OOTNOTE: The strictly diatonic church modes (not to be confounded with
the ancient Greek modes bearing the same names) differ from each other
by the position of the two semitones: the Ionian is like our C major;
the Dorian, Phrygian, Lydian, Mixolydian, Aeolian. &c., are like the
series of natural notes starting respectively from d, c, f, g, a, &c.
The characteristic interval of the Hungarian scale is the augmented
second (a, b, c, d#, e, f, g#, a).]

The melodic progression, not always immediate, of an augmented fourth
and major seventh occurs frequently, and that of an augmented second
occasionally. Skips of a third after or before one or more steps of a
second are very common. In connection with these skips of a third may be
mentioned that one meets with melodies evidently based on a scale with a
degree less than our major and minor scales, having in one place a step
of a third instead of a second. [FOOTNOTE: Connoisseurs of Scotch music,
on becoming acquainted with Polish music, will be incited by many traits
of the latter to undertake a comparative study of the two.] The opening
and the closing note stand often to each other in the relation of a
second, sometimes also of a seventh. The numerous peculiarities to be
met with in Polish folkmusic with regard to melodic progression are not
likely to be reducible to one tonality or a simple system of tonalities.
Time and district of origin have much to do with the formal character of
the melodies. And besides political, social, and local influences
direct musical ones--the mediaeval church music, eastern secular music,
&c.--have to be taken into account. Of most Polish melodies it may be
said that they are as capricious as they are piquant. Any attempt to
harmonise them according to our tonal system must end in failure.
Many of them would, indeed, be spoiled by any kind of harmony, being
essentially melodic, not outgrowths of harmony.

[FOOTNOTE: To those who wish to study this subject may be recommended
Oskar Kolberg's Piesni Ludu Polskiego (Warsaw, 1857), the best
collection of Polish folk-songs. Charles Lipinski's collection, Piesni
Polskie i Ruskie Luttu Galicyjskiego, although much less interesting, is
yet noteworthy.]

To treat, however, this subject adequately, one requires volumes, not
pages; to speak on it authoritatively, one must have studied it more
thoroughly than I have done. The following melodies and snatches of
melodies will to some extent illustrate w