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ANONYMOUS II 205
Argument. A trichord (c'd'-ab-ga) over a tetrachord (ga-fg-e-de) exchanges places with it.
An ingenious little composition differing from Haikaya in its complexity and from Jakwaina in its unity.
The main field of the melody is divided in A1 chiefly as a minor trichord over a minor tetrachord, and in A2 chiefly as a minor tetrachord over a minor trichord. The resulting expansion in the closing interval of A is anticipated by alternate wider and narrower movements reducible as in Maihai-katcina to an inverse rhythm. The sequence is as follows: —
The three slides give a major a slower movement, and this is continued at the summit ofminor and the beginning ofminor. B rehearses characteristic notes of the A's.
A1 starts in a minor to climb to the upper fourth, c'd'-ga, which a major is to outline, by the zigzag path familiar in this music (compare C2 andinand in Jakwaina), but divides it tri-
chordally at ab instead. The lower fourth it divides as a minor tetrachord by a semitone, e-de, and a minor third, fg-de, the division emphasized in a major by a slide of approach and another of departure being trichordal, by a tone, f-de. The fifth (ab-de) spanned in the final movement of a minor becomes in a major by a slide through a semitone, ab-b, a minor sixth; and a flourish before the descent through this interval lands the singer on e, a semitone above the pitch of the former a, which nevertheless he regains within a seventh tone in his movement to the final note. The two A's exchange character here, the bold movement ofin A1 rising through a minor triad to complete the upper fourth as a minor trichord, c'd'-ab-ga, and its singularly diffident course in A2, ga-a-b, reproducing the tetrachordal division, de-e-f g, of the lower fourth in a minor. A slide to the identical pitch d, setting a semitone lower limit several times struck to be immediately withdrawn from, is followed by recovery to the same pitch, fg-, withintone. The descent and