’ ’ ’ ’ ’
    There’s a | little | spark of | love still | burning

Yet this is not a measure that is commonly found in the popular song.  Other combinations seem to fit popular song needs quite as well, if not better.

(b) The second measure—­called the iambic measure—­is the reverse of the first.  That is, the short or unemphatic syllable precedes the long or emphatic syllable.  “Alexander’s Ragtime Band " uses this measure at the beginning of the chorus.

             ’ ’ ’ ’
        Come on | and hear | come on | and hear

The first verse of Mr. Harris’s song shows this measure even more clearly: 

’ ’ ’ ’ ’
You sit | at home | and calm | ly read | your pa | per

This second measure, being less sustained in syllabic force, is more easily kept up than the first measure.  It is therefore in common use.

(c) The third measure—­called the dactylic measure—­is formed of a combination of three syllables.  Its characteristic is an emphatic syllable followed by two unemphatic syllables, as: 

’ ’
The | old oak en | buck et

’ ’
The | iron bound | buck et

(d) The fourth measure—­called by the frighteningly long name of amphibrachic measure—­is formed by a short or unemphatic syllable followed by a long or emphatic syllable, which is followed again by another short or unemphatic syllable.

’ ’ ’
I won der | who’s kiss ing | her now

(e) The fifth measure—­called anapestic measure—­is made up of two short or unemphatic followed by a long or emphatic syllable.

’ ’ ’
When the bell | in the light | house rings ding | dong

All these three-syllabic measures have a quicker movement than the two-syllabic, owing to the greater number of unaccented, unemphatic syllables.  They lend themselves to a rushing impetuosity of expression which is the notable characteristic of the popular song.  But they are not always regular, even in high-grade poetry.  Therefore in the popular song we may look for, and certainly be sure to find, all sorts of variations from the regular forms here given.  Indeed, regularity, as has been clearly pointed out, is the exception and not the rule; for few single lines, and, in a still more marked degree, almost no songs, adhere to one measure throughout.  Precisely as “apt alliteration’s artful aid” may be used or not used as may suit his purpose best, so the song-writer makes regularity of measure subservient to the effect he desires.