As it is in a general sense only, that diction can be understood to be referrible to three classes, so also, in a general sense only, can it be understood that any particular sentence or passage has its appropriate vocal expression. All that is intended is simply this: an analysis of the sentence, or passage, or selection, gives to the careful student a certain conception of the quality and intensity of the feeling or passion that pervades it; this is to be interpreted, as well as may be, by the most appropriate vocal signs possible--the whole constituting the vocal expression suitable to the piece. In respect to its pervading emotion, the selection will have what is called a =drift=, or general tendency, towards one of those states described as characteristic of the diction of discourse, the diction of feeling, and the diction of passion, respectively; and it is the business of the reader to watch for this drift, which of course may vary from passage to passage, from sentence to sentence, and sometimes from word to word, and to interpret it as best he may. To indicate what modes of voice utterance are naturally most appropriate to the expression of these various emotional states and drifts, it will be best to take up, one by one, the different properties of the voice, and the several modes in which they are manifested, and to state briefly, and in general terms, the emotional state or drift of which it is an appropriate expression. (With respect to quality and abruptness this will be sufficiently done indirectly.) The student then must for himself, if he wishes to apply these results to the reading of any selected passage, first by analysis ascertain what are the emotional states which it involves, what are its prevailing drifts, then in respect to each property of the voice choose the suitable mode for the interpretation of these several states or drifts, conjoin the selected modes into appropriate vocal signs, and with these form the vocal expression that suitably interprets the whole passage. _The teacher, or the teacher and student together, should select from the_ READER, _or elsewhere, sentences or passages that fitly exemplify the different modes; these should be written upon a black-board, or in some other way preserved, and be referred to frequently for practice both in voice culture and in vocal interpretation._ I. PITCH. Pitch must be considered under three heads: first, as referring to the prevailing elevation of tone assumed by the voice in the reading of a whole sentence, passage, or selection, called _general_ or _sentential pitch_; second, as referring to the degree of elevation assumed by the voice in the utterance of the opening, or radical, of any syllable, called _initial_ or _radical pitch_; third, as referring to the tone-width of the intervals in the utterance of the syllable concrete.