Bluegrass Messengers

Barbara Allen: Tonal Vs. Melodic Structure, Part 2 
 
[Because of the large number of music examples this article will not be finished soon.]

"Barbara Allen": Tonal versus Melodic Structure, Part II
by Mieczyslaw Kolinski
 Ethnomusicology, Vol. 13, No. 1 (Jan., 1969), pp. 1-73

"BARBARA ALLEN": TONAL VERSUS MELODIC STRUCTURE, PART II
Mieczyslaw Kolinski

The following analysis of the melodic structure of the variants of "Barbara Allen" is based upon a previously outlined method (Kolinski 1965). In order to facilitate comparison, the variants have been transposed according to the principle employed in Part I of the present article (Kolinski 1968); it should be pointed out, however, that in this second part of the study distinctions of tonal structure are consistently subordinated to a classification of melodic structure. Included are a number of examples from other cultures showing a surprisingly close resemblancew ith the variants of "Barbara Allen" in both their melodic
and tonal structure. Examples of Western art music are given in the original keys.

The study comprises two sections: the first deals with all variants but is limited to an analysis of the initial motive which, as a rule, coincides with the first line of the four-line stanzas; the second section consists of an analysis of the whole stanza or of its first half, but is limited to a selection of variants. One third of the initial motives constitute an up-flexure, that is, a melodic
structure consisting of an ascending and a descending member of equal range (see Figs.1-9, 11-14, 17-41). Within this framework there is a considerable diversity of structures: we find both homogeneous and heterogeneous flexures. The former are formed by a single structural element (see Figs. 1-8), the latter by two different structural elements (see Figs.9,11-14,1741). The homogeneous upflexures embrace three to five pitches within the range of a major third (c-d-e), a fifth (g-c-d; g-a-c-d,a -c-d-e;g -a-b-c-d), or a major sixth (c-d-g-a, c-e-g-a; g-a-c-d-e). The flexure of Variant 11 (Fig. 1) using the major third area c-d-e has its counterparts in the initial motives of a French Harvest Song (Fig. 1a), of some East European (Polish, Hungarian, Croatian, and Slovakian) folksongs (1b-1e), of a Healing Song of the Clayoquot Indians (1f) and of a few works by nineteenthcentury composers, such as Schubert, Schumann, Grieg, a nd Mussorgsky ( 1g-1j). Differentiations with regard to metro-rhythmic structure and the use of tone reiterations provide variety to this melodically and tonally simple pattern. As far
as tone reiterationsa re concerned, the variant of "Barbara Allen" stands out in that all three pitches are reiterated; these two- and three-tone reiterations make up the slow descent e-d-c which sharply contrasts with the non-reiterated fast ascent c-d-e. (Tone reiterations are marked in the Figures by small dots.) In the other examples (1a-1j) reiterations occur on one pitch only, except for the French song (la) where reiterations are absent. The only instance of reiterations of the inner pitch (both in ascent and descent) is the Clayoquot song (1f); there the emphasis on the inner tone is further strengthened by the placing of the long
durational value of 3/4 on d. The Polish and Hungarian motives (1b-1c) share a reiteration on the highest note with the Schubert motive (1g), while the examples of Schumann, Grieg, and Mussorgsky (1h-1j) stress the lowest note through more or less extended reiterations on both sides of the flexure. The strict symmetry of Mussorgsky's motive is achieved through the use of a similar rhythmic pattern for the initial and terminal reiterations. The closest parallel to the variant of "BarbaraA llen" is the Polish example which has an almost identical, although more condensed, rhythmic structure (1b).





The melodic, tonal and metro-rhythmic similarity between Variant 165 of "Barbara Allen" (Fig.2) and a Marriage Dance Song of the Jhoria Muria Gond tribe of Southeast India (2a) is striking, considering the polarity of the two cultures involved. In Figure 3 the fourth, g-c, of Figure 2 is bridged in both directions by a passing note (a); this results in a homogeneous four-pitch
up-flexure within the fifth area g-a-c-d. Figure 4 represents another homogeneous four-pitch up-flexure within the range of a fifth; this time, however, the passing note a of Figure 3 becomes the tonal center and the basis of the structure a-c-d-e. Both Figures 5 and 6 are homogeneous four-pitch up-flexures within the range of a major sixth; however, the tetra-type structure c-d-g-a of Figure 5 changes in Figure 6 to the penta-type structure c-e-g-a. (See Part I for the terms used.) A similar flexure characterizes the initial motive of a German and a Latvian folksong (6a-6b). The two homogeneous five-pitch flexures of Figures 8 and 7 contrast in range and tonal structure: the former (8) has the penta-types tructureg -a-c-d-ea nd occurs in twelve variants,w hile the latter (7) has the diatonic hexa-type structureg -a-b-c-ds, imilart o the beginning of a German and a Czech folksong (7a-7b). Verdi uses the same up-flexure but builds it upon the dominant (Fig.7c; cf. Grieg in Fig.1i).


 
The heterogeneous up-flexures are either mixed or line-flexures. A mixed flexure contains a step- and a line-member; a line is a succession of two or more steps taken in the same direction. The mixed flexures of the initial motives of "Barbara Allen" always consist of an up-step followed by a down-line and embrace three to six pitches within the range of a major third, a fourth, a fifth, or a major sixth. The flexure c-e-d-c occurs in four variants (Fig.9). As in the case of the corresponding homogeneous structures (1 and 1a-1j), parallels can be found in different cultures, such as in the initial motives of a Spanish, Greek, Croatian, Lithuanian, and Yiddish folksong, and of a Corn Dance Song of the Yuma Indians (9a-9f). Moreover, a motive of similar construction, used in Richard Strauss' "Arabella," is based upon a Yugoslav folk tune (9g). Again, we find a remarkable metro-rhythmic variety within the limits of one and the same simple melodic and tonal structure. In Variant 105 (Fig. 10) two mixed up-flexures similar to the preceding ones merge into a returning up-pendulum;a close parallel to this structure can be found in the opening of a Latvian folksong (10a).

r i r r r It waS all in the month of June,
Figure 9. Variant 53 (cf. Vars. 71,103,124).
Allegro molto vivo e Q
r r i i r r / L ca- lie del r- m - li - no c
Figure 9a. Spanish Folksong (Schindler 1941:no.31).
6
KOLINSKI: "BARBARA ALLEN," PART II 7
Lento rubto e e
f? r JLTr d:- d-: d
Figure 9b. Greek Folksong (Baud-Bovy 1935:285).
r Lr L I r rTr I A
die Se - tal se - jo I - gnic mlad, c c
Figure 9c. Croatian Folksong (;ganec 1950:no.202c).
1 Andanto e Q e r-r r L r r - A
/d d
Li - ne - lius ro - ia%u c Cf >) c
Figure9 d. LithuanianF olksong( Ciurlionyte1 955:no.38).
_J-60 s e e
wt-r Ir -Lr r r 2v d F < d
Shoyn bis - tu, ro- chi -le - bn, c c
Figure 9e. Yiddish Love Song (Cahan 1957:78).
J - ioo e
Figure 9f. Corn Dance Song of the Yuma Indians (Densmore 1932:no.19).
Andantl mosso
et J IJ J J 01J IJ. J J to[ t
Und du wirst min Ge - bie - ter sein, e e
Figure 9g. R. Strauss, Arabella (Act II, duet, section B)-based on a Yugoslav folk
tune: "Einers udslawischenV olksweise nachgebildet."
Thjf, irr 1 rr rrla .. The first day of- l1st May__ c
Figure 10. Variant 105.
T Lr i r LI i e
/d-
Ku - lees pa-ti, kun- gu ri -ja, c c-
Figure 10a. Latvian Folksong (Wihtols 1906: I, no. 12).
C/ A D 3' d
2/V\3:
KOLINSKI: "BARBARA ALLEN," PART II
A pendulum has the same characteristics as a flexure, but it consists of
more than two members of alternating direction and equal size. Depending on
the direction of the first member one may distinguish between up- and downpendulums,
and depending on the relation between the initial and final note of
a pendulum one may distinguish between returning and progressing pendulums.
Obviously, a flexure is always returning.
All melodic movements can be subdivided into recurrent and non-recurrent
movements. Flexures and pendulums form the category of recurrent movements;
all steps that are not part of a recurrent movement belong in the category
of non-recurrentm ovements.
The three-pitch up-flexure g-c-a-g of Variants 89 and 90 (Fig. 11) and the
four-pitch up-flexureg -d-c-b-go f Variant8 0 (Fig.1 2) are similart o the beginning
of a Croatian and a Lithuanian folksong (Figs. 1 la, 12a).
Tn ir ur r IJ J J ,a, ,
It ws te in the sea - son of the year
Figure 11. Variant 90 (cf. Var. 89).
1I - le ze - ne vu go - ste, 9 9
Figure Ila. Croatian Folksong (Zganec 1950:no.186c).
d 1.....f.4r 2
2 rJj. r r pD Ub b
4 4
9- 9
Figure 12. Variant 80.
Allegretto d 2
. Lr r I b, / X -
Jo - jau pe-u kie-mo, 9 4 -44 9
Figure1 2a. LithuanianF olksong( Cifrlionyte 1955:no.53).
The initial motive of "Jingle Bells" (Fig. 3c) is a condensation of the
four-pitch up-flexure g-e-d-c of Variant 95 (Fig. 13). More surprising is the latter's
likeness to the beginning of a Kicking-Ball Race Song of the Papago Indians on
8
KOLINSKI: "BARBARA ALLEN," PART II
the one hand (Fig. 13a) and the beginning of Verdi's "Cavatina"f rom Emani on
the other (Fig.13b). The extreme opposition in the vocal quality of these two
styles increases rather than lessens the significance of the high degree of concordance
in their melodic, tonal, and rhythmic structure.
[.h[.lr' pi-. _ - - d
+ I 11 r I r) p | Lr J. W 2 2
In Ox-ford I was bred and born, 5
9 -- 0 0- 9
Figure 13. Variant 95.
9 -o- 9
J = 112 2
d d
Figure 13a. Kicking-Ball Race Song of the Papago Indians (Densmore 1929:no.148).
Andonte 2 2
cC mo/la espresione - - d
t J rAr' P' I rlr " 2 / \ -.
Co - me ru-gi - laol co - spi -te 5 5
Figure 13b. G. Verdi, "Cavatina," from Ernani (Act I).
e - - e
dLr J-A - / Q
2
d2
Dash - in' thro' the snow 9 9
Figure 13c. J. Pierpont, "Jingle Bells."
The contrast between up-step and down-line characterizingt hese flexures
(Figs.13,13c) is still more pronounced in Variant 127 (Fig.14) where the ascending
major sixth step g-e is balanced by the diatonic descent e-d-c-b-a-gW. agner's
theme "Ich sah die Stadte sah das Land"f romR ienzi (Fig. 14a) representsm erely
a slight alteration of this variant. Moreover, the two motives use the same poetic
pattern: an iambic tetrameter.
Contrary to the above-mentioned mixed flexures (and pendulums), the
returning up-pendulum of Variants 67, 69, and 70 (Fig. 15) contains an up-line
(c-d-e). The Hungariane xample (Fig.1 a) is a concise version of the melodic and
tonal structure of these variants. In Figure 16 the terminal descending third
9
KOLINSKI: "BARBARA ALLEN," PART II
j.1 I r r r- l IiJ J -
In Scot - land I was born_ ond bred,
Figure 14. Variant 127.
Andant quasi All
_- - U j I r
Ich sal
cl - cs
2 2
b - - b
2 2
legretto -
/ - - *. pr J I J j , -2 2
die Std-dte, sah dos Land f - t2
F1i4gauR. r.e W agner,R ienzi (Act ).
Figure1 4a. R. WagnerR, ienzi (Act II).
-p I L r p I LCr r In Scar-let town where I was bom
Tempo giusto 4 r r Ir r Lr i*
Jo - e"s - t jo - es -tet
Figure 15. Variant 67 (cf Vars. 69,70).
Figure1 5a. HungarianF olksong( Bartok1 924: no. 176b).
H Ir I r r r I r rr -tw He sent his serv - ant down to- say
Figure 16. Variant 52.
e-c of Figure 15 is filled in by a passing d so that the pendulum constitutes a
merger of a step-flexure (c-e-c) with a homogeneous line-flexure (c-d-e-d-c).
There are three types of heterogeneous up-line flexures, all of them
represented in the variants of "Barbara Allen": in type 1 (Figs.17-25c) the
down-line, in type 2 (Figs.26-33) the up-line contains all pitches included in the
flexure, while in type 3 (Figs.34-41) neither of the two lines contains all pitches
occurring in the flexure.
Type 1: The four-pitch up-flexures necessarily consist of a combination of
a two-step up-line and of a three-step down-line. In Variants 39 and 87 (Fig. 17)
the triadic ascent g-c-e is the nucleus of the four-pitch descent e-d-c-g. A similar
melodic and tonal structure characterizes the beginning of Donizetti's "Sextet"
from Lucia di Lammermoor (Fig. 17a).
10
u
c c
. . .
d d
KOLINSKI: "BARBARA ALLEN," PART II
eLr I' r FL -I\J
In Sto- ry Town where I did live,
Figure 17. Variant 87.
^4.7 jCi Ji pLf r m-
Chi mi fre - noin tal mo - men - to
Figure 17a. G. Donizetti, "Sextet" from Lucia di Lammermoor (Act II).
In the other four-pitch up-flexures of this type it is the lower interval of
the ascent that is subdivided in the descent. So the two-step ascent g-c-d is
balanced by the three-step-descent d-c-a-g (Fig.18), the ascent c-e-g by the descent
g-e-d-c (Fig.19), the ascent g-c-e by the descent e-c-a-g (Fig.20), and the
ascent c-g-a by the descent a-g-e-c (Fig.21). The aforementioned flexure c-e-g-e-d-c
of Variants 5 and 6a (Fig. 19) can be also found in the initial motive of a Czech
and of a Croatian folksong (Figs. 19a-1 9b).
6 J Ir r r r ir J -
Figure 18. Variant 84.
L I j J J J J J j j
Figure 19. Variant 5 (cf. Var. 6a).
V-t E J- sJ ^ I -
Vie - te - la hu - si - cka
1 I J J j IJ' J j iI @7 .- - - 4 0
Jo bi i - sla k svo-joj ku - mi,
Figure 19a. Czech Folksong (Plicka 1940:no.433).
Figure 19b. Croatian Folksong (Zganec 1950:no.407).
11
12 KOLINSKI: "BARBARA ALLEN," PART II
_! J J r Ir' LJr J IJ -
0 moth - er, moth - er, go make my bed,
Figure2 0. Varian1t 20.
'Twos in the mer - ry month of May,
Figure 21. Variant 181.
The same principle is observed in the five-pitch up-flexures of type 1, that
is, the lower (respectively the lowest) interval of the ascent is subdivided in the
descent. The five-pitch flexure of Figure 22 is derived from the four-pitch
flexure of Figure 21 through the insertion of a passing d in the descent
a-g-e-d-c. A similar descent is used in Figure 24; however, there the ascent
c-e-g-a partly anticipates the descent through the inclusion of an e. Figure 23
has the same melodic structure but a different tonal one; there the diatonic
descent d-c-b-a-gb alances the ascent g-b-c-d.F inally, in the six-pitch flexure of
Figure 25 the triadic ascent g-c-e contrasts with the diatonic descent
e-d-c-b-a-g. An identical melodic and tonal structure characterizes the initial
motive of a Flemish, a German, and a French folksong (Figs.25a-25c).
I"1 i J J . J I J Oj -
'Twos in the mer - ry month of_ May,
Figure 22. Variant 60.
1 J I _rl'- p I. r J?-
In Scar-let Town, where I was born,
Figure 23. Variant 14.
o9- --
2 2
d- -d
2 / \ 2
d- -c
2 2
c- -c
I I
b- -b
2 2
2 2
q - - g
KOLINSKI: "BARBARA ALLEN," PART II
+6 1 I J J _JJ j I 0 d- - _a -
'Twos in the mer - ry month of May, 2 2
c - b- c
Figure 24. Variant 2 (cf. Vars. 18,77,78).
e . e
2 2
Z J I r r r AiWJr J
A strange young man from the north coun - try a a
Figure 25. Variant 85.
e- -e
2 2
d d
s n r Lrr Llr r r r bJ IJ 2 / 2b
En den boom en den boom en den god - de - Iy - ken boom a
2 2
9 9
Figure 25a. Flemish Folksong (Ghesquiere 1960:no.146).
f it r Jrs r e 2 / , d
M. L.L' 2 2 d
Es flie - get ein Tau - ber im gri - nen- Wald aus, 2 (..
b- b
Eh! donc! Bon - jour, Mm-sell' Su - zon! 2 2
Figure 25b. German Folksong (Egerland) (Kneip 1958:no.367).
Figure 25c. French Folksong (Franche-Conte) (Canteloube 1951:III,339).
Type 2: As mentioned before, the function of ascent and descent is now
reversed. The four-pitch up-flexures in the fifth area a-c-d-e and in the major
sixth area c-d-g-a end with a down-leap of a fourth, respectively of a fifth,
through the elision of the second lowest pitch in the descent (Figs.26-27). The
structureo f the five-pitch up-flexure in the majors ixth areag -a-c-d-e( Fig.28) is
similar. The same tone material is used in Figure 29; this time, however, it is
the inner note that is omitted in the descent, resulting in a shift of the descending
fourth from c-g (Fig.28) to d-a (Fig.29). A similar melodic structure occurs
within a different tonal context in Figures 30 and 31. Noteworthy is the
13
KOLINSKI: "BARBARA ALLEN," PART II
identity in melodic and tonal structure of the latter example with a Norwegian
folksong (3 la). The two six-pitch up-flexures in the major sixth area g-a-b-c-d-e
(Figs.32,33) differ from each other in that in the former case the c, in the latter
the b is omitted in the descent.
D2 2 2 a /? , , 5d
- - d
J r L i r r J A
was all in the month of May,
Figure 26. Variant 183.
-'J I J J J i J . J . I
All in the mer - ry month of May,
Figure 27. Variant 164.
- Q - e
d - - d
r r r i-r J. 2 /2 a 3 - 3
le mer - ry month ot May, 2 2
9 -
Figure 28. Variant 151 (cf. Vars. 143b,152).
tl
e - - e
2 2
r r' r i r J - 2 -
the month, the month of May, 3 3
2 2
Figure 29. Variant 176 (cf: Var. 179).
_. tr h i . l J d II J ^ V
In Sto - ry - town where I did live
Figure 30. Variant 191.
44-. I -
r I r , J '-
The one was a - bur - ied in aa r vauultt,
e - o - e
2 2
d - -d
2 2
b - -b
4 4
Figure 31. Variant 10.
14
All in
All in
KOLINSKI: "BARBARA ALLEN," PART II 15
d - o -e
2 2
d d
JrLr. Lf .;!ir Ir L0I 4^- ur r U-r ir uJ r _" bb / \ b
Tau - se - ne dei gie 'no Dren - ge-ne Mel - ka, 4 4
Figure 31a. Norwegian Folksong (Lindeman 18-:no.412).
e -
2
-e
d 2
2 d 2
9 -- 9
Figure 32. Variant 170.
-22 2 -2
$r1 rJ .i r |Jr r Ir -J i / \ -b
2 , 2
Figure 33. Variant 145.
Type 3: Neither ascent nor descent comprise the whole tone material
employed in a flexure. The two four-pitch up-flexures using the tetrachord
g-a-b-c (Fig.34)and the fifth area c-d-e-g (Fig.35) bridge the ascent by the higher,
the descent by the lower inner note. A Czech and a Slovakian folksong
(Figs.34a,35a) show the same melodic and tonal structure as the two preceding
variants.
X- Ir r r J I J J b b
In Scot - la anI was bon and - - - b
Modertlo a - 2
,
rr r - i+r J IJ I , , 2 I-
.i - ro - ky hlu - bo - ky
Figure 34. Variant 12.
Figure 34a. Czech Folksong (Plicka 1940:no.362).
sel
1
^I 1~ 93
A
39
I S -l a n d was je / \.
Figure 35. Variant 7.
KOLINSKI: "BARBARA ALLEN," PART II
Tempo giusto
t IrI J IZTrJ j 1^
Ten muq mi - I nic ie - ro - bi,
Figure3 5a. SlovakianF olksong( Bartok1 959:no.329c).
The five-pitch up-flexures (Figs.36-39) are distinct from one another both
in their melodic and tonal structure. The ascents consist of three steps by-passing
either the lowest or the highest or the middle of the three inner pitches of the
tone material used. The descents consist of two or three steps introducing each
time one pitch not employed in the preceding ascent.
Figure 36. Variant 197.
-si J Ir-TT ICrJ
Figure 37. Variant 166.
Figure 38. Variant 174.
Figure 39. Variant 177.
tu Ir P Lr fIr J AV
I iJ r n I r J A
-aJ 1 J f r i r r J. w
16
KOLINSKI: "BARBARA ALLEN," PART II
The two six-pitch up-flexures (Figs.40,41) employ the same total tone
material,t hat is, g-a-b-c-d-eb, ut distributei t quite differently between the two
members of the flexure; moreover, the former flexure (Fig.40) uses four steps,
the latter (Fig.41) three steps in either direction, with two inner pitches (a and d)
reappearingin the formerc ase and none in the latter.
t7 4 J I J?- r r i r n-
'Twas al- in the fall of the year
Figure 40. Variant 146 (cf Var. 154).
P J IJ r r r Ir J -W
In Scot - land I was bor and bred,
Figure 41. Variant 9.
Contrary to all preceding melodic structures, the two following are not
returningu p-movementsb ut progressingd own-movements.S pecifically, they are
progressing mixed three-member down-pendulums (Figs.42,43). In Figure 42
the pendulum is digeneous, containing four pitches; it results from a repeat of
the down-line d-c-a-g. In Figure 43 the inclusion of a passing b makes the
pendulum trigeneous.
A \ A 2
f Af ndI mr p i r i ree J d
And out of _ him spring ro -ses red,
Figure 42. Variant 194.
iai r - ir Irn^- In Scot-land I was born and- bred
Figure 43. Variant 193a.
17
KOLINSKI: "BARBARA ALLEN," PART II
Two or more recurrent movements, that is, flexures or pendulums, may
merge into larger structural complexes. Depending on the mutual level relation
of two consecutive recurrent movements, four categories of complexes are to be
distinguished: standing, hanging, tangential, and overlapping. In a standing complex
the lower level, in a hanging complex the upper level of the two recurrent
movements is the same. Depending on the range relation of the two recurring
movements, one may distinguish between widening and narrowing complexes. In
a tangential complex the opposite pitch levels of the two recurrent movements
are the same; here one may distinguishb etween rising-tangentiala nd fallingtangential
complexes. If the ranges of the two recurrent movements overlap, one
may speak of rising-overlappingo r falling-overlappingc omplexes. If two consecutive
recurrent movements have one tone in common, one may speak of a
first degree nexus; if they have one, two, or three steps in common, one may
speak of a second, third, or fourth degree nexus.
The following melodic structures (Figs.44-59) represent complexes of two
recurrentm ovements. They are widening-standin(gF igs.44-51), narrowing-standing
(Figs.52-56), or falling-tangential( Figs.57-59). Withint he widening-standing
group the components of a complex are either two up-flexures (Figs.44-45) or a
progressing three-member up-pendulum combined with an up-flexure
(Figs.46-51). In the former case we deal with a first degree nexus (one pitch in
common), in the latter with a second degree nexus (one step in common). The
two complexes of the former type combine a major third flexure with a fifth
flexure (Figs.44,45); however, there is a characteristic structural difference: the
step-flexure c-e-c (1) of Figure 44 becomes a homogeneous line flexure
through the inclusion of a passing d in both directions, while the mixed flexure
c-g-e-c (2) of Figure 44 becomes a step flexure through the elision of e.
,bIjr'J J jh ij. j..9. Sweet Wil - liom died on Fri - day night. 2
Figure 44. Variant 108.
0q d- - d
aIJj J J. I J J2. . 9A
One_ Mon-day morn in the month of May, c - c
Figure 45. Variant 111.
18
KOLINSKI: "BARBARA ALLEN," PART II 19
The widening-standingc omplexes characterizedb y a second degreen exus
comprise the fourth area a-c-d (Fig.46), the fifth areas c-d-e-g (Figs.47-49) and
g-a-b-c-d (Fig.51), and the major sixth area g-a-c-d-e (Fig.50). Figure 46 combines
a step-pendulum( 1) with a homogeneousl ine-flexure( 2). Whenc omparing
the melodic structure of Figures 47-49, we see that the step pendulum (1) of
Figure 47 becomes a mixed pendulum in Figures 48-49 through the inclusion
of a passing d in the first two members of the pendulum, while the lineflexure
(2) of Figures 47 and 49 becomes a mixed flexure in Figure 48
through the elision of e and d in the last member of the complex.
{- .i r J. o
Ad itw si n them onoftM h ay, And it was in the month of May,
Figure 46. Variant 96.
I jJ J j j J
All thru the month - May
Figure4 7. Varian1t 13.
VI IJ J J JJ I JJ A
The_ I - dy she died on Sat- ur- day
Figure 48. Variant 1.
It_ was in the mer - ry_ month of_ May,
2 2
d - d
2 2
c 9
9 - - 9
3 ... 3
2 2
d - -
e -- e
Z 2
d d
3 3
2 2
Figure 49. Variant 63.
In the two five-pitch complexes of Figures 50-51 the pendulums (1)
have a similar, the flexures (2) a contrasting melodic structure.
J i-r- J r i r r J -v
'Twas in the mer - ry month of May,
e -* - e
2 2
2 2
3 3
2 2
9 - -
Figure 50. Variant 133.
A 2
d d
c -
3
a -
G;
KOLINSKI: "BARBARA ALLEN," PART II
!faj r JI r -r IJ J
d- - d
2 2
b- b
2 2
9- 2 - 9 2
g
Figure 51. Variant 195.
Figure 52 represents the only instance of a narrowing-standincgo mplex
in first degree nexus; it consists of a merging of two step up-flexures: c-e-c (1)
and c-d-c (2). The beginning of a Croatian folksong (Fig.52a) has not only an
identical tonal and melodic structure but shows also similarities with regard to
rhythm and tone reiterations.
rI Lr'_ r pILr r' It was in the mer - ry month of May
J .84
; LLrIAL r r
Oj I - vo,_ I - va- ne,
Figure 52. Variant 68 (cf. Var. 65).
Figure 52a. Croatian Folksong (Iganec 1950:no.721).
The following four variants are narrowing-standingco mplexes in second
degree nexus; but there is a significant difference between the melodic structure
of the two former and that of the two latter variants: Figures 53 and 54 show
a combinationo f an up-flexure( 1) with a progressingd own-pendulum( 2) resulting
in a returning complex; by contrast, in Figures 55 and 56 an up-flexure (1)
mergesw ith a down-flexure( 2), forminga progressingc omplex.
1i I: l 1 J J r J
As I was a-go - ing down the street,
Figure 53. Variant 126.
'Tws in thme r r month of June,
'Twas in the mer - ry. month of June,
- 2 I X- b
9 - -
3 J\2 3
2 2
-2 -2 9
d-- I
Figure 54. Variant 101.
20
.t 1 2
J 1 2
?..1.
e e>Q '.,-
d d
c c
(
KOLINSKI: "BARBARA ALLEN," PART II 21
2 2
!i i IJ r f r 'j iIsj J. d d
-
'Twos in th' met - ry month of_ May, 2 2
Figure 55. Variant 163.
3 2 A 2 2
J lr ' r J !^ ^ , /:/- 'Twos in the mer ry_ month of May,a
-
2 2
2 2
?- 0- g
Figure 56. Variant 116.
The falling-tangentiacl omplexes of Figures 57-59 consist of the linking
of a mixed or line up-flexure (1) with a step down-flexure (2) through a descent
(1) that comprises the whole tone material employed in the complex. The melodic
structure of Figures 57 and 58 is similar, but the minor second downflexure
of Figure 57 is replaced by a minor third down-flexure in Figure 58.
An identical melodic and tonal structure can be found in the initial motive of
the Negro spiritual "Somebody's Knockin' at Yo' Door" (Fig.58a). An initial
heterogeneousu p-line-flexurew ithin the majors ixth areag -a-c-e( Fig.59) extends
the range of the complex to one octave.
Figure 57. Variant 4.
ix r Ir ulr '- wii r Jr 2r a- 2
Sweet Wil - liam ws down to his dwell to - day, 3 i 3
Figure 58. Variant 76 (cf. Var. 104).
Moderately slow 2 2
F r ri r r r i i -
Some- bod - y's knock - in' at yo' door,
Figure 58a. Negro Spiritual (Johnson 1925:85).
22 KOLINSKI: "BARBARA ALLEN," PART II
e _ o e
iJ lr r I J a- ~
'eTarw as 2
- l y i n
2 2 2
'Twos ear - Iy in the month of May, - - 9
Figure5 9. Varian9t 1.
In Figure 60 three step-flexures are linked in such a way that flexures 1
and 2 form a narrowing-standincgo mplex, flexures 2 and 3 a falling-tangential
one. This structure generates an indirect descent (K). An identical melodic and
tonal structure can be observed in the opening of the Negro spiritual "I Got a
Home in-a Dat Rock, Don't You See?" (Fig.60a); similar also is the upbeat
treatment of the initial c and the sustaining of the terminal c.
$1 r r? r' r l rJJ r " c/
t was a - bout the Mar- tin- m e, - ' - o
Figure 60. Variant 100 (cf. Var. 107).
.. K
0Allegro K 11
d 2
e4_ - Cx -e
2 2 '--cr /.rr fr ._ r c
I got o home in-a dot rock, don't you me -
Figure 60a. Negro Spiritual (Johnson 1925:96).
All preceding melodic structures were strictly recurrent, that is, all steps
employed were part of a flexure or of a pendulum. The initial motives of the
remaining variants are either combinations of recurrent and non-recurrent
movements or (exceptionally) strictly non-recurrent.
The openings of thirty-five variants (Figs.61-87) represent a prefixed recurrent
movement, that is, a recurrent movement preceded by a one-member nonrecurrent
movement. The latter consists of a single step or, rarely, of two steps
taken in the same direction.M ost prefixes employed are linear-ascendingt,h at is,
they form one up-line together with the first member of the recurrent movement
(Figs.61-82). Figure 61, which refers to eight variants, consists of a homogeneous
up-flexure in the fifth area a-c-d-e (2), prefixed by the up-step g-a (1 ).
In another variant we found a similar flexure without prefix (Fig.4).
KOLINSKI: "BARBARA ALLEN," PART II 23
e - * - e
2 2
d - -
^'i N r r Irrr a
2 2
g &
Figure 61. Variant 171 (cf. Vars. 138-40,157,172,173,184).
Figures 62-66 are composed of a recurrent mixed movement (up-flexure
or returning up-pendulum) in the major third area c-d-e (2), prefixed by the
up-step g-c or b-c (1').
t F+rrrr r ir r r -
Figure 62. Variant 54.
r r r p i ri r' In Scot- land I was brd and born
Figure 63. Variant 51.
It wLs up - on a. hiig, high hill
Figure 64. Variant 73.
4 iFf I rv r p lr r
'Twos er- ly in the month do May,
Figure 65. Variant 118 (cf. Vai
more irn - 9 in the_ month of M Ay, One morn-ing in.. the_ month of May,
2 2
2 2
5 5
9 - - 9
11I'
2 2
C -^ -
2 2 2
b -- - b
11'
e - * -* e
2 2
c 2
5 5
9 - - 9
e - . * - e
c- - c
2 2
2 2
5 5
9 - - 9
I1'
r. 32).
2 2
c --
2 2
5 5
- -
II'
Figure 66. Variant 58.
24 KOLINSKI: "BARBARA ALLEN," PART II
The melodic structure of Figure 67 is similar to that of Figure 61
except for the elision of the d in the initial ascent, eliminating the homogeneity
of the flexure.
; j I I I I rf -p-
It was all in the month of May,
Figure 67. Variant 155.
e -_ - e
2 2
c - - c
3 2 3
2 2
II'
Figures 68-71 represent different types of heterogeneous line upflexures
in the fifth area a-b-c-d-e( 2), prefixed by the up-step g-a or e-a (1 ).
bt i r rr 'r J
t was one love - ly month of May,
Figure 68. Variant 189.
, IJV r ' r Ir r J ,
In the or - ly fair days of May,
Figure 69. Variant 162.
'i r r. r' p 1_ -
All in the ear - ly month of May,
Figure 70. Variant 159.
t-IJ r r r J
In Lt x - ing - ton, whe I wa born,
Figure 71. Variant 158.
e - - ?
d --
2 2
b -b
2 / 2
I1'
2 2
2 2
2 2
- -
d - _
2 2 2
2 2
e -_ - e
2 2
2 2
2 2
2 2
9 -
II'
The structure of Figure 72 is characterized by a two-step prefix (1)
preceding a symmetric mixed up-pendulum in the major third area c-d-e (2).
KOLINSKI: "BARBARA ALLEN," PART II
whee I was born,
e-
-
e
2 2
9~3 /- -3
a_ - a
2 2
9-p -9
Figure 72. Variant 119.
Figures 73-79 are prefixed complexes of recurrent movements. Figures
73 and 74 are both widening-standing complexes (2+3) prefixed by a
fourth (1'). This constellation involves an indirect ascent (K). In Figure 73 a
homogeneous up-flexure in the minor third area a-b-c (2) is linked in first degree
nexus with a mixed up-flexure in the tetrachordal area a-b-c-d (3), while in
Figure 74 a mixed progressing up-pendulum in the major third area c-d-e (2) is
linked in second degree nexus with a homogeneous up-flexure in the triadic area
c-e-g (3).
J Kr r
fP lI r i r Jv J.
It fell - bout the_ Mar - tin-mos time,
Figure 73. Variant 45.
iL
'
I Zr.r r -
'Twos ao in teo mr - ry, mer - ry month of May,
Figure 74. Variant 75.
d - - 4
2 2
bc - -
c
2 2
5 3 5
e - - a
II, K
- -9
3 ... 3
d - -2
2 2
2 2 2
5 3 5
I K
Figures 75-77 are prefixed narrowing-standingc omplexes. Figure 52
consists of a combination of two step up-flexures within the major third area
c-d-e; the structure of Figure 75 is similar except for the added quartal prefix.
In Figures 76 and 77 an up-flexure (2) and a down-flexure (3), preceded by a
major second prefix (1'), merge in a 2nd degree, respectively in a 3rd degree,
nexus.
d -
-
2 2
5 3 5
9 - - 9
II'
Figure 75. Variant 55.
25
In Scar - lt Town,
isPl, r r r2 i
_~ zr.hi r, r r' _t-11t__L i 'Ofr
41., rLr- r- v
^?
KOLINSKI: "BARBARA ALLEN," PART II
GskJ i Ir r ] ilr ,'
Ear - ly, ear - ly in- the spring,
Figure 76. Variant 115.
p it 2 i j
FA
-In 11 j rj jA
2 2
2 2
c- c
3 3 3
2 2 2
a 2 2-
9 - - 9
II
2 tS3 2
3 3
e- e
2 2/ 2
2 2
11'
Figure 77. Variant 167.
Two other categories of prefixed complexes of recurrent movements are
represented in Figures 78 and 79. In the former example a progressing digeneous
up-pendulum in the tetrachordal area a-b-c-d merges in 3rd degree nexus with a
homogeneous up-flexure in the minor third area b-c-d (2+3); the latter example
illustrates the simplest possible form of a falling-tangential complex: a combination
of a step up- and of a step down-flexure (2+3). Both prefixes are quartal; in
Figure 78 the prefix initiates the minor seventh ascent e-a-b-d (I), in Figure
79 the triadic ascent g-c-e (I).
Ij' I I j i j r V
It was in and a-boot tthu_ MCr-tins- mua- time,
Figure 78. Variant 41.
t 11x 2
f I[2 r '-r LD.r v
'Twos in th' mer - ry month of May,
Figure 79. Variant 135.
db -
2 2
o - .. - o
5 5
IL'
4 3 4
3 '2 3
2 2
II1 'l
Figures 80-82 have a structure basically similar to the previously discussed
Figure 60: they are again combinations of a narrowing-standing and of
a falling-tangential complex in the quartal area a-c-d-e (2-4). This time, however,
the complexes are preceded by a quartal or tertial prefix (1').
26
5
KOLINSKI: "BARBARA ALLEN," PART II
J I r r r r I J r
'Twos ear - lie, ear - lie in_ the Spring
Figure 80. Variant 56.
1I n2 mK r , A J i r r r- r I Lrr F '
All in the mer - ry month_ of May,
K
e- - e
2 2\
d - - d
2 4 2
3 2 3 3
2 2
q - - 9
I I'
K
2 2\
d- - d
2 2
3 -
a - - a
2 2
e - - a
II'
Figure 81. Variant 57.
K4<f_ ^X*,s . IL < dA - / ^Q Q - d
I r r Kr' r' lr J r - . 32
In Strt - ling Town_ where _ I was born
Figure 82. Variant 74.
While in Figures 61-82 the prefix and the initial member of the first
recurrent movement formed a direct ascent (I), the direction is reversed in
Figures 83-85. In Figure 83 a descending two-step prefix (I') precedes a
mixed down-flexure (2). The initial descent e-d-c (I) of Figure 84 corresponds
to the prefix of the preceding example; this time, however, it represents a
combinationo f a one-step prefix (1 ) with the first membero f a progressings tep
down-pendulum (2). An identical melodic and tonal structure can be observed in
the opening motive of a Women's Dance Song of the Makah Indians (Fig.84a).
Furthermore, there is a similarity in the metro-rhythmic function of the tones
employed; particularly significant is the contrast in the function of the two d's:
while the first d appears as a metrically unimportant passing sixteenth note, the
second d assumes a metrically prominent function as a quarter note placed at the
beginning of the second metric unit.
.I;
2 2
A 14 ' 2 2 \ 2 4? r I r r r r r J r r C- C
b - - b
a- - a
Figure 83. Variant 125.
27
KOLINSKI: "BARBARA ALLEN," PART II
4 r rK- rr (b)r pr I- | \A W down yon- der_ in Lon - don town, c
Figure8 4. Varian1t 02.
J - 76
r
F) r r 1- 1- :E=
Figure8 4a. Women'Ds anceS ongo f the MakahIn dian(sD ensmor1e9 39:no.29).
85. 46.
2 2
I2 1 2 2
2 2
Figure Variant Figure 85 represents a prefixed progressing line down-pendulum in the
minor third area a-b-c. The initial descent (I) comprises the pentachord e-d-c-b-a.
Quite different is the melodic structure of Figure 86, except for the use
of a descending step-prefix in linear nexus. The size of the latter is as large as a
minor sixth (1 ) initiating the octave descent g-b-a-g (I). The prefix precedes a
rising-overlappingco mplex resultingf rom the mergero f a homogeneous downflexure
in the major third area g-a-b (2) with a heterogeneous up-flexure in the
tetrachordal area a-b-c-d (3).
9-Q -Q
5 I \ 2 .2. 5r.r ..
Fr2 3. 2V
Figure 86. Variant 44.
Contrary to all prefixes analyzed thus far, the one occurring in Figure
87 is used in a broken nexus, that is, the prefix and the first member of the
following structure move in opposite directions. The prefix consists of the descending
fifth e-a (1 ) initiating the mixed up-flexure a-c-b-a (2).
28
KOLINSKI: "BARBARA ALLEN," PART II
A
P Lt I J1 r IlJ %
0 moth-er, moth- er look un-der my bed,
Figure 87. Variant 50.
29
e ~~ - e
4
II
b - - b
2 2
a - - aL ....
2i /1
Figures 88-100 are characterized by the adding of a suffix to a recurrent
movement. We find both ascending (Fig.88) and descending (Figs.89-96) suffixes
in linear nexus, as well as descending suffixes in broken nexus (Figs.97-100).
The suffix of Figure 88 follows a wide-centered standing complex
(1+2+3). The center consists of a heterogeneous line up-flexure in the tetrachordal
area g-a-b-c( 2), while the surroundingr ecurrentm ovements,a progressing
mixed up-pendulum (1) and a homogeneous down-flexure (3), lie in the
major third area g-a-b. The highest note of the motive is reached through the
suffix b-d (4^).
f' Ir pJ pI r pr p J_4i r- r -
In_ Scar - let town where I was born there was a fair_ maid dwell - in'
Figure 88. Variant 196.
d - -0d
2 ... 2
b - I SR g/- I b '
a -
- b
2 2
2 2
9
-
- 9~~~
Figures 89-94 are up-flexures suffixed in linear nexus. In Figure 89 a
heterogeneous line-flexure in the pentachordal area g-a-b-c-d (1) is suffixed by
the down-step g-f (2").
4si ~r -rFIJ T
,
AJ
All in the mer - ry_ month of_ May
Figure 89. Variant 168.
I
d 0- - d
2 2
c- -- c
b - - b
2 2
a - O Q - a
9 -2 -2 9
2 1 \ 2
t - *- f
The suffixes of Figures 90-94 consist of two steps comprising a fourth
(Fig.90) or a major third (Figs.91-94); they form with the preceding second
member of the flexure the quintal descents d-c-a-g (90), g-e-d-c (Figs.91,92),
d-b-a-g (94), or d-c-b-a-g (93). Figures 90 and 91 have a similar melodic but a
different tonal structure, while Figures 91 and 92 are distinguished from one
Vt
2_
v
I.. m -4'
2
30 KOLINSKI: "BARBARA ALLEN," PART II
another through a different distribution of tone reiterations. The homogeneous
flexure of Figure 93 becomes a mixed movement in Figure 94 through the
elision of the c in the descent.
2 2 2
od d r r r r i r J J. a
3a
Dark ind glom y is the town 2 2
Slow- ly, low - ly rose she up, 9- - 9
Figure9 0. Varian9t 2,93.
- -3
i J,I j j.JJ i^ i " 2 2
Down in Lon - don whre I was- raised, 2 2
Figure 91. Variant 110.
9-0 - 9
a 1 . 2 e - - e
32 2
+
_
J$ imrdn 1 rdf - d
2 2
A - way low down in Lon - don town c - - c
Figure9 2. Varian1t 32.
d d
2 2 p. cjir r f r ar J - - _ b
9- -9
Figure 93. Variant 130.
d- Q - d
o,L J L m J) b b 2 2
It was in the mr- ry month d May, - -o
2 2
9 - 9 - 9
Figure 94. Variant 131.
Figures 95 and 96 have a basically similar melodic structure within a
different tonal framework. Both variants represent a suffixed widening-standing
complex in second degree nexus, comprising a homogeneous up-flexure (2);
however, the initial progressing pendulum of Figure 95 is shortened in Figure
96 to a step down-flexure (1).
KOLINSKI: "BARBARA ALLEN," PART II
I 2 1 3'
4 r Ir rr r i r r J
'Twos ear - ly in the month of May
Figure 95. Variant 169.
t tIJ j J. I1J J - ^-.
It fell a - bout the Mart - mas time,
31
I
e - * - e
2 2
2 2
3 2 3
a - - a
I
2 2 \ 2
93
-
-3- 3
4 2 4
c - c
Figure 96. Variant 79.
Figures 97-100 have in common the use of descending suffixes in
broken nexus; they are either step or line movements and end either above or
below the lower level of the preceding recurrent movement. The recurrent movements
are: a step down-flexure (Fig.97), progressing mixed up-pendulums in the
major third area c-d-e (Fig.98) or in the tetrachordal area g-a-b-c (Fig.99), and a
falling-tangential complex in the quintal area d-e-g-a (Fig. 100). Noteworthy is the
absence of line ascents (Figs.97-100).
ILY.rC PI"r IL '- d
Look out, look out, at the bock door, c c
Figure 97. Variant 21.
I p r rr r r d d
He sent his srv - ant down to tell c c
Figure 98. Variant 64.
2
c C
-
j jlrrJ- Il~yJ .i2 2
Figure 99. Variant 19a.
r K
2 3' --
2
-
Figure 100. Variant 121.
v
32 KOLINSKI: "BARBARA ALLEN," PART II
The melodic structure of Figures 101-25 is characterized by a recurrent
movement surrounded by both a prefix and a suffix. The prefix is always ascending,
the suffix mostly descending. In Figures 101-12 both prefix and suffix are
linked with the recurrent movement in a linear nexus, Figures 113-16 combine
a linear and a broken nexus, Figures 117-22 a broken and a linear nexus,
Figures 123-25 two broken nexuses.
The triadic structure of Figure 101 is strictly symmetric. Its inner returning
step up-pendulum (2) is expanded in Figure 102 to a homogeneous
pendulum in the minor third area b-c-d (2) through a consistent melismatic
insertion of a passing note. A similar melodic and tonal structure can be found in
a Nepalese folksong (Fig. 102a).
A ' 2 _ IX
1XI- J n C] Ij ~
One bright day in the month of May,
Figure 101. Variant 81.
a J -j Ir Lr r c'I<- AV
'Twos once I__ lived __ in a scorn-ful- town,
Figure 102. Variant 61a.
J 84
1 2 Z '
Tir l Li _ 4 -
Timi sa - li ma- bhi-no mo- bhi-na hun
d- - d
2 2
c - -- c
I'
d- - d
2 2
b- -c
I I
b- -
4 4
ii'
Figure 102a. Nepalese Folksong (Kaufmann 1962:no.69).
Figure 103 represents another strictly symmetric structure. This time
the inner returning up-pendulum is not homogeneous but mixed, with the two
line members placed in the center. The symmetry is slightly modified in Figure
104 where the inner pendulum consists of an alternation of up-steps and
down-lines.
A 1t' 2.
f.i j J - r r 2 r I r r J.
One day, one day,___ in the month of May,
Figure 103. Variant 49.
2 2
d - - d
3 3
o - - a
I 1
1
c 6 c
II
KOLINSKI: "BARBARA ALLEN," PART II
? 3' e J J r 1i ri pr- r r r li Je'
Sweet Wil - liam died chokedup in love,
n
d - * * - d
2 2
c-AAI
I
b -- b
4 4
9 - -- 9
II'
Figure 104. Variant 137.
The concise structure of Figure 105 is expanded in Figure 106 through
the inclusion of passing notes; so the triadic ascent g-c-e is replaced by
the three-step ascent g-c-d-e (I), and the triadic descent e-c-a by the diatonic
descent e-d-c-b-a( II).
fI F rr r i J J
All in the mer - ry month of May,
Figure 105. Variant 31.
J i r r r I r JJ
n
e- / -C
e - 2 3 - 2 ?
I I
2 2
2 2
9 - - 9
II'
Figure 106. Variant 123.
Figure 108 represents another form of expansion of the structure of
Figure 105: an insertion of the up-flexure c-d-c (3) results in a narrowingstanding
complex (2+3) and in an indirect descent (K). The symmetric balance
of Figure 102 is weakened in Figure 107 through the addition of an initial
fourth step.
aL I l r a i rnu ll 'Twos once I_ lived in a scorn - ful town,
Figure 107. Variant 61b.
I I'- 2 K 3 n 4'
,J 1" trr r il0r r J.
d - - b
2 2
bc - - - cb
4 4
2 2
5 5
Il'
2 2
d - * -
3 /2 3
\3
2/ 2
9 - - 9
Figure 108. Variant 134.
A It'
33
34 KOLINSKI: "BARBARA ALLEN," PART II
The reversed direction of the suffix in Figures 109-12 produces a quite
contrasting type of melodic structure: the motives represent an indirect ascent
(K) covering the range of a minor seventh (Figs. 109,110,112) or of an octave
(Fig. 11). Figures 109 and 110 have an identical melodic structure in a different
tonal context. The structure of Figure 111 is focused on the three-step
prefix g-a-c-d with its extended tone reiterations on c. The inner progressing
up-pendulums of Figures 109-11 are replaced, in Figure 112, by a wideninghanging
complex consisting of the merging of a homogeneous up-flexure in the
minor third area a-b-c (2) with a homogeneous down-flexure in the tetrachordal
area g-a-b-c (3).
K 3'
Figure 109. Variants 36-38.
D _ I 2
f@ lI r- <._ L.I r -
In Scar- let Town, where I wa born,
Figure 110. Variant 192.
i -I LJ rJ L lr rLL 4r I- r
'Twos in the me- ry month of May, nthe green eaves they were bud- din'
Figure 111. Variant 114.
,3 __ 04. Y A, -
r-#^1f1 ~W I J .-1J7 Jl M- .
It was in and a-bout the- Mar - tin-maos time,
Figure 112. Variant 40.
d - 0- d
2 2
3 3 - / X-
2 2
9 - -9
3 2 3
e - e
It' K
9- - 9
3 ... 3
e- -;* '
4 _- C ? - d
., 2 2I 2
c- - c
3 3
a - - a
2 2
tK K
a - -d
2 3 2
b - -b
2 2
2 2 2
9 - -9
3
' K
The recurrent movements of Figures 113-16 are framed by an ascending
prefix in a linear nexus and a descending suffix in a broken nexus. In Figure
113 the initial ascent g-c-d-e (I) is balanced by the major sixth suffix e-g (3'),
d ctirz 2
SI :1 IDl JJ Ij rr r '
ear - ea - in the sprin,
'T7:S ew- Iy, eor - Iy in the spring,
Aoil
m -
A KXI, 2
11 3'
2
KOLINSKI: "BARBARA ALLEN," PART II
; 51sg~;~pr~ ~~~~~ - - e
2 2
et Town where I wos bon, 9- -
Figure 113. Variant 22 (cf. Vars. 94,122).
A 4' 2 3' 4 vr--r iF' r r rlr
'Twos in the mer - ry month of May,
2 2
C - - d
2 2
5 5
9 -gR - 9
-Z~
Figure1 14. Varian7t 2.
' r 3' 2
J I 3 r-r -f 1
In Scr - let Town, where I did dwell,
Figure 115. Variant 188.
Q r1 z K1
- 4- ^
j I r r -i r r J
In on - don I was- bred and bomn,
b -I - - I b
2 / \ b - - b
2 2
2 2
g - Q - a
2 4/ 2
d - -a , d
3 3
7/ 7
d - -.2 - A^ 4' 1- d
Figure1 16. Varian1t 56.
while in Figures 114-16 the final note lies a major second (115), a fourth
(114), or a fifth (116) above the initial one. Noteworthy is the contrast between
the prefix of Figure 115, where three steps (g-a-b-c) are used to cover the space
of a fourth, and between the prefix of Figure 116, where an octave is reached
through one leap (d-d). The recurrent movements of these structures consist of a
mixed (113) or of a step up-flexure (114-15), or of a falling-tangentiacl omplex
(116).
In Figures 117-21 the prefix is again ascending and the suffix descending,
but this time the recurrent movement is linked with the prefix in a broken, with
the suffix in a linear, nexus. The structures are returning, that is, the initial note
of the prefix is similar to the terminal note of the suffix. In Figure 117 the
triadic prefix g-b-d (1 ) is balanced by the quintal descent d-c-a-g (I), while in
the other examples (118-21) an indirect ascent (K) is balanced by a direct
In S2-
In Scar - I
35
36 KOLINSKI: "BARBARA ALLEN," PART II
descent (I). The recurrentm ovements consist of a progressings tep down-pendulum
(Fig.117;2); of a widening-standingc omplex in the minor third area a-b-c
(Fig. 18;2+3), in the fourth area d-e-g (Fig. 119;2+3), or in the fifth area a-c-d-e
(Fig.120;2+3); or of a rising-overlappincgo mplex in the tetrathordala reaa -b-c-d
(Fig.121;2+3). The complexes of these structures represent the merger of a
down-flexure (2) with an up-flexure (3) in a second degree nexus.
4'
_
r 12 3- J}- J r rFr r r J J -
'Twos in the mer - ry month of May,
Figure 117. Variant 13.
t^ J I r r r r 12 r rJ 1 IJ -
One c al oud - y day in the month of May
Figure 118. Variant 136
KI' 2 3 1 4
l jJ IJ. J7J 1i . -
Figure 119. Variant 112.
JIrr i Ir - i -
In yon - ders town re I wos born
Figure 120. Variant 88.
2R 1 o 4 , In Ro hr ILw J y
In Read-ing town where- I was born,
2
d - - d
2 2
c - c
b - - b
2 2
a.- a
2 2
9 - -
I'
C-
2 \4 2
o 0
3 3. 3
2
\4
2
2 2
3 ' 3
2 2
a -
2 2 2
2 3
2 : 2
0- -
Figure 121. Variant 23.
A K1' 2
KOLINSKI: "BARBARA ALLEN," PART II
In Figure 122 the recurrent movement is again linked with the prefix in
a broken, with the suffix in a linear, nexus; this time, however, both prefix and
suffix are ascending, and generate, together with an inner mixed down-flexure in
the minor third area a-b-c (2), an indirect ascent (K).
Finally, in Figures 123-25 both prefix and suffix have a broken nexus.
As in the case of most prefixed and suffixed recurrent movements, the prefix is
ascending, the suffix descending. Prefix and suffix are step movements, except
for the quintal down-line e-d-b-a in Figure 124. The patterns of Figures 123
and 124 are balanced, while the motive of Figure 125 ends a major second
above the initial note. The nucleus of these structures is a mixed down-flexure
in the third areas a-b-c (123) or c-d-e (125), or a step down-flexure in the third
c-e (124).
Besides their function as prefixes or suffixes, non-recurrent one-member
movements may serve as a link within indirect complexes of recurrent movements.
d- O-d
2 ? 2
gl D I r r r ^ h r r- z . 2 2 b T
In Scar- let Town, where I was bom, 2 2 2
i K
Figure 122. Variant 28.
c
- c
2 b b r Ir r rJa i
As I u going a - long the lane, 2 2
9 -23. V 9
Figure 123. Variant 24.
J I I r r4 r i r r J. A
All in all in the month of May
Figure 124. Variant 48.
J i r r Ir r J ^
2 2
b- - b
2 2
d -2 -
2 2
e -- e
3 3
2 / 2
9 - - a
Figure 125. Variant 25.
37
KOLINSKI: "BARBARA ALLEN," PART II
The previously mentioned four categories of complexes of recurrent movements:
standing, hanging, tangential, and overlapping, were direct complexes,
that is, the consecutive flexures and pendulums had at least one note in common.
In addition, there are indirect complexes of recurrent movements in which
two recurrent movements are linked by an intermediate non-recurrent onemember
movement consisting of a step or line. Standing and hanging complexes
are necessarily direct, while tangential and overlapping complexes may be either
direct or indirect. Two other categories of complexes of recurrent movements,
not discussed thus far, are necessarily indirect: distant and including complexes.
If the ranges of two recurrent movements are separated from one another, one
deals with a rising-distanto r with a falling-distantc omplex; if the range of one
recurrent movement lies within that of the other, one deals with a wideningincluding
or with a narrowing-includingco mplex. In an indirect complex the
linking of the recurrent movements by an intermediate step or line can be linear,
semilinear, or broken: in a linear nexus the linking takes place without change of
direction, in a semilinear nexus direction changes once, in a broken nexus direction
changes twice.
The type of indirect complexes represented in the variants of "Barbara
Allen" is that of distant complexes. Figure 126 is a falling-distant complex in
linear nexus. It consists of the step up-flexure g-a-g (1) linked through a minor
third step (2') with a progressingm ixed down-pendulumi n the majort hird area
c-d-e (3). The axis of the pattern, the direct descent I, comprises the entire tone
materiale mployed in the motive: the penta-typicf ive-tone pattern c-d-e-g-aT. he
main difference between this variant and that of Figure 127 is the replacement
of the last member of the pendulum of Figure 126 (3) by a descending suffix
e-a (4'); this change results in an indirect descent (K) comprising the whole
octave area of the motive.
r 2..~~~~~2 .2
2
e^
^
<z 2- 3
'
\
3
In Scot - land I was bred a-den born, a - - d
2 2
Figure 126. Variant 27.
fj;j - ji 2, |r i J n J
A
;o :_ J _ 0- -0
In od- insg own I was bom and b2d, _ \
3 ' \ 3
Figure 127. Variant -8.
Figure 127. Variant 98.
38
KOLINSKI: "BARBARA ALLEN," PART II
Figure 128 represents a falling-distant complex in semilinear nexus. It
consists of the linking of a homogeneous up-flexure in the major third area c-d-e
(1) with the step up-flexure g-a-g (3) through a descending fourth (2'); the upper
nexus (1+2') is linear, the lower (2'+3) is broken. Figure 129 is also a fallingdistant
complex in semilinear nexus. This time, however, two major second
up-flexures at a distance of a fifth, g-a-g (1) and c-d-c (3), are linked by the
triadic descent g-e-c (2). The adding of a descending minor third suffix in linear
nexus (4') generates an indirect descent (K) covering the same octave area
a-g-e-d-c-aa s the indirect descent of Figure 127.
-;t4 r LzIJ \
-
^JJ 4
Figure 128. Variant 26.
J 1 ' 3J 4.J
ti J IJ J j 1 ij j W
....
e - a
2 2
d - - d
2 2
9 - *- g
3
I K
a - I _ a
2 2 /\2' 22
3
J
3
2 \ n 2
d - \ -d
2 \/ 2
3 3 \ 3
a - - a
Figure 129. Variant 99.
In Figure 130 the directional trend is reversed; here we deal with a
rising-distantc omplex. As in the two precedinge xamples,t he recurrentc omponents
of the complex are two up-flexures. The melodic structure consists of a
mixed flexure in the fourth area e-g-a (1) linked with the step flexure c-d-c (3)
through an ascending minor sixth step in semilinear nexus (2') and terminated
by a descending semitonal suffix in linear nexus (4').
IK t-D JIr' w Or' w%l- JjJtr rf <
t fell - - bout a Mr - ti-mos time,
Figure 130. Variant 43.
c-2 4 d2- b
I I
b-
/ - b
2 .. 2
2 2
3 3
e - e
I IZ2
A non-recurrent two-member movement consists of two members of unequal
size and may be termed a hook. Depending on the relation between the
39
KOLINSKI: "BARBARA ALLEN," PART II
initial and final note one may distinguish between rising and falling hooks, and
depending on the direction of the first step one may distinguish between uphooks
and down-hooks. Moreover, one may speak of a step hook, a line hook, or
a mixed hook, depending on whether the hook consists of two steps, of two
lines, or of a step and a line.
Figures 131-44 are characterized by the occurrence of hooks; they are
either step or mixed hooks. All four conceivable types of hooks are represented:
the rising up-hook, the rising down-hook, the falling up-hook, and the falling
down-hook. Most frequently used is the rising up-hook (Figs. 131-38). When
comparing the melodic structure of Figures 131 and 132 we see that in both
cases a rising up-hook (1') leads in linear nexus to a step down-flexure (2)
followed by a descending step suffix in broken nexus (3'), and that in both cases
an initial ascending major sixth step is contrasted by a succeeding indirect descent
(K); however, the direct two-step descent e-d-c of Figure 131 (I) is
extended in Figure 132 to the three-step descent e-d-c-a (I). Thus the step
hook g-e-d becomes a mixed hook g-e-d-c, and the fourth area a-c-d of the
following two movements (2+3) is shifted down to the fourth area g-a-c. As a
result, the initial major sixth step g-e is balanced by the similar size of the
following indirect descent, contrary to the unbalanced melodic structure of
Figure 131.
Q
Kit r 2
3
Figure 131. Variant 20.
4 iL Kr It r2H
JjI j I ~r rp
I
Jp' i
I K
2 2 3' 2
d - - d
2 2
3 /3
2/ 2
9- -9
I K
2 2
d- -
2 2 5 2
3 3
a -/ X
0- -
i.,
Figure 132. Variant 83.
As in Figure 132, the rising up-hook of Figure 133 consists of an
up-step followed by a two-step down-line; but this time the hook terminates
rather than initiates the motive, and the structurei s characterizedb y an indirect
ascent rather than by an indirect descent (K).
40
KOLINSKI: "BARBARA ALLEN," PART II 41
d d
2 2
Klii. 2 b 7
2 2 3' 2
9 -- 9
IK
Figure 133. Variant 42.
Figure 134 represents one of the rare instances of a completely nonrecurrents
tructureo f an initial motive of "BarbaraA llen." It consists of a rising
up-hook composed again of an up-step followed by a down-line; this time the
line comprisest he descendingp entachord e-d-c-b-a.A replacemento f the b by a
d would yield the structure of Figure 131 containing a hook, a flexure, and a
suffix.
e2 2
He sent his man down thru the town -
2 2
2 2
9o--- 9
Figure 134. Variant 128.
Figures 135-38 also consist of a rising up-hook followed by a flexure
and a descending step suffix, but contrary to the preceding structures the hooks
combine a line ascent with a step descent. We find mixed up- and down-flexures
(Figs.138,135) and step up-flexures (Figs. 136-37). More indicative of the overall
structure is the kind of nexus employed. In Figure 135 the flexure is linked
with the preceding hook in a linear, with the succeeding suffix in a broken,
nexus; the contrary is the case in Figures 136-38. In Figures 135-37 the
initial direct ascent is followed by an indirect descent, while in Figure 138 an
indirect ascent is followed by a direct descent. The structure of Figure 137 is
characterizedb y a balanceb etween direct ascent and indirect descent.
I [ r 1, K t ws er eLr I n; s , J2 n It was ear - ly, ear - ly in the sum - mer time,
d - d
2(3) (3)2
(b)c - - c (b)
Figure 135. Variant 30.
KOLINSKI: "BARBARA ALLEN," PART II
j 1 3'
They grew and they grew to the church stee-ple top,
Figure 136. Variant 160.
Fig1u7r.e^1 37. Variant
Figure 137. Varant 17.
Tws int au- t umft n rtt o r,
'Twas in the au - tumn,lhe moist time of the year,
2 /\ r 2
0- -
2- -
2 2
2/ 2
2- U -d
2 2
2 2
o -
Figure 138. Variant 187.
Figure 139 (which refers to three variants) contains the only rising
down-hook (3 ). The melodic structure of the motive consists of an indirect line
ascent contrary to almost all other indirect ascents or descents used in the initial
motives of "Barbara Allen," which are either step or mixed movements. The
present structure represents a combination of two broken chords, g-c-e and b-d-f,
which form the outer members of the indirect ascent.
-. 2 3 ~ e - j - 2 e
Tt~LT r P d- 2 2- d
c - - c
4 4
34-, 35). -
Figure 139. Variant 33 (cf. Vars. 34,35).
Figures 140 and 141 contain a falling up-hook. They are both step
movements but have a quite different function: in Figure 140 the hook (1')
precedes, in a broken nexus, a falling-tangentialc omplex consisting of a step
up-flexure and of a step down-flexure (2+3), while the structure of Figure 141
42
fj KI-:
KOLINSKI: "BARBARA ALLEN," PART II 43
represents an indirect octave descent comprising a triadic descending prefix (1 ),
a semitonal down step-flexure (2), and the falling up-hook c-d-g (3'). The three
components of the structure are linked in a linear nexus.
.... K
22 /\ I 2
i:
2
^
"
'- K2 d - -
C
It was in the new yer in the month of May a 2
Figure 140. Variant 66.
11 K
3 3
I' p
Kl3~ 1 2 - w2 2 2
rJ Av
2
9- -b
144F1.i gu4raea nt 198.
Figure 141. Variant 198.
Figures 14244 are terminated by a falling down-hook (3'). Figure
142 consists of a falling-tangentiacl omplex linked in a broken nexus with the
triadic falling down-hook g-c-e. The tangential complex is the same as in Figure
140. The structure of Figure 143 is similar to that of Figure 142,
except for the substitution of a major second down-flexure for a minor third
down-flexure (2).
'Twa s e - y, ejr - 1
in J. ri
'Twa.s ea - ly, ea - ly in te spring,
Figure 142. Variant 62.
'_ rl rr r mot -f
'TwQs in the ver - y mer-ry month of May
I
a - u - a
2 2/ 32 2
9- -o
3 ' 3
e- \ p - e
4 \/ 4
c- -
A K
e - , - e
2 /\. 3 2
d - - d
2 2
c - - c
I I
b - - b
4 4
9 - - 9
Figure 143. Variant 29.
Quite different is the structure of Figure 144; there an ascending triadic
prefix g-c-e (1 ) and a mixed falling down-hook e-d-b-c (3') are linked in a linear
nexus through the step up-flexure e-g-e (2).
44 KOLINSKI: "BARBARA ALLEN," PART II
9- -9
f iIrf r r
r I r rr W - / -
b- b-
9 -4 -4 9
3 3
Figure 144. Variant 8.
Non-recurrent hree-memberm ovementsm ay be termed three-memberz igzags
and may be subdividedi nto wide-centered,n arrow-centeredw, idening,a nd
narrowing zigzags. Depending on whether the inner member is the widest or the
narrowesto ne, one deals with a wide-centeredo r with a narrow-centeredz igzag;
depending on whether the size of the three members gradually increases or
decreases, one deals with a widening or with a narrowing zigzag; and depending
on the relation between initial and final note and on the direction of the initial
step, one deals with balanced, rising, or falling up- or down-zigzags.
Figures 145-51 are characterized by the occurrence of three-member
zigzags. In Figure 145 the step up-flexure c-e-c (1) is combined in a broken
nexus with a wide-centered balanced step up-zigzag in the fourth area a-c-d (29),
resulting in an indirect step-descent (K). The structure of Figure 146 is rather
similar; but there an ascending fourth prefix (1 ) precedes the up-flexure (2).
The use of an initial g generates a subsequent replacement of the a, employed in
Figure 145, by another g (3').
2r
a- - a
Figure 145. Variant 106 (cf. Var. 109).
K! } 1 -
I
Mr r
' 2-fd d g3
It was a pkas - ant man-ing in May
9
Figure 146. Variant 117.
Quite different is the structure of Figure 147, although it is again terminated
by a wide-centered balanced zigzag (4;). This time it is a mixed downzigzag
with an ascending minor sixth leap (e-c) as axis. This leap occurs as an
KOLINSKI: "BARBARA ALLEN," PART II 45
unexpected grace note. Had the singer omitted it, the melodic structure would
have been completely recurrent (see Fig. 147a); it would have represented the
merging of a widening-standing complex (1+2) with a wide-centered hanging
complex (2-4).
In Soar - let Town where_ I was born,
I K
Figure 147. Variant 47. b - c
2 4 \ b i
2 2 2
b
29-~~~~~~~~22 ~~~~~~ Figure 147a. 2
3 \j' 3 Figure 147a. g -
Figures 148-50 are characterized by a terminal narrow-centered zigzag
forming an indirect descent (K). In Figure 148 the zigzag is preceded by a
progressing step up-pendulum (2) prefixed in a linear nexus by an ascending
major second (1'). The initial ascent c-d-e (I) is replaced in Figure 149 by a
major sixth leap (1'). Figure 150 is one of the very few variants that starts
with a down-flexure (1); it is a mixed flexure followed by a mixed down-zigzag
(2').
e
.
'K
,
K
?
r-4jri i' I r Ir-r J - . 3.
In_ Scar- let Town_ where she was born, 3 I 3
Figure 148. Variant 97.
rlK 2 . 2. 32
2 2 -toPir. 14_r V a 31 3
2 2
Figure 149. Variant 129.
In Soat-d wI r Jran b r
In Scot- lInd I was born and bred
Figure 150. Variant 16.
d - -d
2 2
c
- V
-
c
b
22 2
a 2
- -
9 - -9
KOLINSKI: "BARBARA ALLEN," PART II
Figure 151 represents another type of a non-recurrent three-member
structure: it is a widening mixed down-zigzag.
kJ - n rIT -j J I A
U
Don'Dt onyy'too uu rr-em-m em -bbere r tthh ot- - eo r nniigghhtt
Figure 151. Variant 161.
Figures 152 and 153 show two contrasting types of four-member zigzags.
Figure 152 represents a well organized structure built upon the tonic c.
The step up-flexure c-e-c (1) precedes the zigzag (2*) in which the ascending
major sixth step c-a is balanced by a mixed indirect major sixth descent (K).
A
f TI in lJ- th S ^-jh 'Twos in the pleas - ant month of May,
K
2 2
9- - 9
3 3
2 2
-2 2
c - - c
1 2'
Figure 152. Variant 3.
The four-member zigzag of Figure 153 comprises the whole motive. It
has a concise step structure. Steps 1, 2, and 3 represent an indirect descent in
which the two descending fourths c-g and a-e are linked by the ascending major
second g-a; in turn, steps 2, 3, and 4 form a wide-centered balanced up-zigzag
emphasizing the dominant function of g.
f~~~ac~t ~~... K~ ~
K
c - - I - c
K _ . .. 3 3
Lone- ly, lone - ly was a town
Figure 153. Variant 86.
As pointed out elsewhere, "a comparative analysis of the extraordinary
diversityo f existing types of melodic movement shows a far-reachingim pact of a
fundamental principle of melodic construction upon the music of the world's
peoples. This principle may best be termed recurrence;.. ." (Kolinski 1965:98).
The variantso f "BarbaraA llen" analyzedi n the present study are a good illustration
of this structural trend. Seventy-nine percent of the total of steps employed
46
a' X
KOLINSKI: "BARBARA ALLEN," PART II 47
in the initial motives of the variants are part of a recurrent movement, that is, of
a flexure or of a pendulum. Even more indicative is the fact that in thirty-seven
variants the first half of the tune is exclusively composed of recurrent movements
and that thirty more variants show a rigorously recurrent construction
throughout the whole tune.
Let us first investigate the recurrent structure of the first two lines of the
former group of variants. (In the following analysis of this group the term
"variant" will refer to the first half of the stanza.) Two variants consist of one
recurrent movement. In both instances it is a returning four-member line uppendulum
generated by the merger of two up-flexures. Figure 154 is a homogeneous
pendulum in the quintal area g-c-d. In Figure 155 this area is expanded
to the four-pitch area g-a-c-d. Since the a is skipped in the last member
of the pendulum, the movement becomes digeneous.
F JIr J r r r rr J 'l J . r r r J
Figure 154. Variant 165.
~rz--IhJ r r lrJ r rr rIr l J a-
Figure 155. Variant 182.
In the group of variants under discussion all four conceivable categories of
direct complexes of recurrent movements (standing, hanging, tangential, and
overlapping)a re represented.
The only instance of a standing complex is Figure 156; it consists of two
mixed trigeneous progressing three-member up-pendulums merged in a third
degree nexus into a widening-standingc omplex covering the octave areag -a-b-cd-
e-g.
i i Irr r pje'J S bJr'irrr r j1 r
-
3 ... 3
e e
2 2
dl -- d
d- ~~~ ~ ~ ~ ~ ~ ~ ~ ~ ~~ -
2 2
c - F 5 a
b --b ~~~~~~~~~~~~~22
2 2
9 2 --
i.
Figure 156. Variant 127.
KOLINSKI: "BARBARA ALLEN," PART II
Most frequent is the hanging category. Figures 157-67, representing sixteen
variants,a re narrowing-hangincgo mplexes. They consist of the merger,i n a
third or fourth degree nexus, of a progressing three-member line up-pendulum
with a line up-flexure. The pendulum has the range of a major sixth (g-e) and the
flexure that of a fifth (a-e). The total area covered by a complex is either
pentatypic (g-a-c-d-e;F igs.158-63) or hexatypic (g-a-b-c-d-e;F igs.164-67). Figure
157, representing four variants, shows a homogeneous structure of both
the pendulum and the flexure.
2 2
d&
4 J r r rIrr Ir r J'Ji'rrr ir' -
o I,
2 2 2
g - - 9
Figure 157. Variant 171 (cf Vars. 144,148,178).
In Figures 158 and 59 the pendulum is again homogeneous; but the
elision of c, respectively of d, in the descending member of the flexure upsets
the homogeneousness of the latter movement.
2 2
,-; i rrrIir JJ'lJ rii iL/ .
2 2
Fig. 158. Variant 186.
2 2
jIrr' i r
jf. vIrr I r J - I
3 3
-- :-5
2 2
Figure 159. Variants 153,185.
Figure 160 combines a digeneous pendulum and a homogeneous flexure.
The three remaining pentatypic structures (Figs.161-63) represent different
combinations of two digeneous movements. The hexatypic complexes are characterized
by the merger of a hexatypic pendulum with a pentatypic flexure. The
pendulum is either digeneous (Figs. 165-66) or trigeneous (Figs.164-167); the
flexure is either homogeneous (Figs.164-65) or heterogeneous (Figs.166-67).
48
KOLINSKI: "BARBARA ALLEN," PART II 49
F1ig6u0.r Variant
-
e1 \
2 2
- -d
3 3
Figure +'I J Dr r,l r ^.l '^i2 P'I J -- ' / \
Figure 160. Variant 176.
2 2
d - - e
2 2
Figure 161. Variants 151,152.
2 2
c
3
2 22
- -
162. Variant 155.
2 2
2 2 fi J .Jh1 r i 1'j' Jhi- 3F pJr'i r -
3
2 2
Figure 163. Variant 174.
I J urrr Irr J' I rrr "pJFigure
164. Variant 189.
'JI 1TTr Iir rJJ- nl r rIl yr "
2 2
b - b
2 2
a - - a
2 2 2
9-
I~~~~~~ -
2 2
2 2
- -b
I.
2 2
2 2
2 - I ...--9 - 9
Figure 165. Variant 146.
KOLINSKI: "BARBARA ALLEN," PART II
J Jr r' r r l J.
' J li' r f r Ir J
Figure 166. Variant 154.
r.rJ r rlrr J 'J r r r' J- -
e - - e
2 2
d- -
2 2
b- -b
2 2
2 \/2 2
0 2 .. 9
e -
2
d -
b -
ag
-I
Figure 167. Variant 158.
Notwithstanding the contrasting tonal and metro-rhythmic structure of
Figures 168 and 169, their melodic structure is similar. Both examples represent
balanced and basically symmetric wide-centered hanging complexes combining,
in a fourth degree nexus, two outer up-flexures of equal size (1,3) with
an inner down-flexure (2).
2 . 3,
.4E niJ rr r r rr J JJ r r Ir J -I
2
e- -e
2 2
3 P \ 3
2 \/3 2
. .
Figure 168. Variant 141.
2
b- -d
2 2
c - ..c
I
2 2
2 3 2
f - -f
e - -e
Figure 169. Variant 168.
While Figure 170 is also a wide-centered hanging complex, its structure
is quite different from that of the two preceding examples: on the one hand, the
complex is not balanced because the outer members are of unequal size, and on
the other hand, the last recurrent movement (3) is not an up-flexure but a
progressingu p-pendulumr eversingt he generalt rend of the complex.
50
A 1
A . , ._ 3
r' -r-
_ ' I
l- J. CI1,r - v1l- j J ,-
2
- d
2
_c
- b
2
-a
2
- 9
KOLINSKI: "BARBARA ALLEN," PART II
b-d -b
lt ir rr f rIrJ ?JJ jJrr JirUr . 2. 2..
- -
Figure1 70. Varian1t 30.
At this point it seems appropriate to emphasize the different functions
that a recurrent movement may assume. We saw that, for example, many initial
motives of the versions of "Barbara Allen" consist of an up-flexure. Such a
recurrent movement may be termed thematic. No less important is the role that
recurrent movements play in linking more or less distinct thematic material.
However, there is no clear line of demarkation between thematic and linking
recurrent movements. Moreover, one part of a recurrent movement may be
thematic and another one linking. The following examples will illustrate the
situation.
Figures 171-74 form rising-tangentiacl omplexes consisting of a progressing
up-pendulum and of an up-flexure. The complexes extend over an octave
area, distributed between the two recurrent movements: the pendulum covers
the lower fifth, the flexure the upper fourth. When only the first line of these
variants was analyzed, their melodic structure was identified as an up-flexure; but
in fact the recurrent movement initiated in the first line continues, extending the
flexure to a pendulum(1), which merges with the subsequent flexure (2) into a
rising-tangentiacl omplex.
c - c
b - -
2 2
a - -
2 i 2
d 2
2 2
I
al dlJ Ji. jjijl. 'JJr ir rIi tj -
Figure1 71. Varian6t a.
P J ir r rrJ JJ IIrr r r r r'
9- g- - 9
2 /\
3
2 2
d -
2 d2 2
2 2
'I'
Figure 172. Variant 5.
d - - d
2 2
c 7 \ c
I / I
51
KOLINSKI: "BARBARA ALLEN," PART II
r 2
.im
.
J JInJ. l rJ pI1 R.v ,
Figure 173. Variant 15.
It JI J. lni. l I r r I J ,, ,I
2.2 2
I i
b2 2
4 4/
2 2
2 2
2
_
Figure 174. Variant 14.
Figures 175 and 176 are rising-overlappingc omplexes. As in the case of
the rising-tangentiacl omplexes, they consist of a progressingu p-penduluma nd
of an up-flexure; but now the range of the complexes reaches a major ninth,
resultingf rom an overlappingo f the lower majors ixth areac -e-f-g-a,r espectively
c-d-e-g-a,o f the pendulum (1) with the upper pentachordala reag -a-b-c-do f the
flexure (2). When considered separately, the first and the second line of the
stanza form each an up-flexure, but again the recurrent movement initiated in
the first line continues, extending the flexure to a pendulum (1) which merges,
in a second degree nexus, with the subsequent flexure (2) into a rising-overlapping
complex.
2 2
b b
2 2
4 y \y 4
Figure 175. Variant 10.
I .2
d- -
2 2
c- -
I I~~~~~~~~~~~~~~~~~~~ b-
2 2
a- -a
2 2
9- 4
3 3L
c- ~ ~ ~ ~ -
2 2
d 2 2 2
c -- I~~~~_
Figure 176. Variant 2.
A
A .
i
#1jIIJ J JJJI jj'JJ JIJrrrrltJJ -
52
bc
e
cd
KOLINSKI: "BARBARA ALLEN," PART II
The trend of the preceding rising complexes is completely reversed in
Figure 177. There the second line of the stanza represents a strict transposition
of the first line a fourth down from the pentachordal area d-e-f-g-a to
a-b-c-d-e. An up-flexure (1) merges, in a second degree nexus, with a progressing
down-pendulum( 2) into a falling-overlappingc omplex, the first membero f the
pendulum linking the two lines of the stanza.
b - -
t
2U ; - 2V
2 2
2 2
b-I b
2 2
Figure 177. Variant 166.
The aforementioned examples show that recurrent movements do not
necessarily represent formal entities but often serve to establish a link between
consecutive motives or phrases.
Several variants of the group under analysis are composed of a merger of
two categories of complexes of recurrent movements. We find the following
combinations of complexes: widening-standingp lus narrowing-hangingw, idening-
standingp lus rising-tangentialw, idening-standingp lus high-centeredt angential,
narrowing-standingp lus rising-tangential,r ising-tangentialp lus narrowingstanding,
r ising-tangentiapl lus widening-hangingr, ising-overlappinpgl us narrowing-
standinga, nd falling-overlappinpg lus narrowing-hanging.
Figure 178 comprises a step up-flexure in the major third c-e (1), a
mixed trigeneous progressing up-pendulum in the quintal area c-d-e-g (2), and a
mixed digeneous up-pendulum in the quartal area d-e-g resulting from a repeat of
the up-line d-e-g( 3). Movements1 +2 form a widening-standingc omplex in a first
degree nexus, movements 2+3 a narrowing-hangingco mplex in a third degree
nexus.
9 0-9
tjjjjj. . Jij'J. ' J2 J,. j J 2,I ,, ,.
1 2
Figure 178. Variant 108.
53
KOLINSKI: "BARBARA ALLEN," PART II
Similar to the previous example, the first two recurrent movements of
Figure 179 represent a widening-standing complex (1+2) in the quintal area
c-d-e-g. But while the previous example was limited to this area, the third recurrent
movement now consists of a heterogeneous line up-flexure in the tetrachordal
area g-a-b-c (3), which forms with the preceding movement a rising-tangential
complex extending over the octave area c-e-g-a-b-c(2 +3).
- 2 I / -2
2 2 1
Figure 179. Variant 1.
Figure 180 again represents a merger of a widening-standingw ith a
tangential complex, but now the latter consists of three instead of two members
and constitutes an unbalanced high-centered tangential complex composed of a
progressing step up-pendulum in the fifth c-g (2), of a homogeneous up-flexure
in the quartal area g-a-c (3), and of a step down-flexure in the minor third e-g
(4). The first and third recurrent movement have a similar melodic but contrasting
tonal and rhythmic structure (1,3).
3 3
: IJJ. . _J lLJ Jlir . r J i J J - :3 -7 :3 :
2 2
Figure 180. Variant 111.
In Figure 181 the second recurrent movement (2) has the same quintal
range c-g as in Figures 178-80, but the first movement (1) covers the major
sixth area c-d-e-g-a rather than being limited to the lower major third. As a
result, the first two movements (1+2) form not a widening-standingb ut a narrowing-
standingc omplex in a fourth degreen exus. Noteworthy is the opposition
in the structure of the direct ascent I in Figures 179 and 181: in the former
case the fifth step c-g is followed by the tetrachordg -a-b-c;i n the latter case the
pentachord c-d-e-f-g is followed by the fourth step g-c.
54
KOLINSKI: "BARBARA ALLEN," PART II
2 * 3
i.1JJ J . . IlJ' j nJ J r ppllJ- '
c - -- c
I I
b - -
2 2
2 2
9 9
2 2
- - t
I I
2 2
2 2
c - - c~~~~
Figure1 81. Varian1t 8.
Figure 182 also comprises a narrowing-standinga nd a rising-tangential
complex, but the order is reversed:a trigeneousm ixed progressingu p-pendulum
in the quintal area c-d-e-g (1) merges with a mixed up-flexure in the quartal area
g-b-c (2) into a rising-tangentiacl omplex, while the latter (2) forms with the
subsequents tep up-flexureg -a-g( 3) a narrowing-standincgo mplex.
j I J J jI i 'jj Irr'- JI
c- -c
b - - b
2 2
2 2
9 - 9
3 2 3 3
- e
2 2
d-- d
2 2
I
/- V -
I I
Figure1 82. Varian7t .
The second line of the stanza consists in Figure 178 of a pendulum, in
Figure 179 of a flexure, in Figure 180 of a falling-tangentialc omplex, and
in Figure 182 of a narrowing-standingc omplex. A new feature appears in
Figure 183 where the second line representsa widening-hangingc omplex composed
of a progressing step up-pendulum in the minor third e-g (2) and of a
mixed down-flexure in the quartal area d-e-g (3). The variant starts with a
trigeneous mixed progressing up-pendulum in the major sixth area g-a-c-e (1),
which forms with the subsequentp enduluma rising-tangentiacl omplex (1+2).
I 2 . -
3
- 2
3 3
-g - e
2 2
d- - d
2 2
Fgr18.V3 3
2 / 2
9- - g
Figure1 83. Varian1t 20.
A
55
Dd J j jr r i-rI J IJ -ll r i i r l .
-
2 3
a
KOLINSKI: "BARBARA ALLEN," PART II
A comparison between Figures 184 and 185 shows the structural opposition
between a rising-overlappinagn d a falling-overlappingco mplex. Figure
184 starts with a trigeneous mixed up-pendulum in the lower major sixth area
g-c-d-e (1) which merges, in a second degree nexus, with a heterogeneous line
up-flexure in the upper major sixth area c-e-g-a (2) into a rising-overlapping
complex (1+2). On the other hand, Figure 185 starts with a heterogeneous line
up-flexure in the upper major sixth area c-d-e-g-a (1) which merges, in a fourth
degree nexus, with a heterogeneous line down-flexure in the lower octave area
g-c-d-e-g( 2) into a falling-overlappingco mplex (1+2). Movements2 and 3 form
in Figure 184 a narrowmg-standing complex, in Figure 185 a narrowinghanging
complex.
2 3
9
IJ rrr rirr rirrR r -
a -e
44rv- ir tf ir 'Jr r f ^r ^2
Figure1 85. Varian7t 8.
The thirty variants that are entirely composed of recurrent movements
show a great diversity of melodic structures ranging from one single complex to
combinations of all four categories of direct complexeso f recurrentm ovements.
Figure 186 represe a a ntered standing complex. A tetrageneous
returning six-member up-flexure in the octave area C-f-g-a extends
over the first three lines of the stanza (1). It generates from a combination of
three up-flexures: the identical first and third flexures covering the first and
third line are thematic, while the inner flexure has a linking function. The fourth
line forms a widening-standingc omplex consisting of a step up-flexurei n the
major second C-d and of a mixed up-flexure containing the pentachordal descent
g-f-e-d-C.
56
KOLINSKI: "BARBARA ALLEN," PART II
IJ IrJ-2jj j1 IjTij L.r_I
'
. IJ m IJ .L j, j .-i.h I
b -b
2 2
C -, C
Figure 186. Variant 197.
Five variants are composed of two categories of complexes of recurrent
movements; we find combinations of standing and hanging complexes
(Figs. 187-88), of a standing and a tangential complex (Fig. 189), and of hanging
and tangential complexes (Figs. 190-91).
All recurrent movements of Figure 187 are pendulums. The tune starts
with a tetrageneous returning up-pendulum in the upper hexachordal area g-a-bc-
de (1) which covers the first half of the stanza and leads to the beginning of
the second half. This pendulum initiates a three-member narrowing-standing
complex (1-3); the two subsequentr ecurrentm ovementsa re a progressingm ixed
trigeneous down-pendulum in the tetrachordal area g-a-b-c (2) and a progressing
step down-pendulum in the major second g-a (3). The latter merges with another
progressingd own-penduluma, digeneousl ine movementi n the lower majors ixth
area C-d-e-g-a,i nto a widening-hangingc omplex. All pendulumsa re linked in a
second degree nexus.
z J I r' 'il J t '1JT J r r r i r I
JJ - pFr ITJlJ L J ' J J J I j 1 I
e -- - e
2 2
2 K 2
2 2
b
I
2 3 4 2
-
a- -a
2 2
g 1
2
& g
31 ~~~~~~~~~~~~~~~~3
2 2
d Fu
2 2
C & --
Figure1 87. Varian1t 70.
57
KOLINSKI: "BARBARA ALLEN," PART II
As in the preceding variant, the first four movements of Figure 188
represent a combination of a narrowing-standingth ree-memberc omplex (1-3)
and of a widening-hangingco mplex (4). But since the stanza comprisesf ive lines,
the latter complex is extended to an unbalanced wide-centered hanging complex
(3-5) which leads to a balancedn arrow-centereds tandingc omplex (5-7).
^|)J 1 1rjr r rR r I ~J J'J~ JI rr rr rr ~i ' J' r
- ' 'Jif 1l
'I^ i J J J. h'j IjJJ 1j ;J IJ J I
d- I --d C
2 2
3 3
Figure 188. Variant 179
The melodic structure of Figure 189 is dominated by an extended balanced
wide-centered standing complex (1-3) which covers the first three lines of
the stanza. The outer members are mixed up-pendulums moving in the major
third areaC -d-e;t hey are a progressings even-memberp endulumc haracterizedb y
an alternation of up-steps and down-lines (1) and a returning four-member pendulum
(3). The center is formed by a mixed up-flexure in the triadic area C-e-g
(2); this flexure links the two halves of the stanza. The second pendulum merges
with a homogeneous down-flexure in the quartal area g-a-C (4) into a fallingtangential
complex (3+4).
fi r Pr p ir p r p Ir-pr p Ip r
j^ir i PpIrlr gl.r prlrr? r
9 I -
3 3.
9
2 2
9- -d
2 4 2
3 1 2 _33 o
2 2
9 -. - 9
Figure 189. Variant 64.
58
KOLINSKI: "BARBARA ALLEN," PART II
In Figure 190 the first two (1+2) and the last two (3+4) recurrent
movements merge into two narrowing-hangincgo mplexes, while the two inner
recurrentm ovements (2+3) form a falling-tangentiacl omplex the axis of which
is a major tenth descent comprising the whole tone material used in the tune (I).
Each of the four recurrent movements has a different structure: the first is a
homogeneous progressing up-pendulum in the upper major sixth area g-a-c-d-e;
the second is a digeneous returning up-pendulum in the quintal area a-c-d-e; the
third is a heterogeneousd own-flexurei n the lower majors ixth areac -D-e-g-at;h e
fourth is a heterogeneous up-flexure in the quintal area D-e-g-a.
p; I J r r r ir JLr ' IJ r r r Ir r J 'I
r r r [rniiJ n iJ j Ij
I
e -- - e
2 2
d-
2 2
33 3
2 a
2 2
3 3
2 O
2 2
O - O , c~ L-
2
..
2
c -
Figure 190. Variant 175.
In its melodic overall structure Figure 191 is similar to the previous
example. Again the first and last two recurrent movements each form a narrowing-
hanging complex (1+2, 4+5); but the inner structure is extended from a
two-member to a three-memberf alling-tangentialc omplex consisting of a step
up-flexure in the major second a-b (2), of a digeneous mixed down-pendulum in
the quartal area e-g-a (3), and of a heterogeneous line down-flexure in the lower
hexachordala rea g-A-b-c-d-e( 4). Moreover,t he direct descent I of Figure 190
is replaced by an indirect descent (K) which leads from the highest to the lowest
note of the major tenth range.
Two thirds of the variants under discussion are composed of three different
categories of direct complexes of recurrent movements; they are mostly
combinations of standing, hanging, and tangential complexes. In general, the
standing and hanging complexes are narrowing, the tangential complexes are
falling. The structures comprise chains of three to seven complexes.
59
60 KOLINSKI: "BARBARA ALLEN," PART II
b I K b
2 1 2
. - - a
2 2
9 - - 9
2 2
- t
b b
2 2
2 1 2
b -
I
b
2 2
g - __ g
Figure 191. Variant 191.
The melodic pattern of Figures 192 and 193 is basically similar. In both
variants movements 1 and 2 form a narrowing-standincgo mplex, movements 2
and 3 a falling-tangentiacl omplex, and movements3 and 4 a narrowing-hanging
complex. However, all corresponding simple movements are more or less different;
the homogeneous returning line up-pendulum 1 covers in Figure 192 the
major sixth area g-a-c-d-e, in Figure 193 the quintal area g-a-c-d; the digeneous
progressing line down-pendulum 2 comprises in Figure 192 the quintal area
g-a-c-d, in Figure 193 the tetrachordal area g-a-b-c; the heterogeneous line
down-flexure 3 moves in Figure 192 within the quintal area c-D-e-g, in Figure
193 within the minor sixth area b-C-e-g; and movement 4 is in Figure
192 a homogeneous up-flexure in the quartal area D-e-g, in Figure 193 a
mixed up-flexure containing the descending pentachord g-f-e-d-C. As in several
other variants, an indirect descent leads from the highest to the lowest note of
the song.
J2 i1J r r r ri r IJ '. IJ r r r ir
j 1i J I~rX j
1 J J J - iXt J
e - - e
2 1\2 I 2
d -
Fgr 2 2
c
-
- c
3 3- a
2 3 22
9 - OI
3 1 3
2 2
2 2 F - 1 V
Figure 192. Variant 173.
I 1 1 '
MITJ J I1: -inn: 5 In i J nr 1 I _
~
KOLINSKI: "BARBARA ALLEN," PART II
j IJ Jj r r Ir J J 'J IJ J r r I r '- J
J lir r J i j J X Ij J Jj I J I
K
d - I / S - d
2 /\2 2
C- -C
b~~~~~~~2 -2
2 2 f
2 2
d:VA
2
2 2
C - -c
4 b
b2
Figure 193. Variant 190.
Figure 194 contains the same types of complexes, but they appear in a
different order: the narrowing-hangincgo mplex initiates rather than terminates
the tune, while the narrowing-standinagn d the falling-tangentiacl omplex move
from the first and second place to the second and third place. A homogeneous
progressing up-pendulum in the major sixth area g-a-D-e and a homogeneous
up-flexure in the quintal area a-D-e merge in a third degree nexus into a narrowing-
hanging complex (1+2). Movement 2 and a trigeneous mixed down-pendulum
in the tetrachordal area a-b-c-D form in a second degree nexus a narrowingstandingc
omplex (2+3). The terminalf alling-tangentiacl omplex resultsf rom the
mergero f movement 3 with a digeneous progressingli ne down-pendulumi n the
lower fifth area D-e-g-a (3+4).
JiJ rr r r I 4'JJ li rFr ;i' Ir
Fr IF ?r Ji IJ j j. ,IJ J J J IJ J I
Figure 194. Variant 150.
61
KOLINSKI: "BARBARA ALLEN," PART II
Figure 195 is important in that it represents seven variants. The tune
consists of a chain of four complexes of recurrent movements: a narrowing-hanging
(1+2), a narrowing-standing(2 +3), a falling-tangentia(l 3+4), and another
narrowing-hangin(g4 +5) complex. This structurei s a variation of that of Figure
194 through the replacement of the terminalp rogressingd own-pendulum
4 by a narrowing-hangincgo mplex (4+5). A characteristicf eature of the structure
is a chain of four homogeneous recurrent movements (1-4) resulting in a
very smooth melodic line.
iJ IJ r r r ir- p i 'J i r r r
JJ ir r r I JJ yj Iy J IjJ
2 2
d - - d
The melodic structure of Figure 196 differs from that of the preceding
example mainly because of the insertion of another recurrent movement in the
fifth measure. Tlhis diversification parallels an extension of this measure from
4/4 (in Fig.195) to 3/2 (in Fig.196). The added movement is a mixed up-flexure
in the minor third area a-b-c (4). As a result, the narrowing-standing two-member
complex 2+3 of Figure 195 is extended to a narrowing-standintgh ree-member
complex (24). Because of this variation the indirect d entK starts on the
second highest rather than on the highest note of the range. The last flexure,
which in Figure 195 represented the only heterogeneous movement, is now
homogeneous (6) along with the first two recurrent movements (1,2).
Figure 197 is o r is etene to a diversification of the melodic structure
of Figure 195. Now it consists of the insertion of a down-flexure in the
major second g-a (4) which extends the narrowing-hangingco mplex 4+5 of
Figure 195 to an unbalanced wide-centered hanging complex (4-6). This
change generates an indirect five-member descent (K) covering the whole major
tenth range of the tune.
62
KOLINSKI: "BARBARA ALLEN," PART II 63
4 J iJ r r r1 F II pJ riar
'rr 'J . 'J Jj. J. Jltj j I
2_ 3 K 2
cl - I - d
2 1 2
b -
09~~~~~~~~~~~-~~ a
~~~Fiue162 V
D - \ 9*- D9
2
c -- 1
Figure1 96. Varian1t 47.
t'J IJ r r pir [ J ''Jr ji r i J '
J I Lrj 'I r J J J n! J J I
e - -- e
2 2
2 2
2 g
D - _2a
2 2
Figure1 97. Varian1t 80.
While the insertion of a recurrent movement in the two previous examples
caused an extension of two-member complexes to three-member complexes
(Fig. 196;2-4; Fig.197;4-6), the addition of a progressing down-pendulum in the
major second D-e at the end of Figure 198 (6) creates a narrowing-standing
complex (5+6), increasing the number of consecutive complexes of recurrent
movements from four to five. The tune starts and ends with a combination of a
narrowing-hanginga nd a narrowing-standingc omplex (1-3 and 4-6); but the
former couple of complexes covers the upper majors ixth areag -a-c-d-ew hile the
latter comprises the lower major sixth area c-D-e-g-a.
The increase of the size of a stanza from four to six lines accounts only
partly for the considerably more diversified melodic structure of Figure 199.
The initial narrowing-hangingc omplex of the previous five examples is now
replaced by a balanced and virtually symmetric wide-centered hanging complex
64 KOLINSKI: "BARBARA ALLEN," PART II
(1-3) in a third degree nexus. It consists of two outer up-flexures in the quintal
area e-g-a-b( 1,3) and an inner down-flexurei n the majors ixth aread -e-g-a-b( 2).
This three-member structure leads to another three-member pattern, a narrowing-
standing complex (3-5). Far more prominent is a third three-member structure.
It is caused by the lengthening of the stanza and represents a balanced
wide-centered standing complex (7-9) in a second degree nexus. An unusually
wide homogeneous up-flexure extending over the major ninth area A-e-g-a-b
forms the center, framed by a progressing up-pendulum (7) and a progressing
down-pendulum( 9) in the quintal areaA -c-d-e.
D 1 , , 2. K 3 vJ IJ r r r ir r J J IJ r r r Ir pJ
J Ir 4ru n. _ 'J JI J n I
IJJ Ir T I J J '^ J JJ.. I J
2-
2 \_2 " "
2 2 D
Figure 199. Variant 183.
The insertion in Figure 200, of a returning down-pendulum in the major
second g-A (2) extends the initial narrowing-hangingc omplex of Figures
KOLINSKI: "BARBARA ALLEN," PART II
195,196, and 198 (1+2) to a combination of a narrowing-standinagn d a risingtangential
complex (1-3), increasing the number of complexes of recurrent movements
comprised in one variant to six. The returning step down-pendulum 2,
which links the first and second line of the stanza, is extended, in the second
half of the stanza, to a returningh omogeneousl ine down-pendulumin the lower
quartal area e-g-A (5). The latter forms with the preceding progressing downpendulumi
n the minor third A-c (4) a falling-tangentiacl omplex (4+5), and with
the subsequent progressing up-pendulum in the major second g-A (6) a narrowing-
hangingc omplex (5+6). The latter pendulum links the third with the fourth
line which is similar to the first line of the stanza. Movements 6-8 form a
balanced wide-centered standing complex. We saw that in the preceding example
the last three recurrent movements also merge into a balanced wide-centered
standing complex. However, not only the structure of the recurrent movements
but also the function of the two complexes is quite different: in Figure 199
the complex 7-9 covers six measures comprising the whole second half of the
six-line stanza, while the corresponding complex in Figure 200 (6-8) is condensed
to the last three measures.
I rr . ' i r [ i J
2 4 2
2 2
3 3
Figure 200. Variant 163.
The melodic structure of Figure 201 substantially differs from that of
the preceding versions. The most salient feature is the arch shape of the melodic
line. Broadly speaking, the first and fourth line of the stanza move in the lower
register, the second and third line in the upper register. The tune comprises seven
complexes of recurrent movements, the largest number of complexes found in
one variant. Two mixed progressing up-pendulums, the first in the major third
area C-d-e (1) and the second in the quintal area C-d-e-g (2), merge, in a second
degree nexus, into a widening-standingc omplex, a rarelyu sed type of structure.
A rising-tangentialc omplex consisting of pendulum 2 and a homogeneous upflexure
in the quartal area g-a-c (3) produces the shift from the lower to the
65
KOLINSKI: "BARBARA ALLEN," PART II
upper register, with the octave ascent C-g-a-c (I) serving as axis of the complex.
The centerpiece of the structure is composed of a homogeneous progressing
down-pendulum in the upper minor sixth area e-g-a-c (4) framed, in a third
degree nexus, by two other homogeneous movements:t he above-mentionedu pflexure
3 and a progressing down-pendulum in the quartal area e-g-a (5). As a
counterpart of the rising-tangentiacl omplex 2+3, a falling-tangentialc omplex
leads back to the lower register. It consists of pendulum 5 and of a mixed
progressingd own-pendulumin the majort hird areaC -d-e( 6) which representsa n
exact directional inversion of pendulum 1. Unusual is the chain of three progressing
down-pendulums (4-6). The direct octave ascent I is balanced by the
indirect octave descent K. The downward trend is complemented by the indirect
quintal descent L. These two indirect descents move from the highest to the
lowest note of the minor tenth range. The aforementioned falling-tangential
complex 5+6 links two narrowing-standincgo mplexes, 4+5 and 6+7, while the
latter complex (6+7) links two contrastingf alling-tangentiacl omplexes: one is
composed of no less than eleven steps (5+6), while the other is limited to a
combination of two step-flexures emphasizing the finalis C, the up-flexure
C-d-C (7), and the down-flexure C-a-C (8).
lt lJ ni. ~!. i~. j Ij J. aJ jI
Ja igJ .L_ 'i.,' n j Jii J. jilt
t
'- -4 ,., K ,c
3 5 u 3
a- - a
2 2
9- -9
3 .. 3 6 L 3
c-- e
~~~~~~~~C ~2 2
2 8 ..2
C- - c
3 3 7 3
a - - CL
Figure2 01. Varian6t 3.
The melodic structure of three variants (Figs. 202-04) consists of a combination
of standing,h anging,a nd overlappingc omplexes.
Figure 202 has a very concise overall structure; it comprises a narrowing-
standinga nd a narrowing-hangincgo mplex (1+2 and 3+4) linked with one
another by a falling-overlappingc omplex (2+3). However, the pendulumsa nd
flexures contained in these complexes are more or less elaborate. The narrowing-
standing complex (1+2) contains two extended homogeneous pendulums
merging in a fourth degree nexus: a returning up-pendulum in the upper major
66
KOLINSKI: "BARBARA ALLEN," PART II 67
sixth area d-e-g-a-b (1) and a progressing down-pendulum in the quintal area
d-e-g-a (2). A heterogeneous down-flexure in the lower hexachordal area g-A-bc-
d-e (3) merges, in a second degree nexus, with the preceding pendulum 2 into
the aforementioned falling-overlappingc omplex (2+3) and, in a third degree
nexus, with the subsequent heterogeneous up-flexure in the quintal area A-b-d-e
(4) into the narrowing-hangincgo mplex (3+4). Although the terminalf lexure (4)
is to be classified as heterogeneous, its two members have a similar structure in
that both of them (A-d-e and e-b-A) consist of a combination of a fourth step
and of major second step. The flow of the melodic line is very smooth partly
because of the prominence of homogeneous structures and partly because of the
subdivision of the directional members into a number of steps adjacent in the
scale, except for the two fourths contained in the terminal flexure. Characteristic
of the general downward trend of the structure is the indirect descent K
which comprises no less than fourteen steps and which leads from the highest to
the lowest note of the major tenth range.
$ j I J J r IJ J jj i J J i; J J
IJ 1 JJ I!T j 1J J l j I 11
b - I - b
2 2
2 2
2 2
A 2
g --
Figure 202. Variant 184.
The melodic structure of Figure 203 has much in common with that of
the preceding example, notwithstanding a smaller range and a partly different
tonal structure. In fact, the total melodic structure of Figure 202 (movements
1-4) corresponds to the melodic structure of movements 2-5 of Figure 203.
Pendulum 1 of the precedinge xample is replaced by a narrowing-hangincgo mplex
consisting of a homogeneous progressing up-pendulum in the major sixth
area c-d-g-a (1) and a homogeneous up-flexure in the quintal area d-g-a (2). A
digeneous progressing down-pendulum in the tetrachordal area d-e-f-g (3) substitutes
for a homogeneous pendulum in the quintal area d-e-g-a (movement 2 of
K
KOLINSKI: "BARBARA ALLEN," PART II
Fig.202), and a homogeneous down-flexure in the pentatypic major sixth area
g-A-b-d-e (4) substitutes for a heterogeneous flexure in the hexatypic area g-A-bc-
d-e (movement 3 of Fig.202).
t I j o J J IJ J J I Ij J J I Ij
j I. J j I Jn f1 I 4 j J
K
2 2
.' 1 .2
2 2
f - -f
A _ -4
2 2
9 - -Q
I~~~~~~~~~~~~~~~~~I I
b - - b 2~~~~~~~~~~~~~~ 2
A~ 2~ ~~~~~~"
2 2
Figure 203. Variant 164.
Very unusual in Figure 204 is an extended overlapping structure embracing
no less than four recurrent movements (3-6). This four-member complex
representsa merger of a rising-overlappingtw o-memberc omplex (3+4) with a
falling-overlappingth ree-memberc omplex (4-6). The former is composed of a
mixed down-flexure in the quartal area d-e-g (3) and a homogeneous up-flexure
in the upper quartal area e-g-a (4), while the latter embraces flexure 4 and two
heterogeneousp rogressingd own-pendulumsin the quintala reaC -d-e-g( 5), respectively
in the lower major sixth area g-a-C-d-e( 6). The first two and the last two
recurrentm ovements each form a narrowing-standincgo mplex (1+2 and 6+7).
The former complex consists of two homogeneous movements: an up-flexure in
the upper majors ixth areaC -e-g-a( 1) and a down-flexurei n the triadica reaC -e-g
(2). The latter complex comprises the aforementioned pendulum 6 and a homogeneous
down-flexure in the lower quartal area g-a-C (7). The movements 2 and
3 form a narrowing-hangincgo mplex. There is a specific correlationb etween the
two quartal down-flexures 3 and 7: the former terminates the first half of the
stanza on the dominant G, while the latter is placed a fifth lower and concludes
the tune on the tonic C. Also noteworthy is the partial balance between the
indirect ascent K and the subsequent indirect descent L.
Each of the four remaining variants is composed of all four conceivable
categories of direct complexes of recurrent movements, that is, of standing,
hanging,t angential,a nd overlappingc omplexes.
68
KOLINSKI: "BARBARA ALLEN," PART II
-.. I 3 i. I 2 Lg
C - 0 z ' - a
2 2)g9> L A7
3- ; K - 3
Figure 204. Variant 59.
Judging from the melodic structure at the beginning of Figures 204 and
205, there seems to be no particular connection between these two variants:
Figure 204 starts with a narrowing-standingc omplex in the upper majors ixth
area C-e-g-a( 1+2) and is followed by a narrowing-hangincgo mplex (2+3), while
Figure 205 starts with a widening-hangingc omplex in the lower quintal area
g-a-C-d (1+2) and is followed by a rising-tangential complex (2+3). But the
continuation of the two versions shows a close resemblance in their melodic
structure: we find again the peculiar overlapping four-member complex, which
comprises the recurrent movements 3-6 and is terminated by a narrowing-standing
complex (6+7). However, the progressing down-pendulum 6, which in Figure
204 contains ten steps, is streamlined in Figure 205 through the elimination of
five passing notes so that the structure of pendulums 5 and 6 becomes purely
triadic. This time the balance between the indirect ascent K and the subsequent
indirect descent L is complete and structurally more significant: both ascent and
descent cover the whole major ninth range of the tune.
2 Ki 3 n 4
-P 2S14I J J 4J . 4
1JA1! IJ
J L W' J. J IJJ. -J- J. 4 1,.
m L
a - I - a
2 . 5 x 2
3 3
2 2 2
d d
2 2
3
Figure 205. Variant 92.
69
KOLINSKI: "BARBARA ALLEN," PART II
The melodic structure of Figure 206 shows the following characteristic
features: the recurrent movements 3-6 form a chain of homogeneous patterns,
the first of which is an up-flexure in the upper quartal area g-a-c (3), while the
three others are progressing down-pendulums in the upper minor sixth area
e-g-a-c (4), in the quintal area C-d-e-g (5), and in the lower minor seventh area
a-C-d-e-g (6). Even regardless of their homogeneousness, a succession of three
progressing down-pendulums is quite unusual. The tune is framed by two step
flexures, the terminal minor third down-flexure C-a-C (7) being an inverted
imitation in the lower fifth of the initial minor third up-flexure e-g-e (1). The
only heterogeneous movement is a mixed down-flexure in the quintal area
C-d-e-g (2). Exceptional is the prominence of widening-hanging complexes,
which in previous variants occurred only three times (Figs. 187,201,205). The
recurrent movements 1, 3, and 5 merge in a second, third, and fourth degree
nexus with the subsequent movements 2, 4, and 6 into three distinct wideninghanging
complexes (1+2, 3+4, and 5+6). They are followed by a rising-tangential
(2+3), respectively by a falling-overlapping(4 +5), and by a narrowing-standing
complex (6+7). The indirect descent K, which covers the entire minor tenth
range of the tune, consists of no less than twelve steps.
1 2
jjj. j I
4
J2 1 j z
J J
1
J
,.nJ JI J. 'j nij. IjJj. njjIj. 'J
C-
~~~~~~~~~~I~ 3 v ~~3
Figure2 06. Varian1t 10.
Figure 207 contains the only instance of a rising-overlapping threemember
complex. It includes the indirect octave ascent K and is composed of a
homogeneous down-flexure in the quintal area a-C-d-e (2), of a mixed progressing
up-pendulum in the quartal area d-e-g (3), and of a homogeneous up-flexure
in the upper quartal area e-g-a (4). This overlapping complex is preceded by a
widening-hangingc omplex (1+2) and is followed by a narrowing-standin(g4 +5),
a falling-tangential( 5+6), a narrowing-hangin(g6 +7), and another narrowingstanding
complex (7+8). This variant shares with the following one an exception-
70
KOLINSKI: "BARBARA ALLEN," PART II
al feature: the gradual narrowing of the last four directional members (Fig.207,
M and Fig.208, L).
I L J J J ij . :IJ J4. 1 jJ
IJ J J. J i7J 1. jIJJJ. J I 4. I
Figure 207. Variant 104.
Figure 208 starts with a rising-tangential complex (1+2) which comprises
the entire tone material used in the tune. Its axis, the direct ascent I,
covers the whole major ninth range; it is balanced by the indirect descent K
which leads from the highest to the lowest note. The aforementioned risingtangential
complex initiates a chain of direct complexes of recurrent movements;
it is followed by a widening-hanging( 2+3), a narrowing-standing(3 +4), a
falling-tangentia(l4 +5), a rising-overlappin(g5 +6), and another narrowing-standing
complex (6+7).
't1^J1i4^: lJ j 'i1 J ?J4iJJ
a
a
d
C
C
Figure 208. Variant 116.
There is a marked preference for certain types of direct complexes of
recurrent movements: 75 percent of the 120 complexes contained in the thirty
71
a
C
'I
a
9
c
9
KOLINSKI: "BARBARA ALLEN," PART II
complete variants under discussion are either narrowing-hangin(g3 0 percent),
narrowing-standing(2 7 percent), or falling-tangentia(l 18 percent). Particularly
striking is the virtual absence of the widening-standings pecies, which occurs
only in one of these variants (Fig.201).
It might be useful to conclude the present study with a brief reflexion on a
seeming paradox. As far as tonal and melodic structure is concerned we saw that
the opening motives of a numbero f variantso f "BarbaraA llen" closely resemble
different samples taken from most contrasting musical cultures; on the other
hand we found a considerable diversity of patterns not only within one musical
culture but even with regard to different versions of one and the same piece. Far
from being contradictory, the coexistence of these two phenomena results from
a greater or lesser impact of general intercultural structural trends upon the
unlimited potentials of musical creativity. How the interplay between these two
fundamental agents crystallizes into distinct musical styles largely depends upon
the particular character of the cultural setting in which the musical manifestations
of a given society are rooted.
University of Toronto
Toronto, Ontario, Canada
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72
KOLINSKI: "BARBARA ALLEN," PART II 73
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