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SECTION VII.

OF CADENCE.

IN treating of the Melodies of the Voice, it was remarked, that the falling tritone, when it occurs at the close of a sentence, constitutes the Cadence, and is called the Triad of the Cadence; though we may now remark, that except in a single case the fall is confined wholly to the last two constituents. This suggests the peculiarity which characterizes the close of sentences, indicating to the ear that the sense is finished; which is, a fall from the radical point of the syllable which precedes the Cadence through three tones, and terminating with a downward vanish. This is all that is essential to the full Cadence. The only practical questions which here arise for discussion are,-Where should the Cadence be given? has it different forms? and if so, what are they? and by what principle is a preference given to the one or the other, in practice?

The Cadence always accompanies the period or full close, except when overruled by the emphasis of the rising intervals or of the inverted waves; and often accompanies the Exclamation, the Indirect question, and the shorter rests usually marked by the dash, the colon, or even the semicolon.

The form of the Cadence varies with the structure of the sentence, and with the sentiment; and particularly with the quantity of the syllables of which it is constituted, and the degree of emphasis given to them. The Cadence may consist of three constituents, but more frequently has but two, or only one. For the sake of distinction, these are called the Triad, the Duad, and the Monad forms; and under these divisions, are found variations, which, though they

possess different degrees of perfection, yet add much to the harmony and variety of spoken language.—The following schedule, it is believed, presents even to the eye all the different forms of the Cadence authorized by the best and it will be found most convenient, in general, to refer to them as first, second, third, fourth, &c., in the order in which they are here enumerated. In the following diagrams, the bar separates from the rest of the line the constituents which form the Cadence.

I. THE TRIAD.

1. The first form, or falling triad, has three constituents, with each the downward vanish. This produces the most perfect repose of the voice, next to the Prepared Cadence.

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NOTE. When three or even four of the last syllables of a period are unaccented, this fall, which commences with the accented syllable, may be extended to all that follow it; as, Thus did Job con-tin-u-al-ly. We soon lost our confidence in his dis-in-ter-ested-ness.

II. THE DUAD FORMS.

2. In this form of the Cadence, the first tone is passed over by a discrete downward movement; and each of the two constituents takes the downward vanish.

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3. The third form differs from the second, only in

giving the first constituent the rising vanish instead of the falling.

The spirit can not always sleep in dust.

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4. The fourth form appropriates a concrete fall of two tones to the first constituent; and terminates by a downward vanish on the second.

Me-thought I heard Ho - ra- tio say to

mor-row.

III. THE MONAD FORMS.

5. This form passes over the first tone discretely, and appropriates the fall through the last two tones to a single syllable.

Descent and fall to us is ad · verse.

6. This form of the Monad cadence appropriates the entire concrete fall to a single long syllable.

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7. The seventh form of the cadence passes over the first two tones of the fall by a discrete skip; and is called the False Cadence.

Of wiles more un- ex ·

pert, I boast

not.

The first three forms are the only ones adapted to syllables of short quantity, though they may be employed on others. The choice between these forms depends in part on the sentiment-whether it inclines to the rising or the falling movements; but more frequently on the place of the accent. The fourth form requires the penultimate to be long; and the fifth and sixth require long quantity in the final syllable. The seventh or false cadence is never given but when the last two syllables are so short as neither of them to admit of being prolonged through two tones; nor then, unless, through the unskillfulness of the reader, the penultimate syllable has been prevented from dropping into its natural position, as presented in the third form.

The Prepared Cadence, which for the sake of uniformity may be designated the eighth form, is that which in good delivery is often heard at the close of a subject-whether of a paragraph, of a chapter, or a volume; and it is undoubtedly important, that such a close should be marked by some peculiar inflection which is readily cognizable by the ear. This is effected by a discrete fall of a third on some syllable preceding the close, and near enough to it to be naturally connected with it, by its effect upon the ear. This form of cadence is illustrated by the following notation:Hope for

a sea son bade the world fare well;

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So also the following example:

Let this be

done, and Greece is safe.

The effect of this form of cadence, in producing a perfect close, may also be perceived in the following periods. Let the discrete fall occur on the syllables in Italics.

1. So parted they; the angel up to heaven

From the thick shade, and Ad-am to his bower.

2. Strip him of his plu-mage, and you fix him to the earth.

3. It is my living sentiment, and, by the blessing of God, it shall be my dying sentiment-independence now, and independence for

ever.

4. I have watched the fall of the last leaves in Underwalden; I shall return to see them put forth once more, but when they fall a-gain, they will cover the grave of HERMANN.

5. If there be a tribunal, where the sins and the follies of a froward child may hope for pardon and forgiveness this side heaven, that tribunal is the heart of a fond and devoted mother.

6. The vestal flame of piety, lighted up by heaven in the breast of woman, diffuses its light and warmth over the world;— and dark would be the world if it should ever be extinguished and lost.

The only new element in this Prepared Cadence is the discrete fall of a third before described; and this may be united with any of the first six forms of cadence enumerated in this section, and thus may be used at the close of every paragraph.-It is also useful in giving notice of the close of a succession of particulars, as in the following examples :

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