Barbara Allen: Tonal Vs. Melodic Structure, Part I
[not edited, charts not added and proofed yet]
"Barbara Allen": Tonal versus Melodic Structure, Part I
by Mieczyslaw Kolinski
Ethnomusicology, Vol. 12, No. 2 (May, 1968), pp. 208-218
"BARBARA ALLEN" TONAL VERSUS MELODIC STRUCTURE, PART I
Mieczyslaw Kolinski
Bronson's classification of tonal structures, used in his monumental work The Traditional Tunes of the Child Ballads, represents a consistent application of the principle of "gapped scales." He demonstrates his system by means of a diagram termed "mode-star" (Bronson 1962:xi-xiii). Each of the seven star-points signifies a heptatonic mode. Although the Ionian (or major) is placed on top, the chain actually does not start with the Ionian but with the Lydian mode (contrary to the opinion expressed by Bronson). Proceeding clockwise one arrives at the following series: Lydian (Ly), Ionian (I), Mixolydian (M), Dorian (D), Aeolian (Ae), Phrygian (P), and Locrian (Lo). To show the coherence of this arrangement Bronson stresses the fact that the tone material of each succeeding mode corresponds to that of the plagal form of the preceding one. For example, cdeFgabc (plagal Lydian) has the same tone material as Cdefgabc (authentic Ionian); gabCdefg (plagal Ionian) has the same tone material as Gabcdefg (authentic Mixolydian), and so forth. When a common tonic is chosen, adjacent modes are identical except for one degree: Ly=I save the 4th degree; I=M save the 7th degree, and so forth. Consequently, a hexatonic scale which lacks such a distinctive degree is "neutral in its allegiance (as scale) to the heptatonics on either side" (ibid.). For example, the scale Cdegabc belongs between the Lydian and the Ionian mode because the lacking 4th degree can be either F# or F; therefore, the scale is to be classified as Lydian- Ionian (Ly/I); similarly, the scale Cdefgac is Ionian-Mixolydian (I/M), and so forth. Pentatonic scales are equated to heptatonic ones lacking two degrees. For example, the scale Cdegac lacks the 4th and 7th degree; therefore, it coincides in all its notes with three heptatonic scale-patterns, the Lydian, Ionian, and Mixolydian; and with two hexatonic scale-patterns, the Ly/I and I/M. In other words-and this is highly significant- this pentatonic scale . . . lacking fourth and seventh, is neutrally disposed toward the other five, and could become any one of them by simply filling its gap with the missing notes of the scale chosen. Thus, these six scales make a cluster more alike than different in their features. (ibid.)
Although Bronson's system is perfectly logical in itself, its usefulness is doubtful because the very concept of "gapped scales" is
erroneous. In fact, to conceive of a pentatonic scale as of a gapped diatonic one is as little justified as to interpret a diatonic scale as a gapped chromatic one. Moreover, the placement of hexa- and pentatonic patterns within the framework of the diatonic system puts completely heterogeneous scales, such as Cdef#gabc and Cdegac, in one and the same "cluster." In addition, Bronson's classification leaves no room for a number of scale patterns occurring in the tunes of the Child ballads so that they had to be treated as "irregular." For example, the hexatonic scale dfGabcd, used in Variant 137 of "Barbara Allen," had to be termed M(-VI), that is, not hexatonic but heptatonic Mixolydian minus the 6th degree (ibid.:370), while the pentatonic scale df#Gabd, used in Variant 198 of the same ballad, had to be termed I/Ly(-VI), that is, not pentatonic but hexatonic Ionian-Mixolydian minus the 6th degree (ibid.:391). On the other hand, an octatonic scale such as df#Gabcdeflg, used in Variant 4 of "Young Johnston," had to be classified as Mixolydian with an "inflected" 7th degree (ibid.:412). Another feature of the classification is the labeling of as many patterns as possible as "authentic" or "plagal." In the case of the variants of "Barbara Allen," 91% are classified as either a (authentic) or p (plagal), the remaining 9% being termed m (mixed). In reality, however,
only 18% of the variants are strictly authentic or plagal, while 73% owe their admission to these categories to a more or less lenient attitude of the classifier who qualifies, for example, the scale f#Gabde as authentic (Var. 51, p. 340) and the scale deGabdeg as plagal (Var. 53, p. 340). Needless to say, the immense value of Bronson's work is indisputable in spite of the controversial nature of the aforementioned method.
In his paper "Versions and Variants of 'Barbara Allen'," Seeger likens Bronson's system of pentatonic modes to my modal classification of the tint complex C G D A E (Seeger 1966:151-52). Proceeding in the same comparative vein, I should like to apply my classification of tonal structures on the versions and variants of "Barbara Allen" contained in Bronson's work (Kolinski 1961:38-76). The cycle of fifths has been chosen as a framework for the classification because it reflects the basic specifically musical tone relations, that is, the different degrees of direct and indirect tint affinity.
The hierarchy of the classification is as follows: 1) twelve tonal types, ranging from the Mono- to the Dodeca-Type, corresponding to the size of the segment of the cycle of fifths needed to place the tints employed; for example, the scale GBCD is hexatypic because the segment needed is CgdaeB. 2) The number of tints employed; it varies, for example, in the penta-type between two (CE) and five (CGDAE). The widely used classification into pentatonic, hexatonic, and heptatonic structures is meaningful only within the above-mentioned types, because otherwise completely heterogeneous structures such as CDEGA and DEFG#A would fall within one and the same, that is the pentatonic, category. 3) The kind of tint complex employed; there are, for example, three pentatypic 4-tint complexes: CGDE, CGAE, and CDAE. 4) Placement of the tonal center involving a modal distinction. The term mode is used in the broadest possible sense. A consistent modal classification is achieved by the choice of one particular segment of the cycle of fifths for each tonal type. For example, the segments chosen for the penta-, hexa-, and hepta-type are: CGDAE, CGDAEB, and FCGDAEB. Because of the arbitrariness of this choice, modes of different tonal types are not comparable. For example, it would be a mistake to consider the penta-G-mode, the hexa-G-mode, and the hepta-G-mode as belonging in the same modal group. 5) Relation between tonal center and lowest note: a) tonal center on lowest note, b) tonal center above lowest note. 6) Relation between tonal center and highest note. The following chart represents an application of this classification on the variants of "Barbara Allen":
Chart of Tonal Structures
Out of a variety of sixty-seven scales forty-three are represented by one single variant each. On the other hand, a few scales, such as the two contrasting pentatypic structures gaCdega and cDegacde, stand out through their relative frequency, the former comprising 18%, the latter 8% of all variants. While these groups are rather homogeneous, a more detailed analysis using the method of scale formulae shows characteristic differentiations within either group; perhaps more importantly, it delineates the specific features of their tonal construction and so enables an adequate comparison with similar scales occurring in other songs of the same or of a different category or culture.
The thirty-five variants using the scale gaCdega (Ex. 1) are first subdivided according to the placement of the initial note, which may vary among all levels except the highest one; however, a start on low A, D, E, or G is exceptional (scale formulae p, q, ee-gg). As a rule, the initial note is placed either at the bottom (a-n) or a fourth higher at the level of the finalis (r-dd). Within these subgroups the scale patterns are classified according to 1) the widest step employed and 2) the degree of variety among steps used between notes nonadjacent in the scale. One variant each uses as widest step the major third (p) or the octave (o), while the occurrence of the fourth, fifth, or major sixth as widest step is almost equally frequent in the remaining thirty-three variants. There is a considerable diversity in the combination of wider steps: the ever-present major-third step C-E may appear in one and the same variant together with 1 fourth (a,ff,r), 2 fourths (b,s-u,ee,v), 3 fourths (c), fourth plus fifth (d,e,q,w),
2 fourths plus fifth (x,y), 2 fourths plus 2 fifths (f-j,gg), 1 sixth (z), fourth plus sixth (k-l), fourth plus fifth plus sixth (m,n), 2 fourths plus fifth plus sixth (aa,bb), fourth plus 2 fifths plus sixth (cc), 2 fourths plus 2 fifths plus sixth (dd), and 2 fourths plus octave (o). There are significant differences in the frequency and direction of the steps employed: while the major seconds C-D, D-E, and high G-A, as well as the minor third E-G and the major third C-E occur in both directions in almost all thirty-five variants, low G-A and A-C are used in nineteen, respectively eleven, variants exclusively upwards, and only in three, resp. one, variants exclusively downwards. The fourths A-D and E-A are found in one variant each, contrary to the fourths G-C and D-G used in more than two-thirds of the variants. The latter interval shows a striking directional contrast: it appears exclusively ascending in one variant, exclusively descending in twenty-one variants. Similarly, the fifth C-G and the sixth C-A occur exclusively ascending in one, resp. two, variants, exclusively descending in six, resp. seven, variants. By contrast, the fifth C-G is used mostly upwards.
In all variants characterized by the scale cDegacde (Ex. 2), the initial note is placed on G, that is, a fourth above the finalis and tonal center D. In the average, the size of the steps employed is smaller than in the previously discussed scale. Except for two variants using a fifth, resp. a minor sixth (M-N), the widest step is a fourth. One variant comprises exclusively steps connecting notes adjacent in the scale (A). In three other variants the only step between nonadjacent notes of the scale is a major third, resp. a fourth (B-C). Nevertheless, within these limits there is a considerable variety of combinations of steps nonadjacent in the scale, such as: third plus fourth (D-F), 2 fourths (G-H), 3 fourths (I-J), third plus 3 fourths (K), third plus 4 fourths (L), third plus 3 fourths plus fifth (M), and third plus 2 fourths plus minor sixth (N).
Contrary to the preceding scale pattern in which the major-third
step C-E was regularly used in both directions, its role is, this
time, limited although the interval appears on both sides of the range.
On the other hand, the interval functions in a quite specific way: in
five variants the lower tonic D is reached from the adjacent E not
directly but through the detour of a descending third E-C followed by
an ascending second C-D (Vars. B,D,E,M). Similarly, but proceeding
in the opposite direction, high D is sometimes reached through the
detour of an ascending third C-E followed by a descending second
E-D (F,N).
Two more scale patterns are relatively frequent: the hexatypic
cDegabcde, occurring in 7%, and the heptatypic gabCdefga, occurring
in 8% of the variants. They are to a certain extent similar to the
two previously discussed pentatypic patterns but differ through the
inclusion of B, resp. of B and F. What is the nature of these correlations?
Let us first compare the variants of the hexatypic group
cDegabcde with those of the pentatypic group cDegacde. In some instances
the variants are virtually pentatypic except for the insertion
of B as a passing note bridging the ascending minor third A-C at the
beginning of the second half of the stanza (Bronson 1962:Vars.138,141,
144,148). In Var.149 the B is used within the descending line EDCBA,
while in Var.147 the B "passes" in both directions. In Var.145 the
hexatypic ascending line GABCDE alternates with the pentatypic descending
line EDCAG. Another kind of alternation takes place in
Vars.154 and 159. There the hexatype results from a combination of
two different pentatypic structures: the ascending line GACDE and
the descending line EDBAG; so the minor second B-C, although present
in the scale, is not used as a step. The hexatype of Var.181 results
also from a combination of two pentatypic structures. There the
tone material of the first half of the stanza is GABDE, that of the
second half is CDEGAC; again the minor second is not used as a
step. In Var.146 the B has a twofold function: it is part of the descending
pentatypic line EDBAG, and it occurs as a passing note
within the ascending minor third A-C. Finally, the two halves of Var.
160 have a contrasting tonal structure: the first half comprises the
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KOLINSKI: "BARBARA ALLEN," PART I
hexatypic 5-tint material GABCD with B as semifinalis, while the
second half has the pentatypic structure cDegac, thus avoiding the B.
A comparison of the variants of the heptatypic group gabCdefga
with those of the pentatypic group gaCdega shows different kinds of
correlation. Var.122 is most closely related to the pentatype: the F
and B function merely as passing sixteenth notes within an otherwise
purely pentatypic structure. Somewhat less predominant is the pentatype
in Var.124. Other variants embrace combinations of pentatypic
elements with heptatypic features representing a harmonically oriented
major mode. Strictly pentatypic are: the 1st line of Var.26, the 3rd
line of Var.130, the 4th line of Var.125, the 1st and 2nd lines of
Vars.97 and 129, the 2nd and 4th lines of Var.28, and the 1st, 2nd,
and 3rd lines of Var.20. But the same variants include patterns with
strongly harmonic implications, such as broken dominant seventh
chords (for example, Vars.20,28,97). Some patterns are purely heptatypic
and apparently harmonically conceived, suggesting chord progressions
such as I V I V I IV I V I (Vars.36-8).
The aforementioned classification of tonal structures may be supplemented
by an analysis of the placement of the tonal center within
the range, regardless of tonal type, number of tints, kind of tint complex,
or mode. The following chart summarizes the results of the application
of this method on the variants of "Barbara Allen":
Placement of the tonal center within the range
The vertical row to the left marks the sizes of the range, expressed
in semitones; the vertical row to the right marks their frequency.
For example, an octave range (12) occurs in 17% of the variants.
The horizontal row on top marks the placements, expressed in
semitones, of the tonal center with regard to the lowest note; the
horizontal row at the bottom marks their frequency. For example, the
tonal center is placed two semitones above the lowest note (+2) in 22%
of the variants. The inner horizontal rows indicate the frequency distribution
of the different placements of the tonal center within a similar
range. For example, within the range of a major tenth (16) the
tonal center is placed in 2% of the variants on the lowest note, in
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KOLINSKI: "BARBARA ALLEN," PART I
19% of the variants 2 semitones above (+2), and in one variant (2%) a
fifth (7) above the lowest note. The inner vertical rows indicate the
frequency distribution of a similar placement of the tonal center within
different range sizes. For example, a placement of the tonal
center on the lowest note occurs in 1%, resp. in 8%, 6%, and 2%
of variants of the size of 9, resp. 12, 14, and 16 semitones.
We see that the most frequent range sizes are the major ninth
(42%), the major tenth (22%) and the octave (17%), while the most frequent
placements of the tonal center are a fourth (46%) or a major
second (22%) above, or equal to, the lowest note (17%). The most
frequent distributions of the placement of the tonal center within a
particular range are that of a fourth above the lowest note within the
range of a major ninth (32%) and that of a major second above the
lowest note within the range of a major tenth (19%). Of secondary
importance are the placement of the tonal center on the lowest note
within the range of an octave (8%) or major ninth (6%), and a fourth
above the lowest note within the range of an octave (8%) or an
eleventh (5%).
An analysis of tonal structure covers only one aspect of pitch
and tint organization; it mainly deals with the tonal raw material.
By contrast, the molding of this raw material into various types of
"melodic shape" is the subject matter of an analysis of melodic structure.
Tonal and melodic structure are necessarily correlated; however,
a consistent investigation of these two aspects of pitch and tint
organization requires opposite approaches: while the analysis of tonal
structure hardly touches upon matters concerning melodic shape, the
analysis of melodic structure deals with tonal construction only on
the lowest level of a classification of melodic shapes. The second
part of the present study will comprise an application of this technique
of analysis on the variants of "Barbara Allen."
University of Toronto
Toronto, Ontario, Canada
REFERENCES CITED
Bronson, Bertrand Harris
1962 The traditional tunes of the Child ballads, vol. II. Princeton: Princeton
University Press.
Kolinski, Mieczyslaw
1961 "Classification of tonal structures," Studies in Ethnomusicology,
1:38-76. New York: Oak Publications.
Seeger, Charles
1966 "Versions and variants of the tunes of 'Barbara Allen'," Selected Reports,
1(1):120-67. Los Angeles: Institute of Ethnomusicology, University
of California.