The first volume of Evolution of Expression deals with each composition as a whole in its various aspects. The second volume deals with the Parts of the composition considered as wholes. When the mind in its development in expression is able to deal definitely with each separate part of the discourse by itself, it is revealed by slides in the voice, each new and distinct thought causes the voice to give a new and distinctive slide. I am using the word “Slide” in the same sense in which the word “inflection” is often used.
Slide is the continuation of the voice from one pitch to another. An ascending slide is one in which the voice is continued from a lower to a higher pitch. A downward or falling slide is one in which the voice is continued from a certain pitch to a lower one. The rising circumflex is one in which the voice starts on a certain pitch, continues to a lower, and then rises to a higher. In the falling circumflex the voice starts on a certain pitch, rises to a higher one, and then falls to a lower without ceasing.
The physiological condition of the vocal organs which produces Slide is determined entirely by the tension of the vocal cords. With the same degree of tension and power of stroke, a long string vibrates more slowly than a short one.
If the vocal cords are sound and healthy we are perfectly unconscious of their existence. We cannot teach the vocal cords how much to contract or lengthen when giving a certain pitch. We are compelled to leave it to the mind not only to hear the pitch, but to impel the proper contraction of the vocal cords in its production.
If the mind can control unconsciously the contraction of the muscles of the larynx, it can as easily control the tongue, the size of the throat, the pectoral muscles, and, in short, all the muscles that influence the voice.
VITAL SLIDE.
When the mind has separated one thought distinctly from the other main thoughts of the subject, and has become intensely attracted to it with a special desire to communicate it as distinct from the others to the minds of the hearers, all the muscles will act in a way to produce Vital Slide.
This principle of Vital Slide may be illustrated by “The Forging of the Anchor.” When the mind becomes aroused with this selection there is in the quality of the voice something of the spirit of the fife, the drum, and the military movement.
Swing in your strokes in order; let hand and foot keep time;