y. One of the very earliest Folk-tunes
extant--"Sumer is icumen in" (already referred to)--is in the Ionian
mode and, according to Cecil Sharp,[27] the majority of English
Folk-tunes are in this same mode.

[Footnote 26: The chief reason for this leading tone, in addition to
the natural tendency of singers to raise their voices as near as
possible to the upper tonic, was so that the dominant chord, the third
of which is always the 7th degree, might invariably be a _Major_
Triad.]

[Footnote 27: For many suggestive comments on the whole subject see
his book _English Folk-Song_.]

We now cite a few typical folk-songs (taken from national sources)
which, in their structure, show a natural instinct for balance of
phrase and oftentimes for that organic unity of effect gained by
restatement after contrast.

[Music: THE TRUE LOVERS' FAREWELL

Old English]

The pattern of this song, in the Aeolian mode, is A, A, A, B. Unity is
secured by the three-fold appearance of the first phrase; and a
certain balance, by having the second phrase B twice as long (four
measures) as A.

[Music: THE SHIP IN DISTRESS

Old English]

The formula of this characteristic song in the Dorian mode is A, A, B,
A; merely an extension, through repetition, of the simple type A, B, A
which, in turn, is the basis of the fundamental structure known as the
three-part form. This will later be studied in detail. It is evident
to the musical sense how complete a feeling of coherence is gained by
the return to A after the intervening contrast of the phrase B;
evident, also, that this song is a perfect example of the principle of
unity combined with variety.

We further cite a few examples from Scottish, Irish, French, Hungarian
and Russian sources. They all illustrate quaint melodic intervals and
an instinct for balance and symmetry.

[Music: WANDERING WILLIE

Here awa', there awa', Wanderin' Willie,
Here awa', there awa', haud awa' hame.
Come to my bosom, my ain only dearie,
O tell me thou bring'st me my Willie the same.]

This song[28] expresses that note of pathos often found in Scottish
folk-music and is noteworthy also because the lyric poet, Robert
Burns, wrote for it words of which we give the first stanza.

[Footnote 28: The example quoted, together with others equally
beautiful, may be found in the collection edited by the Scottish
composer, Hamish MacCunn. See, as well, the _Cycle of Old Scotch
Melodies_ arranged for