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PICURIS CHILDREN'S STORIES 



[ETH. ANN. 43 



content is also to be compared with that of A's first section, to wliich 

 it forms an ahnost perfect melodic sequence. Section 5 is the same 

 as 3, so that the B phrase is modeled rather closely on A's first and 

 last sections but lacks a central section. There is no metric pattern 

 discernible in the rather irregular order of measures of varying 

 length, and no other rhythmic patterns appear more than once except 

 by complete repetition of material. 



The other two renditions of the song, Nos. 22 and 23 (pp. 439, 

 440), contain the usual small differences which a moment's compar- 

 ison will show. In No. 22 the confusion of rf# with d'^ creates a play 

 between major and minor tonality which is rather obvious to our 

 ears. It may have been a quite unnoticed or unimportant shift 

 with the singer, however. Tabular analysis No. 6 shows that in 

 metric structure all three renditions are identical. 



Tabular Analysis No. 6 



Other renditions of No. 6 — Continued. 

 c. (Song No. 23)— 



Phrases Sections 



A 

 B 

 C 

 A 

 B 

 C 



Beats 

 27 

 21 

 18 

 27 

 21 

 18 



Song No. 7 (p. 367) presents a new ternary form, merely three 

 phrases long without repetition. In reality it has only two distinct 

 melodic phrases, the first of which is repeated before the second is 

 introduced. Each phrase consists of only one rather long section, 

 fundamentally three measures long, but the final measure of the B 

 or last phrase is extended one more measure, lending appropriate 

 weight to counterbalance somewhat the lack of a complementary 

 phrase. The movement of the song is rather slow, giving an impres- 

 sion of greater length to the phrases and sections than really exists 

 in number of beats. The prevailing time is also three part, but there 

 are several shifts to other meters. This song is one of the examples 

 mentioned early in this discussion where such sliifts, however effective, 

 nevertheless throw off rather noticeably the regular movement of 

 the piece. It is not possible to say whether the composer consciously 

 shortened the third measure of the A phrases to offset the extra 

 length of the second, but it looks suspiciously as if the feeling for 

 three-part meter had persisted despite a temporary displacement of 



