Rhythm and Meter. The folk tune on which Stravinsky’s melody is based, taken from a collection published by Rimsky-Korsakov, is in the ${}_4^2$ meter already implied in Block 3, but complicated by the ${}_4^3$ measure near the end. This implicit ${}_4^2$ is in tension with Stravinsky’s notated ${}_4^3$—only in the last two measures do the melody and Stravinsky’s ${}_4^3$ meter come into synch. Note that the folk melody ends on F, but Stravinsky truncates his version to end on G. To a tonally-oriented ear, Stravinsky’s ending on G sounds logical and definitive, closing off this block and affirming its overall centricity on G (and on the fifth, G-D).