=Sentential Pitch= in its various modes is descriptive of the general position in the scale taken by the tones of the voice in uttering a sentence or passage. It may be spoken of as _medium_, _high_, and _low_. =Medium Pitch= should correspond with the _normal pitch of discourse_ previously described. It is natural to the expression of all unimpassioned thought, and also of all emotions, except the livelier, and the deeper and more intense. =High Pitch= and =Low Pitch= are only relative terms. They do not represent fixed and definite modes of utterance; and all that can be said is, that for the interpretation of what may be called the lighter feelings and emotions, such as cheerfulness, joy, exultation, interest, and so on, also for the expression of raillery, facetiousness, humorous conversation, laughter, and the like, sentential pitch of a degree somewhat higher than normal pitch is appropriate; and, on the other hand, for the interpretation of what may be called the graver and deeper feelings, such as awe, reverence, humility, grief, and melancholy, and the more impassioned emotions, as disgust, loathing, horror, rage, despair, as well as for the expression of all very serious and impressive thought, sentential pitch of a degree somewhat lower than normal pitch is appropriate. The degree of elevation and depression must be determined by the judgment and good taste of the reader; but it must be borne in mind that this degree may vary from passage to passage, and from sentence to sentence, and even from phrase to phrase. In every style of diction, no matter how unimpassioned it may be, there will be frequent changes in the train of thought, and frequent changes in the intensity of feeling; to represent these changes there should be corresponding variations, or =transitions in sentential pitch=. These transitions also serve another purpose, namely, to indicate an interpolated or parenthetical idea. In making transitions the voice follows the general law of all vocal interpretation; strong contrasts in thought and feeling are marked by transitions of wide intervals, and lesser contrasts by lesser intervals.