(2) Quantity. Quantity is the length of time given to the utterance of sounds, words and syllables. It is especially adapted to the vocal utterance of the different shades of feel ing or emotion and belongs to the emotive division. It naturally divides into (a) long quantity which expresses sorrow, pathos, rev erence, sublimity, apostrophe, command, calling, etc.; (b) medium quantity which is ordinarily used to express narrative, descriptive and di dactic thought and all unemphatic words of unemotive language; and (c) short quantity which is the shortest prolongation of sound consistent with the requirements of articulation and is expressive of joy, laughter, impatience, contempt, fright, excited anticipation, etc.
The use of the various lengths of quantity depends upon the length of the inherent pho netic sounds composing the words. Long quan tity, especially, should. never be placed on a short sound.
(3) Movement. This is the rate or degree of rapidity with which a series of sounds or words or a sentence is given. Since the vari ous degrees of movement are but an expres sion of the physical activities of speech this element belongs to the vital division of man's triune nature. Its degrees are slow, moderate and rapid, and are dependent upon the indi viduality of the speaker and the acoustic con ditions. Very naturally the inner or'reflective life requires a slow utterance, while the im pulsive, lively, joyous moods find their expres s:on in rapid movement, and the ordinary states of mind require the moderate degrees.
IV. Pitch. Pitch is the range or compass of voice and relates to the location, variation and succession of notes upon the scale of de grees. It has three specific divisions which may be subdivided to suit greater varieties of shad ing in expression. Broadly speaking, it is men tal in significance and belongs to that triune division.
(1) Degree. The degree of pitch is the range of voice from the lowest to the highest tone, and the position in that range given to a particular note or word. Its subdivisions are high, middle and low, which may be further subdivided; and like all other scales of degrees in elocution depends upon individuality and acoustic conditions. The degrees of pitch mark plainly the speaker's emotive state, and the scale ranges from the deeply serious of rever ential emotions of low pitch, through the ordi nary thought of middle to the cry of excite ment, joy, alarm or defiance of high pitch.
(2) Change. Change is the transition from one degree of pitch to another and is accom plished by a concrete glide or a discrete step.
By changes of pitch we convey the various shading of meaning in expression and thus represent the mental nature. There are three varieties of change or transition which corre spond to the triune classification.
a. Inflection. Which corresponds to the mental nature is a simple concrete change of pitch of which there are two varieties, rising, expressing anticipation or questioning, and fall ing, which denotes decision and conclusion.
b. Waves. Waves are emotive and consist of two or more inflections united in a con tinuous concrete movement. They may be single, composed of two inflections; double, composed of three; or continued, made up of four or more inflections, all of which are used to extend the vocal quantity without overstep ping the interval of pitch that the sentiment requires; and they represent the vital nature. Waves are also equal, expressing pleasantry; or unequal, implying irony; both of which repre sent the emotive; and direct, expressing asser tion, and inverted, indicating anticipation, both of which are representative of the mental nature.
c. Intervals. An interval is the distance betvieeti .two,poiats.on the, sc.* and length of the vocal slide or step taken. 'As a measure of the physical act of vocalization it belongs to the vital division. The five relative intervals of pitch are: Semitones, expressing plaintiveness or sorrow; seconds, reverence and sublimity; thirds, ordinary conversation and oratorical thought; fifths, animated conversa tion and triumph; and octaves representing extreme surprise, horror or impassioned exclamation.
(3) Melody. Melody is the succession of speech-notes in utterance and represents the vital nature in the vocal placing of all degrees and changes of pitch upon the scale. There are two divisions.
a. Current melody relates to the body of the sentence and is made up of monotones, ditones, intones and polytones, all of which show the vital notation of intervals and notes and record the vocal trend in speech or song.
b. The cadence, which is that part of melody :Which gives repose at the close of a sentence when the thought is complete. Its technical varieties are (a) the monad, in which the lowering of pitch occurs on one syllable; (b) the first and second floods, on two syllables; (c) the rising and falling triads, on three syl lables; (d) the tetrad, on four; and (e) the pentad, on five syllables.
The distance over which the line of repose is reached is dependent upon the range of the current melody.