the varieties of what we hear in the speech-voice, like that of song, are classed under the general terms Pitch, Loudness, Quality, and Duration.

PITCH. The distinctions under this term are similar though much greater than those of song. The octave and its intervals still exist, and a speech-note may be placed on each of its degrees, as in song. The additional pitch-distinctions entirely arise from the peculiar structure of the speech-note. A song-note

is of one uniform pitch throughout its duration; while a speech-note continually changes its pitch throughout its duration, by sliding from one degree of the scale to another. It may slide through only the interval of a Semitone, or a Tone. Thus the Diatonic scale may be voiced by successive slides through its intervals. And the Chromatic scale may be similarly voiced. Now, besides these tonic and semitonic intervals, the voice may slide through the wider intervals of the diatonic scale, and thus produce in one slide a 3d, 4th, 5th, 6th, 7th, or 8vo.

The Music of speech is composed of an assemblage of slides, chiefly those of a second or tone. Thus a succession of single speech sounds, duly ordered in respect of their pitch distinctions, forms a speech Melody. Two or more speech sounds differing by proper intervals of pitch, and heard at the same time, forms a speech Chord. And a proper succession of such chords forms a speech Harmony.

Speech is chiefly employed as a solo; but it is also employed as a chorus, as in the responses, and other parts of the Church service. And these are occasions for the employment of speech harmonies,

In the infancy of musical science, the chorus consisted only of an increased number of voices, all singing in unison. The science of speech is yet in its infancy; the speech chorus is but an increased number of unisons; and why should not speech like song chorus be enriched by counterpoint to produce a full harmony? It appears to me that a great advantage would arise from the employment of proper harmonies where two or more persons speak together. In another work I shall probably attempt to develope the principles of Speech Harmony*.

* The drama offers many occasions for the employment of speech harmonies. Take Macbeth. In the incantation scene the witches malignantly exclaim in chorus,

"Double, double toil and trouble;

Fire burn; and caldron, bubble."

And they bring up the shades of Banquo's issue by commanding in chorus,

"Show his eyes, and grieve his heart;

Come like shadows, so depart.'

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In the infancy of art the public is easily satisfied, but as art matures, much more is expected. The increased mass of sound in song chorus was formerly made by unisons, the public ear now demands harmonies. And I foresee that as the art of speaking matures, a similar demand will be made of the speech chorus. Counterpoint will begin a new era ; and will of course meet with that opposition which the idle and prejudiced offer to novelty, besides the misrepresentation which it is the fate of every thing new to suffer.