By a pleasant coincidence, the first number up today is "Valantines Day in the Morning." This jig is set in a small binary form with "balanced cadences" (that is, the same figure for both), uses entirely different shapes to lead to those cadences. In the first strain, a profusion of tonic triad notes makes definition difficult, but the accented F#4s (^3) suggest a line upward at the end, F#4-G4-A4-B4-C#5-D5, with a balancing secondary line from above, G5-F#5-E5-D5-C#5. In the second strain the directions are reversed, as the new attention on A5 suggests a line A5-G5-F#5-E5-(D5-C#5)-D5, with an internal A4-B4-C#5-D5.
The 9/8 meter, by the way, is considered a variant of the standard 6/8 jig -- what it might have been called in London in the eighteenth century I don't know; now it is called a "slip jig" or a "hop jig," both of which refer to a particular style of dancing.
"Ralph's Ramble to London" is still another piece in a small ternary form, and with a complete reprise. A full triad frame at the beginning -- see at (a). The accent patterns and the lower line that follows in the cadence (circled) suggest that the extremities of the frame, A4 & A5, have priority -- in the first strain at least. In the "contrasting middle," attention turns to F#5 -- see stemmed notes starting at (b) -- but that dissolves into the initial frame again with the reprise. At the end, I have staked out a possible path -- see (c1) -- that implies a short line down from A5 to F#5, but finally I think it really is the frame itself that retains priority to the end -- at (c2), subordinating everything else, including the internal rising line in the cadence.
