The rhythmic structure of the melody is interesting hypermetrically: in mm. 1–4, thehypermetric downbeat occurs in mm. 1 and 3 and emphasizes ^5 as the melodic anchor.The continuation of the phrase features a less regular hypermetric organization withmetrical downbeats occurring in mm. 5, 6, and 7. This hypermetric organization cor-roborates yet another characteristic of contrafacts, namely that they have a fairly irregularand purposefully unpredictable phrase structure. The irregular hypermetric organizationof the A section is balanced by a symmetrical unfolding of hypermetric two-bar phrasesin the bridge