History
Both the chorus and all the verses of this song were originally set to the same melody,
         and it seemed advantageous to place the verses on a separate melody,
                   all the more so, on a separate Counter Melody.

Comparison Of The Two Melodies

Clementine - - - In A Cavern

General
Form = AA'
Level 0 for each A = 2 + 4 - - - Level 0 for each A = 0 + 4
         with Bar-lines placed at Level -1, 2 bars per cell, 4 bars (2 cells) in each A.

MeloHarmony
The two melodies evidently have the same harmonies, chords, "changes"
M5364

There is an unusual chord progression at the Langer Hinge.
         The DOMINANT chord, at the end of the M53, progresses to the COUNTER,
                             in reality the ANTE 1 (Am⁷),
                   which, by Metamorphosis 4, is transformed into the COUNTER (C⁶).
         This explains, end of Bar 4, the Line Orbit 3 to Orbit 2 (A B / C, in Melody 1)
                   and the Line Orbit 2 to Orbit 1 (F# / E, in Melody 2),
                             which we hereby add to those below in the MeloLines.

MeloRhythm
Two Entities for the Chorus - - - One Entity for the Verses.
Entities = pF=pF= pK3M pK3F= pK3M - - - One Entity = F+F+ K3F= F+pF+ K3M
(for code).

It is evidently preferable to have different sizes (and number) of Entities for the two melodies.
         This places the Langer Hinge of Melody 2 (G F#) at the end of the first Entity of Melody 1, (A)
                   and keeps the whole piece "open", to "close" only at the very end.
The "shifting" of all the note-values of Melody 1 one later
         gives Melody 2 a much more rebounding, Slavic Mazurka flavor,
                   transforming all the pF=s into F+s.

MeloLines
Entities = Orbits 1 / 2 \ 2 / 1 \ 3 / 2 \ 1 / 1 - - - One Entity = Orbits 2 / 1 \ 3 / 2 \ 2 / 1 \ 2 / 1
(for code),

The same number and size of Entities as in the MeloRhythm,
         keeping the whole piece "open", to "close" only at the very end.
Only one Orbit has been chosen for each bar,
                   whatever precedes Orbit 2 being considered Orbit 3.
         During the first 2 TONIC bars, of the first cell, the Orbits have relatively little importance
                             because they do not resolve.
                   They were inverted for reasons of Sonorities, 1 / 2 with 2 / 1.
         However, the following choices were carefully planned :
                   in the second cell (bars 3-4) 2 / 1 with 3 / 2,
                   in the third cell (bars 5-6) 3 / 2 with 2 / 1, and
                   in the fourth cell (bars 7-8) 1 / 1 with 2 / 1, exchanging on the antepenultimate note.

Analysis Of Melody 2

General
Everything satisfactory in its AA' form.

Melo-rhythm
Everything satisfactory in its F+F+ K3F= F+F+ K3M shape.

Melo-harmony
Everything satisfactory in its M5364 chord pattern,

Melo-lines
An abundance of 2-1 which fit in well with the Melo-harmony.

General Review of Entities
No variety of their proportions, with
         1 entity in the Melo-harmony, 1 entity in the Melo-rhythm, and 1 entity in the Melo-lines.

To see Example 3