HOBEKTs) ANALYSIS OF SOXGS 411 



the primary accent. In the B phrase all the measures are three- 

 four, a fact which strengthens this assumption. 



The A phrase exhibits a rather well-defined rhythmic group, which 

 is repeated closely m the second A. It might be said that the three 

 fuU quarter notes which open each of the three phrases are also 

 important rln'thmically. The other renditions of this song, Nos. 24, 

 25, and 26 (pp. 440, 441), should be compared with it and with one 

 another for minor differences and similarities. (See also tabular anal- 

 ysis No. 7.) On the whole the three extra renditions have gained 

 in metric, rhythmic and melodic stability, a fact which often happens 

 as a singer repeats material and his confidence increases. 



Tabular Analysis No. 7 



Song No. 8 (p. 369), also a ternary form, is clearly a variant of No. 

 6, but pitch shifts creating minor rather than major tliirds and minor 

 thirds in place of perfect fourths change it somewhat. On account 

 of smoother movement, longer measures characterize No. 8 than in 

 No. 6, and what were sections in the earlier song are here single 

 measures, so I have not divided the phrases. A has three measures, 

 B and C have two each. The three phrases are repeated once. 

 The succession of irregular measures reveals no repeated pattern 

 except by direct repetition of both melody and words. Nor is any 

 rhythmic pattern apparent except under such conditions as were 

 discussed for No. 6. The other renditions of No. 8 are Nos. 27 and 

 28 (pp. 441, 442). No. 27 states the three phrases three times 

 instead of two. 



Tabular Analysis No. 8 



