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is moved upon the pendulum, the
slower are its vibrations; and the
contrary. When the weight cor-
responds to the number 50, the vi-
brations of the pendulum are the
slowest; when it corresponds to
160, they are the quickest.
the numbers on the instrument
have reference to a minute of time.
Thus, when the weight is placed
at 50, fifty beats, or ticks, occur
in a minte; when at 60, sixty beats
in a minute; when at 100, one
hundred beats in a minute, &c.

Drag. 17

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The engraving in the margin represents the instrument in action.

In reading, as a general rule, the time should be marked on the metronome by whole measures - in other words, each measure should correspond to one tick of the instrument.

In music, it is most convenient to mark the time on the metronome in adagios, by quavers; in andantes, by crotchets; in allegros, by minims; and in prestos, by whole measures.

EXAMPLES OF THE SEVERAL MOVEMENTS.

In the following Examples, the words which indicate the movement and the corresponding numbers on the metronome, are both employed.

Adagio. Metronome 60-two beats in a measure.

O when shall day dawn on the night of the grave!

Largo. Metronome 56-one beat in a measure.

OI have pass'd a mis-er-a-ble night.

Larghetto. Metronome 66 -one beat in a measure.

♪♪ ♪♪♪ FIJI F FI

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NOTE.The figure 3 over the three quavers which compose the first measure, significs that they are to be pronounced in the time of two.

36

Allegro con spirito. Metronome 104 — one beat in a measure.

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PART II.

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GESTURE.

ESTURE is the various pos tures and motions employed in vocal delivery: as the postures and motions of the head, face, shoulders, trunk, arms, hands, fingers, lower limbs, and the feet.

Graceful and appropriate gesture renders vocal delivery far more pleasing and effective. Hence its cultivation is of primary importance to those who are ambitious of accomplishment in Elo

cution.

CHAPTER I.

POSTURES OF THE BODY.

THE postures of the body, with respect to vocal delivery, may be divided into favourable and unfavourable; and, the better to suit my purpose in giving their illustration, I shall first treat of the unfavourable.

The most unfavourable posture is the horizontal. If a reader or a speaker should lie prone, or supine, he would not be likely to deliver a discourse with energy and effect. I have never known an orator to deliver a discourse in the horizontal posture; but I have known individuals to speak in public in postures almost as inappropriate.

As impressions communicated through the medium of the eye, are the most lasting, two series of figures are

here introduced, the former of which are unfavourable, and the latter favourable, to vocal delivery.

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Absurd as are the unfavourable postures on page 70, I have known readers to adopt not only all these, but others equally inappropriate and ridiculous. This is too much the case, particularly in seminaries for young

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