From March 2026: A post with information and links to galleries of simple ascending lines and to other essays of mine published on the Texas Scholarworks platform: link.
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Henry Marshall, "Dinah!" (1913). At the outset, ^5 is the main inner voice, with ^3 as the upper voice. In the altered repeat ("Dinah!"), ^5 moves up for a while, until the cadence, where it is again in the fourth octave, but as we've seen before, it could easily be shifted up an octave to close a stage performance of the song. As it stands, this is a wedge where the ascending lower voice is set against the upper descent from ^3 (bar 2, returns in bars 10-11), an assumed ^2 with ^3 then substituting in bar 15 before we reach ^1 in bar 16.
