422 PICURIS CHILDREN'S STORIES Ieth. ann. 43 



No. 28, the chief tone is also the lowest. Several of the principal 

 tones of the scales of Group II are also duplicated in those of Group I, 

 but in spite of these similarities I am inclined to consider the scales 

 as quite different fundamentally from those of I and III, which, 

 as already stated, seem to be alike except for their location in regard 

 to that of the tonic. 



It will be observed that the scales of Group II range not more 

 than an octave above the principal tone and less for some songs. 

 The intermediate tones between the subdominant and the dominant 

 which seemed to indicate an unstable area in the scales of Groups I 

 and III have almost disappeared. In place of them are a great 

 many pitches other than the major second and major third between 

 the tonic and subdominant in the lower tetrachord. An examination 

 of the lower tetrachords of the scales of this group reveals the fact 

 that the tendency of the intermediate pitches between d and / is to 

 cluster around eb in most of the scales, although in those of Song 8 

 and its other renditions, Nos. 27 and 28, both eb and eb, are used, eh, 

 being a little more prominent. In the upper tetrachord there is a 

 very noticeable grouping of intermediate pitches around ab, and crb 

 itself is very common, while ati has disappeared almost entirely. 

 No. 8 and Nos. 27 and 28, wliich employ both eb and e\\, make little 

 or no use of ab. Nevertheless they must be considered as having 

 a peculiar mixed tonality of both major and minor, for the salient 

 tones would read from lowest to highest c, d, eb, e\\,f, g, ab, c. In 

 Songs 5 and 6 and their other renditions, 22, 23 and 21, the scale is 

 more definitely minor since elq, which forms the major third with the 

 tonic, is practically eliminated, but in No. 5 and No. 21 a.q either 

 occurs with or takes the place of a\?. Therefore it can not be said 

 that any of the scales of Group II are pure minors of harmonic, 

 melodic or natural character, but they all have more in common 

 than with the scales of Groups I and III and are more minor than 

 major. The scales of each of the three songs and their versions 

 may be quite distinct, depending on how seriously one takes the 

 less prominent tones, but those of No. 6 and its other renditions are 

 probably fundamentally the same as those of Nos. 8, 27, and 28, 

 for the songs are obviously all versions of the same tune. 



What appears to be extreme instability in this melody of Nos. 8 

 and 6 as regards the interrelationship of intervals, especially of the 

 thirds, makes any assumption as to the function of the pitches indi- 

 cated by the acute and grave accents very risky. Thus in No. 8 

 (p. 369) the sharp eb of the third measure might be an instance of 

 acuating a curve, but judging from No. 6 (p. 367) it is probably a 

 reflection of/ in the previous measure and thus is really an illustra- 

 tion of smoothing. Possibly the sharp g\? at the beginning of the 

 B phrases is a rough approximation to the more definite «b which is 



