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 0for eachA=2 + 4- - -Level 0for eachA=0 + 4
     with Bar-lines placed atLevel -1, 2 bars per cell, 4 bars (2 cells) in eachA.

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

There is an unusual chord progression at theLanger Hinge.
     The DOMINANT chord, at the end of theM53, progresses to the COUNTER,
               in reality the ANTE 1 (Am⁷),
          which, byMetamorphosis 4, is transformed into the COUNTER (C⁶).
     This explains, end of Bar 4, the LineOrbit 3toOrbit 2(A B / C, in Melody 1)
          and the LineOrbit 2toOrbit 1(F# / E, in Melody 2),
               which we hereby add to those below in the MeloLines.

MeloRhythm
TwoEntitiesfor the Chorus - - - OneEntityfor the Verses.
Entities =pF=pF= pK3M pK3F= pK3M- - - One Entity =F+F+ K3F= F+pF+ K3M
(forcode).

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 onelater
     gives Melody 2 a much morerebounding, Slavic Mazurka flavor,
          transforming all thepF=s intoF+s.

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

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 precedesOrbit 2being consideredOrbit 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 / 2with2 / 1.
     However, the following choices were carefully planned :
          in the second cell (bars 3-4)2 / 1with3 / 2,
          in the third cell (bars 5-6)3 / 2with2 / 1, and
          in the fourth cell (bars 7-8)1 / 1with2 / 1, exchanging on the antepenultimate note.

Analysis Of Melody 2

General
Everything satisfactory in itsAA'form.

Melo-rhythm
Everything satisfactory in itsF+F+ K3F= F+F+ K3Mshape.

Melo-harmony
Everything satisfactory in itsM5364chord pattern,

Melo-lines
An abundance of2-1which 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 seeExample 3