ROBKRTSl 



ANALYSIS OF SONGS 



409 



constitute it. This extension brings the total length of C up to 



24 beats, making it considerably longer than the other phrases. 



Although triplet effects in rhythms have not been lacking in previous 



songs, and three-four meters have crept in here and there, this is 



the first example of predominating three-part time. In fact, but 



for one measure near the end, the meter is regularly three-eight. A 



well-defined rhythmic group characterizes both A and B phrases and 



may be the result of a repetition of words, for the melody of B is 



different from that of A, though related to it, being a partial sequence 



of it. This rhythmic pattern does not occur elsewhere. The rhythmic 



scheme of C is not repeated except as C comes in a second time. 



The second rendition of the song. No. 21 (p. 438), follows No. .5 



fairly well in some of the larger features, and surprisingly closely in 



some of the smaller, as, for instance, in the rhythm of the second 



measure of the C phrases. The similarities and differences will be 



apparent on comparing the two songs and glancing at tabular analysis 



No. 5. 



Tabular Analysis No. 5 



In Song No. 6 (p. 367) a form vers* like that of Nos. 1 and 3 appears, 

 except that after the three jihrases are repeated once the song ends 

 without the coda effect which a partial repetition of the three phrases 

 achieved in the other two examples. In the matter of sections all 

 three songs are alike, the A phrase having three, the B's and C's two 

 each, totaling seven for the group. In this case I have numbered the 

 sections rather than designated them by letters, since each seems to 

 borrow melodic or rhythmic ideas from others so that they lack the 

 distinctive character which lettering might imply. 



The underlying ternary principle in the phrase structure of the 

 song and the section structure of the A phrases is carried still further 

 in the first section of A, which contains three measures, all in three- 

 eight time. The second section covers a little less than two meas- 

 ures, the last of which is in four-eight time. The third section is a 

 little over four measures long. Perhaps here a compensatory in- 

 fluence is at work, the extra measure in the third section making up 

 for the short second section. The first section of B, numbered 4, 

 copies the first section of A exactly in rhythm, and this may be said to 

 constitute one of the rhythmic patterns of the song, but its melodic 

 19078°— 28 27 



