KOBERTSl 



ANALYSIS OF SONGS 



407 



referring to tabular analysis No. 3 that roughly speaking the largest 

 structural plan of Song No. 3 is like those of 1 and 2 in that each has 

 three major parts composed of phrases, the first two parts in each 

 song being almost alike except in minor details but the third being 

 curtailed or different. 



Tabular Analysis No. 3 



Other renditions of Song No. 3 — Con. 



Other renditions of Song No. 3: 

 6. (Song No. 18)— 



A a X y 12 (4) 



B b z 8 



C bz c 10 



In No. 3, D takes the place of A C of No. 1 and the undoubled ABC 

 (III) of No. 2, but with this difference, that D overlaps the second C, 

 causing it to be curtailed. In some respects the section structure of 

 No. 3 resembles that of No. 1. A has three sections of two measures 

 each, B two of two measures each, and C two of two and a half 

 measures each, totaling seven sections for the three phrases. Another 

 similarity is that in the first section of C in No. 3 there is a recapitu- 

 lation of melodic material which occurred in B, just as there was in 

 Song No. 2. 



No metric variation forming a design is apparent, for this is one 

 of the comparatively rare songs in which the time is almost regu- 

 larly two-four throughout. The exceptions are the second measure 

 of the second C phrase which becomes three-four to accommodate 

 the extra beat left alone by the introduction of D in the place where 

 the last half of the measure would normally appear, and the third 

 measure from the end in D. 



Syncopation is a noteworthy feature of several measures and the 

 rhythm of an eighth note, a cjuarter note and an eighth might be 

 said to constitute a small pattern if it did not divide word groups or 

 words themselves. The rhythms of the two measures in the a sections 

 are almost identical repetitions. In view of a similar peculiarity in 

 No. 1, it is interesting to observe in the first section of C an exact 

 melodic and rhythmic repetition of the last three measures of B with 

 different words. Yet considering that in B the rhythmic group 

 referred to begins in the middle of a word phrase, it hardly seems 

 justifiable to separate it as a rhythmic pattern and compare it with 



