

404 PICURIS CHILDREN'S STORIES [etii. ann. 43 



same, the C's being longest, the B's shortest. Not all C's are the 

 same length, nor all A's or B's even in the course of Song 1, while in 

 its other renditions, Nos. 12, 13, 14 (pp. 426-428), further minor dis- 

 crepancies are seen. In the succession of different measure lengths 

 no recurring pattern is discernible apart from that which develops as 

 thef result of repeating the entire ABC structure, for the order of 

 succession of two-four measures changes only in the second section of 

 each C phi-ase, to 3, 2, 3. The only evidence of play with a rhythmic 

 pattern, apart from its setting with identical melody and words which 

 are repeated, occurs in the b sections, where the rhythmic pattern of 

 the X section is duplicated almost exactly. 



The a and a' sections of the A phrase are almost identical, rhyth- 

 mically as well as melodically. Designating the rhythmic structure 

 of the sections by number, the design of the song in rhythmic pat- 

 terns might be written in a formula of 1, 1', 2, 2', 3, 2, 4, correspond- 

 ing, respectively, to sections a, a', x b y, b, z. It does not seem entirely 

 justifiable to consider as patterns rhythmic groups the limits of which 

 do not coincide with the natural melodic and word divisions, or else 

 it might be argued that the last measure of a' together with themeas- 

 m-es of X, wluch have a rhythmic structure identical with y, form a 

 pattern. But it can hardly be likely that the A plu'ase divides prop- 

 erly into two equal sections of three measures each rather than three 

 sections of two measm-es each, for both words and melody are against 

 such an assumption. Thus the identity of rhythm with that of 

 section y seems rather fortuitous than otherwise in this case, especially 

 as it happens to coincide with a repetition of the same words and 

 much of the same melody. 



As to scale, it seems better to take up the question of scales or 

 tonal content for all the songs together, so that temporarily this 

 discussion will be omitted. 



An examination of the three additional renditions of No. 1, Nos. 12, 

 13, and 14 (j)p. 426-428), and the tables of their structure in tabular 

 analysis No. 1, shows that in general they adhere to the same plan 

 of structure but that minor differences exist throughout, from the 

 number of phrases repeated down to differences in tonal content and 

 rhythm. One interesting melodic shift in No. 12 is the use of the 

 subdominant and mediant in place of the dominant and subdominant 

 in the first measure of the C phrases, and in Nos. 13 and 14 the 

 augmented fourth and major third, which alters considerably the 

 "feeling" of the melody, although in the main its curves are retained. 

 A comparison of the four songs will reveal these and other points of 

 difference better than a discussion. 



