418 PICURIS CHILDREN'S STORIES [eth. ann. 43 



C phrases might be taken to indicate a groping for a tone inter- 

 mediate between the domuiant and the subdorainant. Curiously 

 enough the tritone does not appear to have been the object of this 

 gropmg, or else it would have surely been struck more frequently. 

 Observe the sharped a in B', the 6b's in the C phrase of No. 1, the 

 slightly flatted ftti's and the a#'s in the B and C phrases of No. 13 

 (p. 427), and the &q's in the B and C phrases of No. 14 (p. 428). 

 These tones are different for the different renditions because they are 

 written in different keys, but in the table of scales (pp. 445-447) where 

 they are all transposed to the key of C as the first four scales of 

 Group I, they are the tones occurring between g and/fci. Their pres- 

 ence may mean, on the other hand, that this singer had difficulty in 

 always pitching true dominants and subdominants, hitting tones 

 between them when the dominant should have been reached as the 

 crest of a melodic curve, or, when progressing from the dominant to 

 the mediant or tonic downward by way of the subdominant, flatting 

 the subdominant as if its production had been influenced by the 

 general melodic trend. Such a procedure might be termed "smooth- 

 ing the melodic curves. " 



The scales of No. 7 and its other renditions, Nos. 24, 25, and 26, 

 are undoubtedly the same as the first four scales except for transposi- 

 tions of tones from one octave to another. Thus d between lower c 

 and e is missmg in the first four, only occurring there in the upper 

 octave above the upper tonic, while in the versions of No. 7 the upper 

 tonic, leading tone and submediant are omitted altogether, but the 

 tones which do appear comcide with scale tones of the first four songs. 

 Nos. 7 and 26 are two of the three songs in Group I already mentioned 

 where the melody drops below the tonic, but in the other two rendi- 

 tions of No. 7 it does not. The same fluctuation of tones between 

 the dominant and subdominant is noted as in the first four scales. 

 In No. 7 a slightly flatted subdominant was used m the second meas- 

 ure when dropping from the dominant to the tonic, while in the second 

 A phrase, second measure, the true mediant is substituted for the 

 subdominant in the same melodic setting. In the other renditions 

 the mediant is used throughout. Again, although the B phrase in 

 No. 7 begins with a true subdominant from an upward progression 

 from the supertonic, and is followed by a true mediant, in the other 

 renditions the subdominant fluctuates, apparently influenced by 

 other tones. Thus in the B phrase of No. 24 it is probably influ- 

 enced by the pull of the dominants in the first four measures, if that 

 expression may be allowed; in B of No. 25 it is influenced by the 

 trend of the melodic curve in which it is situated; in B of No. 26 

 the altered c appears to have been influenced by e in the preceding 

 measure but it would be still more speculative to attempt to account 

 for the flatted c of B's third measure. 



I 



