terminations.

I surmise that the song in its entirety, including the above elemental
groups, is the invention of the singer. He has equipped himself with
these particular tonal fragments, because they not only suit his fancy,
but lie well within the range of his vocal attainments. He has used
them so frequently and in such varied forms that he can instantly
twist, turn, or alter them to fit the requirements of the various
syllables of his ever changing flatteries.

With a few such elemental groups of his own invention at command,
any singer would be well equipped to extemporize for the delectation
of his host and the entertainment of the other guests.

The song is exceptional for strongly accented notes. The triplets
giving the value of three quarter notes in the time of two are rather
unusual in modern music. It is cast in the natural minor scale
of B-flat. The singer never uses either the raised 6th or 7th in
ascending, as do moderns in the melodic minor, but adheres strictly
to the old _normal_ or _natural minor_ form.

Although diatonic, in that both the G-flat and C-natural appear
frequently, yet the number savors much of the pentatonic.

At three places where the singer uses one or the other of the tones
foreign to the pentatonic scale, he makes half-step progressions.

In the fourth line of the song we find the single instance in these
records, where the performer takes an upward glissando. It is on the
two-note embellishment F-natural G-flat shown in the last measure of
that line. It is immediately followed by a downward glissando.

Balalognimas

Record II.

Two singers are heard on this record. They seem to be women. Possibly
there are more than the two voices. As the song has such a well-defined
swing and such a martial character, it must be wonderfully inspiring
when given by a large company of singers.

It is cast in the natural minor diatonic scale of C-sharp, though it
is strongly pentatonic in character.

The rhythm is partly 5/8 and partly 4/8, but it swings along so
naturally that it seems as if it could not be otherwise.

The distribution of the accents, sometimes falling on the first
and third beats and again on the second and fourth, helps to give
it a character which puts it in a class by itself. It has the most
character of any of the women's songs in this group.

There are several verses to the song almost precisely alike in words
and music.

_Da-Eng_. Boys and Girls Alternating