A group of two or three syllabic concretes is called a =phrase of melody=; and as phrases vary with respect to pitch, in the order of succession of the radicals of their constituent syllables, they receive different names: such as the _monotone_, in which the radicals are all on the same pitch; and the _ditone_ and the _tritone_, groups of two tones and three tones respectively, with radicals of different pitch; and, again, the concretes in these phrases may have upward or downward intonations: but fixed rules cannot be laid down for their use. The reader must bear in mind, however, that it is upon the tasteful use of phrases and cadences, that is, upon the tasteful employment of variation in radical pitch, that the melody of uttered language depends; and that if it be devoid of this melody, it is both wearisome and unimpressive to the hearer. The intonations of the voice must necessarily be through either rising intervals or falling intervals, and there is a generic difference in the meaning of these. =The rising interval= is heard naturally at the end of a direct question; that is, one to which "_yes_" or "_no_" is an expected answer, as "_Are you going home?_" The suspensive tone which the voice assumes at the end of the interrogation is indicative of incompleteness of thought; and _indication of incompleteness is the characteristic function of all rising intervals_. =The falling interval= is heard naturally at the close of a complete statement, as "_I am here_"; and hence, _words indicating completeness, positiveness, resolution, are appropriately uttered with downward intervals_. In effecting a downward intonation the voice operates in one of two ways: either the _weaker mode_, in which it descends from a radical pitch at or near the current tone to a lower pitch; or the _stronger mode_, in which it assumes discretely a radical pitch as much _above_ the current tone as the emphasis requires, and descends concretely either to the current tone or below it. As every sentence is more or less incomplete until the end is reached, _rising intervals are the rule in intonation, and falling intervals the exception_, and it is this infrequency of use which gives to the falling movement its value as a mode of emphasis. But where the emphasis is that of doubt, uncertainty, surprise, or interrogation, the suspensiveness of these emotional states is appropriately expressed by rising intonations; and hence, too, in all sentences in which the interrogative element is strongly present, the rising interval should characterize every syllable in it, and the sentences be uttered with interrogative intonations throughout. If in any such sentence, a particular word is to be especially emphasized, this is effected by giving to the word a low radical pitch and retaining the rising interval indicative of interrogation.