The pattern of this song, in the Aeolian mode, is A, A, A, B.
Unity is secured by the three-fold appearance of the first phrase;
and a certain balance, by having the second phrase B twice as
long (four measures) as A.
[Music: THE SHIP IN DISTRESS
Old English]
The formula of this characteristic song in the Dorian mode is A,
A, B, A; merely an extension, through repetition, of the simple
type A, B, A which, in turn, is the basis of the fundamental
structure known as the three-part form. This will later be stud-
ied in detail. It is evident to the musical sense how complete a
feeling of coherence is gained by the return to A after the inter-
vening contrast of the phrase B; evident, also, that this song is a
perfect example of the principle of unity combined with variety.
We further cite a few examples from Scottish, Irish, French,
Hungarian and Russian sources. They all illustrate quaint melodic
intervals and an instinct for balance and symmetry.
[Music: WANDERING WILLIE
Here awa’, there awa’, Wanderin’ Willie,
Here awa’, there awa’, haud awa’ hame.
Come to my bosom, my ain only dearie,
O tell me thou bring’st me my Willie the same.]
This song[28] expresses that note of pathos often found in Scot-
tish folk-music and is noteworthy also because the lyric poet,
Robert Burns, wrote for it words of which we give the first
stanza.
[Footnote 28: The example quoted, together with others equally
beautiful, may be found in the collection edited by the Scottish
composer, Hamish MacCunn. See, as well, theCycle of Old
Scotch Melodiesarranged for four solo voices with pianoforte
accompaniment by Arthur Whiting.]
[Music: WOULD GOD I WERE THE TENDER APPLE BLOS-
SOM]
This Irish tune[29] is certainly one of the most perfect that can
be imagined, remarkable alike for its organic unity, gained by the
frequent use of the first ascending motive, and for the manner