_Transitions in pitch are naturally accompanied by corresponding changes in force, rate of utterance, and phrasing_; and, like all other modes of expression, these receive their color from the intensity of thought and feeling of which they are the symbols. For example, in the rendering of a parenthetical clause (since, as a rule, the thought expressed in the parenthesis is of less gravity than the thought in the main sentence), the voice will manifest itself in lighter force and generally in quicker movement, that is, in lighter, less contrasting colors; but whether the pitch be raised or lowered depends upon the sentential pitch appropriate to the main sentence,--it should be in contrast with that. And it may be remarked in passing, that the reading of the parenthesis should end with a phrase melody similar to that appropriate to the words immediately before the parenthesis, so that the ear may naturally be carried back to the proper place in the main clause for the continuation of the expression of the principal thought. =Radical Pitch=, that is the pitch with which the opening of a syllable is uttered, is, in respect of appropriate employment, the most important element of reading or speaking; but all that can be done here, is to call attention to this, and leave the student to exercise his taste and judgment in regard to its use. The importance of appropriately varying radical pitch so as to impart melody to continued utterance will be seen at once if a simple sentence (for example, "_Tom and Jim sat on a log_") be read, first in that monotonous voice (that is, with unvarying radical pitch) so often heard in the labored reading of improperly taught young children, and then with those appropriate intonations heard in animated colloquy. When properly rendered, even if read with but little animation, each syllable, or concrete, passes through an interval of a second, and the several syllables are discretely uttered; but the _radical pitch varies from syllable to syllable_, forming a diatonic melody. _For the rendering of any given sentence in appropriate diatonic melody, positive direction as to the order of succession in respect of radical pitch cannot be given_; the same words may be uttered with equal appropriateness in many varieties of melody. The ignoring of this fact has led to the most absurd pretensions.