A motive may be modified in ten different recognized ways and each form of modification employed in varying degrees, within certain limits, and yet the motive will not loose its identity. As an example of this we find in this song the first melodic motive _transposed_ from the fourth degree of the scale (where it is originally announced) to the first, the fifth, and the sixth degrees. We find the same motive given with _omissions_, with _additions_, with _augmentations_, with _contractions_, and with _altered rhythmic values_; in short, the composer has turned this motive over and over, and unwittingly developed it much after the manner used by musicians trained in the art of composition. The fact that this motive is given four times rhythmically and melodically intact, besides recurring frequently throughout the composition in one or another of the accepted forms of modification, argues that this melodic germ was a familiar tone-figure to the singer, one that he could apply to most any syllable on which he wished to dwell. In this connection it is interesting to note that this motive, in its purest form, is always used in a transitional way, not only musically, but rhetorically, thus "marking time," as it were, while the improvisator chooses his next words of praise. The second melodic motive (M.M.2.) occurs at least five times, with some transformations to be sure, and sometimes even overlapping the first motive. The third (R.M.) is purely rhythmic, but seems to be a pet device of the singer and helps him out with syllables needing special emphasis. The fourth can hardly be dignified by the name of motive, in this case, but is simply a musical device (M.D.), used by the singer mostly in his terminations. I surmise that the song in its entirety, including the above elemental groups, is the invention of the singer. He has equipped himself with these particular tonal fragments, because they not only suit his fancy, but lie well within the range of his vocal attainments. He has used them so frequently and in such varied forms that he can instantly twist, turn, or alter them to fit the requirements of the various syllables of his ever changing flatteries. With a few such elemental groups of his own invention at command, any singer would be well equipped to extemporize for the delectation of his host and the entertainment of the other guests. The song is exceptional for strongly accented notes. The triplets giving the value of three quarter notes in the time of two are rather unusual in modern music. It is cast in the natural minor scale of B-flat. The singer never uses either the raised 6th or 7th in ascending, as do moderns in the melodic minor, but adheres strictly to the old _normal_ or _natural minor_ form. Although diatonic, in that both the G-flat and C-natural appear frequently, yet the number savors much of the pentatonic.