424 PICURIS CHILDREN'S STORIES |eth. ann. 43 



The fifth group represents the scales of two songs, Nos. 9 and 1 1 

 (pp. 379, 397), and the other renditions of No. 9, Nos. 29 and 30 

 (pp. 442, 443), which are exceedingly limited in range. The longest 

 scale, that of No. 29, covers only a very little more than a perfect 

 fourth. These scales are quite different from all the others, aside 

 from their lunited range, ua that the tonic lies at the top of the range 

 and the songs begin with it but end on a tone a minor third below. 

 Another peculiarity is that the only prominent tone intervening 

 between the tonic and the minor thu'd below it tends definitely to 

 be the minor seventh rather than the major seventh or leadmg tone, 

 although it is somewhat uncertam, as the cluster of minutely graded 

 pitches about it show. The one "altered" pitch in No. 9 is clearly 

 a slighting of the trough between the/s, since eb would be the normal 

 tone here, as its presence elsewhere in the song indicates. This tone 

 is the slightly flat b in the table. 



The sharp initial tone of No. 29 (p. 442) is harder to explain than 

 the flatter beginning of the second A phrase, which is likely due to 

 the pull of the two previous notes. The depressed eft m the last 

 measure of both A phrases is strictly comparable to the depressed fiiq 

 in No. 9 and in the table of scales is also represented as a slightly 

 flat 6. In the next to the last measure of No. 29 the somewhat 

 lowered pitches may be anticipations of the approaching end and the 

 low closing tone. Practically all of No. 30, which in tonal content 

 consists mainly of the tonic, is sung sharp. The true/# is heard only 

 in the final measure of each A phrase and is probably true at these 

 points because of a downward puU of the melody in the midst of 

 which it forms a peak. 



The limitations of No. 11 (p. 397) have already been mentioned. 

 It is worth notmg that the two identical measures of the second 

 A end with a slight rise in pitch, wliile the measures of the A's pre- 

 ceding and foUowing do not. Tliis extra tone in the second A 

 phrase adds a third to the two principal tones of which the call is 

 chiefly composed and figures as ib in the transposed scale of 

 the table. 



To summarize briefly the situation as revealed by the scales, it is 

 seen that two classifications of scales may be made. One considers 

 the position of the principal tone in relation to its setting in the 

 tonal content of the song, and by this classification there are three 

 types of scales foimd, one exhibited in Groups I and II, another in 

 Groups III and IV, and a third in Group V. The second classifica- 

 tion takes into consideration only the mtervalic relationships of the 

 tones to one another and to the prmcipal tone or tonic as a funda- 

 mental, and under this classification three main types of scales are 

 also derived. The first, regardless of the location of the tonal content 

 of the song above, below or around the tonic, is exhibited in Groups I 



