|
|
|
|
|
|
|
Juxtaposition of different rhythms |
|
|
|
|
|
|
|
|
Each of the six types of rhythm described above may be found maintained from beginning to end of a song. But it is also common for more than one of them to appear. Among the very simple strophic forms used by Archilochus, for example, we find one that consists of a dactylic hexameter followed by an iambic dimeter, and another (Ex. 5.16) that changes from dactylic to trochaic within the first line (with word-end at the point of transition). |
|
|
|
|
|
|
|
|
Another has three verses: an iambic trimeter and dimeter (6/8 time) separated by  .56 |
|
|
|
|
|
|
|
|
From the sixth century to the third much use was made of the metrical type called dactylo-epitrite, in which the configuration  , or occasionally some other with paired short notes, combined freely with the trochaic  . In this type of metre the trochaic measure had the form  much more regularly than  , so that rather than treating the fourth note as an irrational long admitted on sufferance, we may as well say that the standard form is  , with  occasionally allowed instead.57 The rhythmical scheme of the strophe of Pindar's First Pythian Ode may tentatively be analysed as in Example 5.17. A comma marks the ends of periods, in other words, places at which there was a pause and metrical continuity was interrupted. The two 5/4 bars could be made up to 3/2 by assuming the last long note to be prolonged to twice its length. Some support for this procedure |
|
|
|
 |
|
|
|
|
56 This 5/4 bar is a form of the so-called paion epibatos, for which see below, p. 156. It seems to be this strophe-form that is meant when Archilochus is credited with being the first to combine iambic lines with the paion epibatos (ps.-Plut. De mus. 1141 a). |
|
|
|
|
|
|
|
|
57 Similar 7/8 rhythms are found in modern Greece, Bulgaria, Hungary. etc. See S. Baud-Bovy, Hellenika 34 (1982/3). 191-201. |
|
|
|
|
|
