122 Fillmore—Forms Spontaneously Assumed ~hy Folk-Songs. 
There are twenty-eight songs in this collection of Dr. 
Matthews’ in my possession. Of these, six have melodies made 
up exclusively of tones belonging to the major chord; three have 
only tones belonging to the minor chord; seven follow the line 
of the major chord but employ one tone not belonging to that 
chord as a bye-tone; three embody the major chord and 
employ two bye-tones; six have the minor chord with one 
bye-tone; two have the minor chord with two bye-tones; and 
one has the minor chord with three bye-tones. In all these cases 
the keynote is unmistakable, the chord-tones predominate 
strongly, and the byetones invariably belong to one or more of 
the chords most nearly related to the Tonic. 
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Cylinder No. 146. 
I will ask you to listen to two more of these songs which have 
more developed diatonic melody than those you have already 
heard. The first song on cylinder 146 has three byetones. It 
is in a major key and the tones of the major tonic chord pre¬ 
dominate; but it employs somewhat prominently the sixth tone 
of the major scale and much less prominently the second and 
seventh tones. Its characteristic melodic phrase, 
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which is repeated many times, is as completely diatonic as our 
own melodies. The sixth of the scale, as here used, plainly 
