408 PICURIS CHILDREN'S STORIES Ieth. ann.43 



the first section of C as an entity, although the chances are that 

 the o3mposer was impressed with the beauty of this particular strain 

 to the extent of reiterating it in another connection. The rhythmic 

 developments in D are interesting, the cumulative effect of the three 

 statements of the small rhythm of two eighths and a quarter note 

 ending in the fourth measure by doublmg the length of the quarter 

 and adding two more half notes as emphasis of finality. The other 

 renditions of No. 3, Nos. 18 and 19 (pp. 43.5, 436), are like it in plan, 

 as would be expected, but in minor points the usual differences occur. 

 A perusal of the tabular analysis No. 3 and the songs themselves will 

 make these clear. One remarkable consistency in all three renditions, 

 considering other melodic shifts and especially the minor tonality of 

 the song, is the play between the major and minor third. The first 

 measure in all B phrases contains et] or e# as against eb or et] every- 

 where else. 



The structure of Song No. 4 (p. 343) is almost identical with that 

 of No. 3. In fact it is the same melody used for another song in the 

 story. Its second C phrase is not quite as curtailed as that in No. 3, 

 only two beats of rest having been omitted. The latter part of the 

 D phrase is different melodically and rhythmically from the D of 

 No. 3, probably on account of the words. The other rendition of 

 this song, No. 20 (p. 437), is more nearly identical with No. 4 than has 

 been the case with the additional renditions of the three songs 

 already discussed, as a comparison of it with No. 4 and of their 

 tabular analyses will show. 



Tabular Analysis No. 4 



Song No. 5 (p. 353) differs from the previous songs in many particu- 

 lars. Its structural plan is binary rather than ternary; the A and B 

 phrases form one complementary pair, the C and C phrases another, 

 and all four are repeated with only veiy minor variations. How- 

 ever, a trace of the three-phrase idea exists in that there are really 

 only three distinct phrases, the last of which is reiterated in part to 

 form a fourth. The phrases do not seem to subdivide clearly into 

 sections and so I have made no attempt to designate any. Another 

 new feature brought out in this song is the extension at the end of 

 the C phi-ases, marked with a bracket above the two measures which 



