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Georgiades cites from Greek folk music the measure  alternating with  .44 S. Baud-Bovy has drawn attention to Albanian melodies in  time.45 Sachs refers to 'the 3 + 3 + 2 articulation of eight beats' as one 'which we find in practically all civilizations', and elsewhere to the currency in the Sudan and in Bantu Africa of the metre 3 + 3 + 2, in which the members can be exchanged, 3 + 2 + 3 or 2 + 3 + 3.46 The ancient Greek dochmiac's behaviour presents an interesting analogy with this formula. |
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The so-called ionic rhythm, first attested in Sappho and Alcaeus, remained popular throughout Antiquity. Its basic form is  . The two short notes constituted the arsis and the two long ones the thesis.47 The oldest and commonest variation consisted of linking two measures together by syncopation across the bar-line,  being inverted to become  as in Example 5.7. |
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This is the 'anacreontic' verse. Sometimes an irrational long was admitted in place of the short note in fourth place:48  . |
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Further variety was achieved by shortening or lengthening the measure. Anacreon used the verse  , in the latter part of which bar-lines are of no use;49 while in drama an ionic |
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44 Georgiades. 82f. |
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45Revue de musicologie 54 (1968), 14f. |
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46RT 41, cf. 40, 65, 91, 102, 136, 191, 247-50, 357, 359, 367, 369, 371. |
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47 'Mar. Vict.' (Aphth.) Gramm. Lat. vi. 42. 16ff., cf. 89. 21. |
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48 A modern Thracian parallel: Georgiades 89, cf. 97. |
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49PMG 413, 414. |
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