{"id":332,"date":"2016-01-21T23:55:11","date_gmt":"2016-01-21T22:55:11","guid":{"rendered":"http:\/\/www.elizabethanpartsongs.nl\/wordpress\/?page_id=332"},"modified":"2016-09-05T17:58:20","modified_gmt":"2016-09-05T15:58:20","slug":"symmetry","status":"publish","type":"page","link":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/contents-summaries\/three-elizabethan-partsongs\/part-3-complete\/symmetry\/","title":{"rendered":"symmetry"},"content":{"rendered":"
\n

<\/b>A gift for a king must be absolutely perfect. And if this is impossible to\u00a0achieve, the least important detail has to be sacrificed first. In this case\u00a0being the social conventions on dealing with royalty. Which will not come as\u00a0a surprise for those familiar to an artist\u2019s impatience with anyone standing\u00a0between him and perfection. And in the process we find in Bach\u2019s dealings\u00a0with Frederic the Great a strange parallel of RVW\u2019s dealings with Edward the\u00a0Conqueror: a nice gift, but showing in the creative process a little more\u00a0respect for the beneficiary would have done no harm.<\/p>\n

A second parallel is in the method of concealing completely unexpected\u00a0information in an equally unexpected way: both applying numbers of bars\u00a0that in musical respect do not even exist.<\/p>\n

\n
This is not entirely true; to celebrate the discovery, the complete Bach score has\u00a0been performed by the Amsterdam based Combattimento Consort. Reason why I was\u00a0informed on this dating method in the first place.\u00a0<\/span><\/em><\/h5>\n<\/blockquote>\n<\/div>\n

In the case of Bach this resulted in a seemingly paradoxal behaviour. Yet\u00a0another parallel with the partsongs; behaving paradoxal in the regrouping\u00a0sequence that betrays them to be antedated. With Bach the paradox\u00a0vanishes the moment the non-existent bars are taken into account. And\u00a0because of the problematic character of paradoxes this makes it worth a try\u00a0to establish the same with the music by Ralph Vaughan Williams.<\/span><\/p>\n

A great help in making sense of the host of possible ways to calculate the\u00a0overall number of bars, is the consistently applied imitative style. RVW even\u00a0undertakes in SD the effort to copy in his alternative calculations of bars the\u00a0completely invisible textreduction; invisibility included. Therefore we can\u00a0trust him to copy the more evident features of the text as well. Of which the\u00a0most striking ones are symmetry and unity. An unity hiding below a surface\u00a0that is its very reversal.<\/p>\n

And lo and behold; one out of 120 different calculations is perfectly\u00a0symmetrical. And its result is the very reversion of unity, which in numbers is symbolized as \u2018one\u2019. And in three figure code 001:<\/p>\n

Sweet Day (bruto size) \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0The Willow Song (story) \u00a0 \u00a0+ \u00a0 \u00a0O Mistress Mine\u00a0(netto)
\nverses \u00a0(1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (short alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(long alternative)
\n– – – – –<\/span> 35 \u00a0 \u00a0 \u00a0 + \u00a0(13 + 2) = \u00a0 \u00a0(33 – 18) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0(27 + 8)
\n– – – – –\u00a0<\/span>35 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 15 \u00a0\u00a0\u00a0\u00a0+ \u00a0 \u00a0 \u00a0 \u00a0 \u00a015 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a035 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0\u00a0\u00a0100<\/strong><\/span><\/p>\n

This is not the only calculation to place Sweet Day opposite the united\u00a0couple of\u00a0Willow<\/i>\u00a0and\u00a0Mistress<\/i>. And it is rather remarkable that one amongst\u00a0them reverses most of the words between brackets:<\/p>\n

Sweet Day (netto size) \u00a0 \u00a0 \u00a0 \u00a0= \u00a0 \u00a0The Willow Song (story) \u00a0 \u00a0+ \u00a0 \u00a0O Mistress Mine (bruto)
\nverses\u00a0 (1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(long alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (short\u00a0alternative)
\n– – – – –<\/span> 34 \u00a0 \u00a0 \u00a0 + \u00a0(13 + 2) = \u00a0 \u00a0(33 – 13) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0(29 + 0)
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 15 \u00a0\u00a0\u00a0\u00a0+ \u00a0 \u00a0 \u00a0 \u00a0 \u00a020 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a029 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0 98<\/strong><\/span><\/p>\n

The other calculations are for the moment insignificant, as they contribute\u00a0nothing to our efforts to repair the paradox in the evidence for antidating.\u00a0Yet this does not implicate irrelevancy, we will return to them later. Meanwhile this couple suggest themselves as RVW\u2019s tool to make the sequence\u00a0work. The result this recount of bars was to achieve in the first place:<\/p>\n

Sweet Day \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a050 bars
\n– – – – – – – – – –
\nThe Willow Song \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a015 bars
\nO Mistress Mine \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 35 bars<\/span><\/span><\/p>\n

But alas: logic objects strongly against the use of the amount of bars for\u00a0both the first and third step of the sequence. And what is worse: in the\u00a0process of repairing the paradox in the original sequence, we have learned\u00a0that\u00a0Sweet Day<\/i>\u2019s two bars in a deviating measure are too important to the\u00a0calculations to be ignored. Which is exactly what the sequence is doing\u00a0when their common 3\/4 beat unites the songs. All reason therefore to\u00a0dismiss the final step as erroneous. The discontinuity in measure, however,\u00a0does appear exactly on the spot where the third step\u2019s gap is expected to\u00a0appear. So discontinuity readily presents itself as disconnection, and the\u00a0sequence can be re-arranged accordingly:<\/p>\n

Sweet Day \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a050 bars
\n– – – – – – – – – –
\nThe Willow Song \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 33 bars
\n– – – – – – – – – –
\nO Mistress Mine \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 29 bars
\n<\/span><\/span><\/p>\n

***<\/p>\n

Sweet Day \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0E-minor
\nThe Willow Song \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0E-minor<\/span>
\n– – – – – – – – – –
\nO Mistress Mine \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0E flat-major<\/span><\/p>\n

***<\/p>\n

Sweet Day \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 3\/4 + 4\/4 beat
\n– – – – – – – – – –
\nThe Willow Song \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a03\/4 beat
\nO Mistress Mine \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 3\/4 beat<\/span><\/p>\n

\n

As a result ‘unity’ has been removed from the regrouping, and needs to be replaced. To which purpose we have\u00a0got a promising lead; the\u00a0symmetry in the calculation that sets\u00a0Sweet Day<\/i>\u00a0apart from the other songs.\u00a0It is impossible to create symmetry without achieving unity. The former is\u00a0just a special type of the latter; just one of its many shapes. All reason\u00a0therefore look at the calculation more closely, and the first thing to catch our\u00a0attention is the paradox:<\/span><\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (35 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a015) \u00a0– \u00a0 \u00a0 —<\/span>+\u00a0—-<\/span>\u00a0 \u00a0 \u00a0 \u00a015———-<\/span>+—-<\/span>\u00a0 \u00a0 \u00a0 \u00a035—– \u00a0 \u00a0 \u00a0<\/span>= \u00a0 \u00a0\u00a0\u00a0100<\/strong><\/span><\/p>\n

This symmetry adds up to the reversal of unity (001). And as it is a real\u00a0challenge to compose purposedly music in a way that enables this equation\u00a0to emerge, we have arrived back at the very first result of this analysis in\u00a0Part One: this cycle contradicts itself in an extremely difficult way on the\u00a0matter of unity. It seems RVW has written the same message simultaneously in different\u00a0languages.<\/em>\u00a0And this enables us to figure out\u00a0what the differences in copyrights for his songs are telling;\u00a0 if symmetry\u00a0equals unity, and unity equals one, then a symmetrical calculation to add up\u00a0to one hundred informs us that the reversion of unity equals unity:<\/p>\n

if \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0symmetry \u00a0 \u00a0<\/b>= \u00a0 \u00a0<\/b>unity<\/b>
\nand \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0symmetry \u00a0 \u00a0<\/b>= \u00a0 \u00a0<\/b>ytinu<\/b>
\nthen \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0unity \u00a0 \u00a0<\/b>= \u00a0 \u00a0<\/b>ytinu<\/b><\/span><\/p>\n<\/div>\n

\n

The paradox has dissolved; the reversion of unity now expresses symmetry in\u00a0text. And even if this solution depends on just one calculation out of 120,\u00a0this calculation has arrived at a high order of organisation by means of intelligent\u00a0design. Which allows us to regard this as a purposed creation, rather than\u00a0as the result of blind chance. Untill spontaneous evolution of increasingly\u00a0high levels of order out of chaos will become the dominant theory for the\u00a0origins of art, that is.<\/p>\n

Untill that theory takes over, this calculation demonstrates that RVW has\u00a0composed his \u2018Three Elizabethan Part Songs\u2019 as an unity, even if it doesn\u2019t\u00a0show very well. And without any musical links between songs, he must have\u00a0done it by means of symmetry. Real existing symmetry of composition, not\u00a0symmetry in one out of 119 non-existing ways to count bars.<\/p>\n

As RVW\u2019s music is expressing the text in every way one can think of, its\u00a0symmetry is likely to express that of the text. A reproduction of that feature\u00a0in numbers of lines, words, or syllables, however, hasn\u2019t come forward\u00a0during this investigation. Therefore all symmetry I was able to make out of\u00a0the available data is in the text expression. But, though plausible, this\u00a0symmetry is rather far-fetched, as it is produced by yet another reversion:<\/p>\n

To recognize this one, we must keep in mind that SD is designed to be\u00a0combined with TWS into a copy of any given triplet of OMM (Part One). By\u00a0which means three stand alone texts are forged into unity. And within this\u00a0unity OMM replaces the omitted final quatrain of TWS:<\/p>\n<\/div>\n

Let nobody blame him, his scorn I approve.<\/i><\/em>
\nI call\u2019d my love false love, but what said he then?<\/i><\/em>
\n<\/i>\u2014\u2014-<\/span>Sing, willow, willow, willow,<\/em>
\nIf I court moe women, you\u2019ll couch with moe men.<\/i><\/em><\/span><\/p>\n

This is an exact representation of OMM\u2019s third layer (see Part Two), but seen\u00a0from her point of view. Providing us with a sound argument to identify this\u00a0poor soul as \u2018True Love\u2019s roaming mistress. Furthermore, this testifies of a\u00a0close connection between TWS and the third layer of OMM, and of course\u00a0this is not the first time that TWS gets connected to porn. For the innuendo\u00a0of its inserted dialogue I refer to Part Two. An innuendo that is tale telling\u00a0about the song\u2019s real character, of which even SD lifts a tip of the veil:<\/p>\n

The \u2018dew\u2019 shall weep thy fall tonight<\/i><\/p>\n

Judged by the innuendo, it is apparently possible to weep in company, which\u00a0in itself is enough to make the Willow song as ambiguous as the others, for\u00a0there is no word on the poor soul to weep in solitude. An omission that robs\u00a0this song of all its innocence:<\/p>\n

The fresh streams ran by her, and murmur\u2019d her moans<\/i><\/p>\n

As if it is not enough for the poor soul to sigh and moan by world\u2019s oldest\u00a0phallus symbol (dating back to Genesis 3 ; 7), she causes her\u00a0company to tune in: \u201cThe fresh streams ran\u00a0by\u00a0<\/b>her\u201d. And her moans are the\u00a0very last sounds genuinly murmuring streams are able to reproduce. In\u00a0combination with \u2018Poor Soul\u2019s identification as \u2018Mistress\u201d this results in TWS\u00a0to answer the opening question of OMM:<\/p>\n

She is at the sycamore, notice her sighing and moaning<\/i><\/p>\n

O mistress mine! where are you roaming?<\/em>
\nO! stay and hear; your true love\u2019s coming,
\n<\/em><\/span><\/p>\n

This phrasing clearly shows the congeniality of songs, but the current order\u00a0makes no sense at all. The sooner OMM is therefore relocated to the cycle\u2019s\u00a0centre position, the better. To the textual symmetry this may be\u00a0devastating, but the music will take over: in both SD and TWS it will express\u00a0the decent surface, and in the centre the ambiguous depths. And that is not\u00a0the only symmetry music will achieve:<\/p>\n

text\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0<\/strong>Sweet Day<\/strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0– \u00a0 \u00a0 \u00a0 \u00a0 \u00a0O mistress mine<\/strong>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0–\u00a0 \u00a0 \u00a0 \u00a0The willow song<\/strong>
\nexpression\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 high \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0–\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 low\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0–\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 high
\nmusic \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 slow \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0– \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0fast \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0– \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0slow
\n – – – – – –<\/span> (andantino tranquilo<\/em>) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (allegretto<\/em>) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(lento<\/em>)
\nkey \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0E minor \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 – \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 E-flat major \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0– \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 E minor<\/span><\/p>\n

Interestingly, in this scheme the new centerpiece shows all the hallmarks of its deeper layers. Even the cycle’s key is for its durance turned to tasteless fun. And who hears the Holst Singers perform the cycle (in this very order) on their 1995 recording, will also notice that the centre piece has the higher sound.<\/p>\n

\n
Which is not evident from the score, because RVW lowers the top note by the piece. In a gradual descent over a minor third from g in SD, via f in OMM, to e in TWS. ——————————<\/span> But having achieved all this,<\/span><\/em>\u00a0the Holst Singers ignore in OMM\u2019s first line the musical accents\u00a0and sticks to the meter of the surface text. And in order to enhance musical unity, they sing OMM rather slow for its tempo indication. —————————<\/span>\u00a0<\/span><\/em>Slow – Fast – Slow, meanwhile, is the standard\u00a0lay out for a three-part piece of music known as\u00a0\u2018French Overture\u2019. Which is perhaps not exactly the way to define this cycle of songs, but perfect as an eufemism for any dealings along the lines of these poems.<\/span><\/em><\/h5>\n<\/blockquote>\n

A major drawback of this construction is the impossibility to establish both\u00a0musical and textual symmetry at the same time. The only thing I can make of\u00a0it, is this: if in this cycle the reversal of unity equals unity, than a reversal of\u00a0symmetry may very well stand for symmetry. After undoing the symmetry of\u00a0text, it is the center of the cycle that by textexpression exposes the textual\u00a0unity. At the same time the resulting musical symmetry establishes the\u00a0musical unity that completes the regrouping sequence. And we don\u2019t even\u00a0need to reverse songs: symmetry demands planning in advance. Which\u00a0automatically results in a common time of composition to al parts of the\u00a0cycle, and establishing unity is now simply a matter of dating:<\/p>\n

Sweet Day \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Edwardian music
\nThe Willow Song\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Edwardian music<\/span>
\nO Mistress Mine \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Edwardian music<\/span><\/span><\/p>\n

\n

Nobody would consider this music Victorian anyway. Not with its expression\u00a0of \u2018coming\u2019 in its lowest meaning. And in this regrouping sequence the\u00a0paradox has vanished, so there is no reason to distrust the result. But to\u00a0relocate this music with absolute certainty to the early twentieth century,\u00a0we have to continue this highly important mathematical exercise.\u00a0Granting OMM a key of her own, RVW backs my opinion that OMM is a key\u00a0in her own right. A further exploration of this topic goes beyond the limits of\u00a0this article, but a key the song certainly is; only a few lines ago we have seen it turned to ‘tasteless fun’. All reason therefore to try its choice of positions.<\/p>\n

\n
\n

Two of OMM\u2019s totals have untill now be combined with the story of\u00a0 TWS;\u00a0the key that in turn deciphers OMM\u2019s true love story, and both place SD\u00a0opposite the other songs:<\/p>\n

Sweet Day (bruto) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0The Willow Song (story) \u00a0 \u00a0+ \u00a0 \u00a0O Mistress Mine\u00a0(netto)
\nverses \u00a0(1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (short alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(long alternative)
\n– – – – –<\/span> 35 \u00a0 \u00a0 \u00a0 + \u00a0(13 + 2) = \u00a0 \u00a0(33 – 18) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0(27 + 8)
\n– – – – –<\/span>\u00a035 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 15 \u00a0\u00a0\u00a0\u00a0+ \u00a0 \u00a0 \u00a0 \u00a0 \u00a015 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a035 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0\u00a0\u00a0100<\/strong><\/span><\/p>\n

Sweet Day (netto) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0= \u00a0 \u00a0The Willow Song (story) \u00a0 \u00a0+ \u00a0 \u00a0O Mistress Mine (bruto)
\nverses\u00a0 (1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(long alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (short\u00a0alternative)
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0 + \u00a0(13 + 2) = \u00a0 \u00a0(33 – 13) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0(29 + 0)
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 15 \u00a0\u00a0\u00a0\u00a0+ \u00a0 \u00a0 \u00a0 \u00a0 \u00a020 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a029 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0 98<\/strong><\/span><\/p>\n

\n

Both the other totals of OMM go very well together with TWS\u2019s refrain,\u00a0especially when the remaining standard procedures of SD\u2019s third verse are\u00a0to be explored:<\/p>\n<\/div>\n

\n

Sweet Day\u00a0(netto) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0The Willow Song (refrain) + \u00a0 \u00a0O Mistress Mine (netto)
\nverses\u00a0 (1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(short alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(short\u00a0alternative)
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0 + \u00a0(13 x 2) +\u00a0 \u00a0\u00a0<\/span>(33 – 20)\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0(27 + 0)
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 26 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a013 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a027 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0100<\/strong><\/span><\/p>\n

Sweet Day (bruto) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0The Willow Song (refrain) + \u00a0 \u00a0O Mistress Mine (bruto)
\nverses\u00a0 (1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(long alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (long alternative)
\n– – – – –<\/span>\u00a035 \u00a0 \u00a0 \u00a0 + \u00a0(13 – 2) + \u00a0 \u00a0(33 – 15) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0(29 + 8)
\n– – – – –<\/span>\u00a035 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 11 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a018 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 \u00a0 \u00a037 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0101<\/strong><\/span><\/p>\n

In this choice of four calculations no alternative is used repeatedly. And half\u00a0of them show a satisfying (reversal of) unity. Furthermore the third calculation\u2019s lack of symmetry is well compensated by the result of the fourth one.\u00a0Making this couple complementary in confirming unity. As it happens, these\u00a0very same calculations will arrive at the very same results if SD\u2019s remaining\u00a0pair of alternatives is applied, instead of the ones shown above:<\/p>\n

Sweet Day\u00a0(netto) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0The Willow Song (refrain) + \u00a0 \u00a0O Mistress Mine (bruto)
\nverses\u00a0 (1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(long\u00a0alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 (long\u00a0alternative)
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0 + \u00a0(13 – 2) +\u00a0 \u00a0\u00a0<\/span>(33 – 15) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0(29 + 8)\u00a0<\/span>
\n– – – – –<\/span>\u00a034 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 11 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a018 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a037 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0100<\/strong><\/span><\/p>\n

\n
\n

Sweet Day\u00a0(bruto) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0The Willow Song (refrain) + \u00a0 \u00a0O Mistress Mine (netto)
\nverses\u00a0 (1 + 2) \u00a0 + \u00a0 \u00a0 \u00a0 \u00a03 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(short alternative) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0(short\u00a0alternative)
\n– – – – –<\/span>\u00a035 \u00a0 \u00a0 \u00a0 + \u00a0(13 x 2) +\u00a0 \u00a0\u00a0<\/span>(33 – 20)\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 + \u00a0 \u00a0(27 + 0)\u00a0<\/span>
\n– – – – –<\/span>\u00a035 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 26 \u00a0 \u00a0 + \u00a0 \u00a0 \u00a0 \u00a0 \u00a013 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0+ \u00a0 \u00a0 \u00a0 \u00a0 27 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0101<\/strong><\/span><\/p>\n

—<\/span><\/p>\n

—<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n

SUMMARY<\/p>\n<\/div>\n

\n
\n

The three musical scores imitate their texts in regrouping from independent\u00a0pieces to both combinations of two against one. Calculations based on the\u00a0numbers of bars in the partsongs imitate the reduction of these texts from sixteen to twelve lines. These calculations also reproduce the symmetry and\u00a0unity of the songtexts. In the words of the songtexts these features reveal\u00a0the necessity to make TWS and OMM to swap positions. This replaces the\u00a0symmetry in text by symmetry in music. In symmetry of textexpression\u00a0actually. The musical composition follows the regrouping from three stand\u00a0alone songtexts to an unity at pitch. Which proves the antedating of a\u00a0twentieth century composition to the 1890\u2019s.<\/p>\n

Sweet Day \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a050 bars
\n– – – – – – – – – –
\nThe Willow Song \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 33 bars
\n– – – – – – – – – –
\nO Mistress Mine \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 29 bars<\/span><\/span><\/p>\n

***<\/p>\n

Sweet Day \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0E-minor
\nThe Willow Song \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0E-minor<\/span>
\n– – – – – – – – – –
\nO Mistress Mine \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 \u00a0E flat-major<\/span><\/p>\n

***<\/p>\n

Sweet Day \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 3\/4 + 4\/4 beat
\n– – – – – – – – – –
\nThe Willow Song \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a03\/4 beat
\nO Mistress Mine \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 3\/4 beat<\/span><\/p>\n

***<\/p>\n

Sweet Day \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Edwardian music
\nThe Willow Song \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Edwardian music<\/span>
\nO Mistress Mine \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Edwardian music
\n<\/span><\/span><\/p>\n

—<\/span><\/p>\n

—<\/span><\/p>\n

go to next chapter<\/a>\u00a0– – – – – – – – – – – – – – – – – – – – –<\/span>\u00a0back to the previous chapter<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

A gift for a king must be absolutely perfect. And if this is impossible to\u00a0achieve, the least important detail has to be sacrificed first. In this case\u00a0being the social conventions on dealing with royalty. Which will not come as\u00a0a surprise … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":1082,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/332"}],"collection":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/comments?post=332"}],"version-history":[{"count":11,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/332\/revisions"}],"predecessor-version":[{"id":948,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/332\/revisions\/948"}],"up":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/1082"}],"wp:attachment":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/media?parent=332"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}