c. In adoration and worship the seriousness of the mind necessitates an unvaried melody, while its joyousness necessitates variety; hence we have concrete tones, successively starting at about the same pitch, but sliding slowly a long distance up and down the scale. Praise ye the Lord. Praise ye the Lord from the heavens; praise him in the heights. Praise ye him, all his angels praise ye him, all his hosts. Praise ye him, sùn and moon praise him, all ye stars of light. Praise him, ye heavens of heavens, and ye waters that be above the heavens. Let them praise the name of the Lord: for he commanded, and they were created. He hath also stablished them for ever and ever: he hath made a decree which shall not pass. Praise the Lord from the earth, ye dragons, and all deeps: fire and hail, snow and vapors; stormy wind fulfilling his word: mountains, and all hills; fruitful trees, and all cedars; beasts, and all cattle; creeping things, and flying fowl; kings of the earth, and all people; princes, and all judges of the earth; both young men, and maidens; old men, and children; let them praise the name of the Lord: for his name alone is excellent; his glory is above the earth and heaven. Praise ye the Lord. Praise God in his sanctuary: praise him in the firmament of his power. Praise him for his mighty acts: praise him according to his excellent greatness. Praise him with the sound of the trumpet; praise him with the psaltery and harp. Praise him with the timbrel and dance: praise him with stringed instruments and organs. Praise him upon the loud cymbals: praise him upon the high-sounding cymbals. Let everything that hath breath praise the Lord. Praise ye the Lord. (See, also, § 102: 3, 4, 5.) d. In contrition and penitence these concrete tones become semitonic. Have mercy upon me, O God, according to thy lovingkindness: according to the multitude of thy tender mercies, blot out my transgressions! Wash me thoroughly from mine iniquity, and cleanse me from my sin. For I acknowledge my transgressions, and my sin is ever before me. Against thee,—thee only,—have I sinned, and done this evil in thy sight. Hide thy face from my sins, and blot out all mine iniquities! e. In horror and despair, the low, concrete tones are uttered with the least possible suggestion of variety (see § 94: 3, 4). The last three (c, d, and e) are given with the monotone. 93. The Monotone is caused by a repetition, more frequent than in other cases, partly of the same key at the beginning of emphatic or unemphatic concrete slides and partly of the same sort of a median stress (§ 102) on all syllables whose quantity can be prolonged. These kinds of repetitions suggest monotony. But the voice really moves up and down the scale sufficiently to answer all the requirements of variety. Moreover, the median stress (§ 102) that may make prominent either the beginning, middle or end of a concrete tone, may cause this tone to appear to differ in pitch from another that begins on the same key, or to agree in pitch with another that begins on a different key. These facts combine to allow of sufficient modulation to rescue the monotone from real monotony (see, also, § 80). 94. The Monotone is used in almost all cases in which, as already described, the general pitch is low, tending to very low, and the special pitch unvaried; i. e. to express that which oppresses the mind with a sense of weight, grandeur, power, majesty, splendor or sublimity, inspiring reverence, solemnity, awe, amazement, terror or horror. a. In such cases, whenever we speak naturally, the presence of something to subdue the free exuberance of feeling prevents variety of tone. At the same time, as this presence is conceived of as external, rather than internal,-caused by grandeur without, rather than by weakness within,--it does not always, though it may sometimes, necessitate the wailing or plaintive effects of semitonic melody. Read 92: c, d; also the following, with a monotone, in slow time, low pitch, smooth, sustained, effusive or expulsive force (§§ 106-120), orotund quality (§ 134), long quantity and predominating median stress (§ 102). 1. Be mèrciful unto me, O God, be mèrciful unto me: for my soul trùsteth in thee: yéa, in the shadow of thỳ wings will I make my rèfuge. Partially semitonic. 2. And the heaven departed as a scroll when it is rolled together; and every mountain and island were moved out of their places. And the kings of the earth, and the great men, and the rich men, and the chief captains, and the mighty men, and every bond-man, and every free-man, hid themselves in the dens and in the rocks of the mountains; and said to the mountains and rocks, "Fall on us and hide us from the face of him that sitteth on the throne, and from the wrath of the Lamb: for the great day of his wrath is come; and who shall be able to stand?" (See § 220.) Idem, but at medium pitch. 3. I had a dream, which was not all a dream. The bright sun was extinguished, and the stars Swung blind and blackening in the moonless air; Were chill'd into a selfish prayer for light. Idem, but at very low pitch, with aspirated pectoral quality (§ 129) and tremulous and thorough, as well as median, stress (§§ 105, 104, 102): 4. Methought I heard a voice cry, "Sleep no mòre. Still it cried, "Sleep no more!" to all the house. §§ 219, 220, 226, contain examples of monotone at medium pitch. Consult also the passages mentioned in § 80. 95. Poetry, especially rhyme, should be read with a monotone. In reading it thus avoid sliding the voice up perceptibly on an unemphatie rhyming syllable. Give this no more than the slide appropriate for an unemphatic concrete tone. Be careful, too, to slide the voice downward at least two tones, and so to give a full cadence whenever the sense of a clause is completed; e. g. Middle pitch, orotund quality, long quantity, predominating median stress, sustained effusive and expulsive force: I know that age to age succeeds, Blowing a noise of tongues and deeds, I cannot hide that some have striven, Who, rowing hard against the stream, Where the lamps quiver From window and casement, Forty flags with their silver stars, Flapped in the morning wind: the sun Bravest of all in Fréderick town, She took up the flag the men hauled down; In her attic window the staff she sèt, Semitonic. Flash'd all their sabres bare, Charging an army, while All the world wonder'd: Plunged in the battery-smoke, Cossack and Russian Reel'd from the sabre-stroke. O the famine and the fèver! All the earth was sick and famished; Like the eyes of wolves glared at them! Read also, on the different keys and with the different quality marked for each, §§ 222-225. KEY. 96. Light, gay, lively or uncontrolled states of mind find expression in a key comparatively high; serious, grave, dignified or self-determined states in a key comparatively low. (§§ 32, 140-145.) For illustrations of this principle see §§ 143, 144, 145–153. Practice the exercises in § 13. Special attention needs to be given to the difficult matter of transitions in pitch, treated in §§ 147-151, which see. 97. A common fault is to invariably fly to high pitch, as well as to rapid time, when passing to a very emphatic or forcible word, even when this expresses an idea relatively more serious, grave, dignified or self-determined. a. The downward inflections in words like those in italics in the following examples should be started slightly, if at all, higher (and sometimes lower) than the general pitch; and in all cases the voice should pause before or after them, and utter them slowly. The longer the pause, the higher and louder will it be proper to utter the word following it. I saw The corse, the mangled corse, | and then I cried For vengeance! | Rouse, ye Romans! | Rôuse, || ye slàves! | Have ye brave sons? Look in the next fierce brawl To see them die. || I'm with you once again!—I call to you With all my voice I hold my hands to you, free. | I| rùsh | to you To show they still are |