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of a rhythmician's treatise preserved in a papyrus, and by the notation in two later musical texts.25 |
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In certain instances it appears necessary to suppose that a long syllable/note was prolonged to a triseme across the bar-line. Where the syllabic sequence is  , it divides cleanly between two bars,  . On the other hand, where we find  , it can only be  . The Attic poets seem to have preferred the latter type.26 |
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Transposition of the first two note-values of the standard metron produces the so-called choriamb,  . This is quite often found in association with other iambic forms, and in Anacreon, Aristophanes, and Sophocles we even encounter responsion between  in one strophe and  in another, in verses composed from measures of both kinds.27 This kind of equivalence, based on the convertibility of short-long and long-short, is familiar to us particularly from Scottish airs, for instance, as illustrated in Example 5.2. Musicians know the accented short note followed by a longer one as the Scotch snap.28 |
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Ilka lassie has her laddie: |
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yet a' the lads they smile at me |
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when comin' through the rye. |
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Trochaic rhythm is the converse of iambic, with a basic model  , an irrational long admitted in the last place instead of |
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25POxy. 2687 (Pearson, Aristoxenus: Elementa Rhythmica, 36ff.); 15 Seikilos, 29 POxy. 2436. |
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26 See ZPE 37 (1980). 148. |
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27 My Greek Metre, 57 f., 105. |
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28 Cf. Georgiades, 83-6 (modern Greek folk music): Bartók, Hungarian Folk Music, examples no. 62, 130, 283. |
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