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The small note shown in the bottom line is given very faintly in the record and seems more like a muffled exclamation than an intentionally vocalized tone. The tempo throughout is quite regular, following the indicated pulse of 92 in both the 6/8 and 2/4 rhythms. In the latter part of the song there are a number of changes between duple and triple rhythm.
We shall give it you; three dances shall proceed at once and together, despite their warring duple and triple rhythms:
But if this is a marked specimen of Riemann, examine his reading of the phrase wherein Chopin's triple rhythm is supplanted by duple. Thus Von Bulow and who will dare cavil? The difference is more imaginary than real, for the stems of the accented notes give us the binary metre. But the illustration serves to show how Dr. Riemann is disposed to refine upon the gold of Chopin.
For this reason he recommends the paeon, and says that every person makes use of it, even without being sensible when he does so. He likewise observes that it is a proper medium between the different feet above-mentioned: the proportion between the long and short syllables, in every foot, being either sesquiplicate, duple, or equal.
In noting down in the table the findings under this head, I have put down under each song, not the number of duple or triple or quadruple groups in the song, but rather the number of "changes" which occur.
When the F minor part is reached the ear experiences the relief of a strongly contrasted rhythm. The simple duple measure, so naturally ornamented, is nobly, broadly melodious. After the return of the first dimpling theme there is a short coda, a chiaroscura, and then with a few chords the composition goes to rest. A bird flew that way!
Adherents of musical theories in the interpretation of verse may prefer to speak of "duple time" instead of iambic-trochaic metres, and of "triple" time for anapests and dactyls.
Or, combining these two modes of nomenclature, one may legitimately speak of iambic feet as "duple rising," "And never lifted up a single stone"; trochaic as "duple falling," "Here they are, my fifty perfect poems"; anapestic as "triple rising," "But he lived with a lot of wild mates, and they never would let him be good"; and dactylic as "triple falling";
Indicated in the score by the usual musical symbol. Trills and Wavers. These need no comment except to call attention to the fact that there are none found in the regular songs of the women. Changing Between Duple and Triple Rhythm. I consider this quite a striking quality in these songs.
It is the best rounded specimen of Chopin's experimenting with the form. The prolonged trill on E flat, summoning us to the ballroom, the suggestive intermingling of rhythms, duple and triple, the coquetry, hesitation, passionate avowal and the superb coda, with its echoes of evening have not these episodes a charm beyond compare?
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