ffecting a downward intonation the voice operates in one
of two ways: either the _weaker mode_, in which it descends from a
radical pitch at or near the current tone to a lower pitch; or the
_stronger mode_, in which it assumes discretely a radical pitch as much
_above_ the current tone as the emphasis requires, and descends
concretely either to the current tone or below it.

As every sentence is more or less incomplete until the end is reached,
_rising intervals are the rule in intonation, and falling intervals the
exception_, and it is this infrequency of use which gives to the falling
movement its value as a mode of emphasis. But where the emphasis is that
of doubt, uncertainty, surprise, or interrogation, the suspensiveness of
these emotional states is appropriately expressed by rising intonations;
and hence, too, in all sentences in which the interrogative element is
strongly present, the rising interval should characterize every syllable
in it, and the sentences be uttered with interrogative intonations
throughout. If in any such sentence, a particular word is to be
especially emphasized, this is effected by giving to the word a low
radical pitch and retaining the rising interval indicative of
interrogation.

=The width of the interval= depends, as is natural, upon the intensity
of the thought or emotion of which the concrete is intended to be an
expression. For example, suppose the statement, "=You= _are the
culprit_," be answered by the surprised and indignant interrogation,
"=I?=" The emphatic words here used may be appropriately uttered with
intervals of a tone, a third, a fifth, or an octave, according to the
emphasis supposed necessary.

=The Semitone=, as has been said before, is an interval sometimes heard
in language of distress, complaint, grief, sorrow, tenderness,
compassion, pity. Occasionally it is introduced in diatonic melody as an
appropriate emphatic mode of uttering a single word; as, for example,
"_Other friends have flown before; on the morrow_ HE _will leave me_."
At times diction may assume what may be called a _pathetic drift_, and
for the suitable interpretation of this drift semitonic intervals may be
used, and the mode of progression cease for a space to be diatonic and
become semitonic, or _chromatic_, as it is called.

=The Wave= is one of the most impressive of the elements of expression;
but its proper use demands great flexibility in the vocal organs and a
high degree of taste i