In the matter of metrical patterns we find also a variety, and
favorites. We have noted the almost universal use of the up-beat. The
up-beat initiates two different rhythmic trends, one of which is the
iambic, the prevalent one in American folk-tunes: ^2/_4 * | *'. This
two-part type of accent unit (of notes or syllables, whichever way we
approach the matter), while occurring in series of four and three, as
we have seen, may be found occasionally also in twos, fives, and
sixes. Indeed the folk-tunes not infrequently show a refreshing
independence of the demands of perfect quadraticality. The other
rhythmic trend initiated by the up-beat is the less often used one
made up of three-part units, which appear either in three-four time, ¾
* | *' * or slow six-eight time, ^6/_8 * | *' *. With more notes
(syllables) in this single amphibrachic unit, the series of such units
grows naturally in syllabic length. It often outgrows thus its
function as a mere melodic phrase and tends to assume that of the
melodic sentence. A fine example of this is in Sharp's recording of
the 'Cherry-Tree Carol'.
But while the vast majority of folk-tunes follow one or the other of
the above described patterns, we must remember that metrical precision
or mechanical adherence to any formula is the least of the folk's
concerns. Indeed, we should be justified in assuming such exactness,
as seen in text lines of carefully measured lengths and in perfection
of rhyme, to be sure signs of individual creative participation;
whereas greater freedom and variability in tune and text aspects are
obviously characteristic of the folk's vocalism.