It was also stated that the relative antiquity or primitivity of a melody is invariably to be discovered by its degree of relationship to the original type, one note, one rhythm, the emotional, the savage howl, or, in other words, the high note followed by a gradual descent.  To confirm this theory of the origin of folk song, we need only look at the aboriginal chants of widely separated peoples to find that the oldest songs all resemble one another, despite the fact that they originated in widely separated localities.

Now the difference between this primitive music and that which we call folk song is that the latter is characterized by a feeling for design, in the broadest sense of the word, entirely lacking in the former.  For we find that although folk song is composed of the same material as savage music, the material is arranged coherently into sentences instead of remaining the mere exclamation of passion or a nerve exciting reiteration of unchanging rhythms and vibrations, as is the case in the music of the savage.

Before proceeding further, I wish to draw the line which separates savage from folk music very plainly.

We know that the first stage in savage music is that of one note.  Gradually a tone above the original is added on account of the savage being unable to intone correctly; through stress of emotion the fifth and octave come into the chant; the sixth, being the note above the fifth, is added later, as is the third, the note above the second.  Thus is formed the pentatonic scale as it is found all over the world, and it is clear, therefore, that the development of the scale is due to emotional influences.

The development of rhythm may be traced to the words sung or declaimed, and the development of design or form to the dance.  In the following, from Brazil, we find a savage chant in almost its primitive state: 

    [Figure 15] etc.

The next example, also from Brazil, is somewhat better, but still formless and unemotional.

    [Figure 16] etc.

Let this be danced to, however, and the change is very marked, for immediately form, regularity, and design are noticeable: 

    [Figure 17] etc.

On the other hand, the emotional element marks another very decided change, namely, by placing more sounds at the command of the singer, and also by introducing words, which necessarily invest the song with the rhythm of language.

Thus the emotional and declamatory elements heighten the powers of expression by the greater range given to the voice, and add the poignancy and rhythm of speech to song.  On the other hand, the dance gives regularity to the rhythmic and emotional sequences.

In the following examples we can see more clearly the elements of folk song as they exist in savage music: 

  Three or four note (simple)

    South America [Figure 18]
    Nubia [Figure 19]