Charles K. Harris, "Don't Blame Me" (1911). Another instance of a clearly defined proto-background, ^5/^3 here. Note the nicely presented interruption (bars 6–8) where both elements are cleanly positioned in the voice-leading--and there's even a direct resolution of the ninth in V9/V! (See bar 7, last beat, into bar 8.)
I am, however, primarily interested in the final cadence, which is one of those awkward lines that's not a line, as a very strong rising scale figure to begin the final phrase breaks as ^6 goes *down* to ^7.
The alternate ending I have made below would have been very likely in performance, in the manner I have mentioned a number of times now based on what we know about singers' practices during this era. This song, indeed, really asks for that ending with its long scale followed by the emphatic "Don't blame me."
