. Bulletin. Ethnology. 252 BUREAU OF AMERICAN ETHNOLOGY [BuLi,. 156 Quartal scales (fig. 23).âThirteen songs require special considera- tion of their tonal idiosyncrasies. Seven emphasize the interval of a fourth. This is obvious in S. 13 which contains only 541 VII V and thus two inevitable fourths, marked on the weighted scale. Oa. 15 Quartal Scales. Figure 23.âQuartal scales. T e main theme of S. 12, Oa. 15, C. 7 descends from 4 to 1, with surrounding embroidery of other combinations. These three versions of one song add up to the 5421 of the fundamental scale plus VII and VI. Similarly S.
. Bulletin. Ethnology. 252 BUREAU OF AMERICAN ETHNOLOGY [BuLi,. 156 Quartal scales (fig. 23).âThirteen songs require special considera- tion of their tonal idiosyncrasies. Seven emphasize the interval of a fourth. This is obvious in S. 13 which contains only 541 VII V and thus two inevitable fourths, marked on the weighted scale. Oa. 15 Quartal Scales. Figure 23.âQuartal scales. T e main theme of S. 12, Oa. 15, C. 7 descends from 4 to 1, with surrounding embroidery of other combinations. These three versions of one song add up to the 5421 of the fundamental scale plus VII and VI. Similarly S. 18 with a 5421 V sequence exploits not only the quartal theme (the first phrase of B), which descends 431, but also in part A the descent of 542 and in B a direct 1 to V. The other two final songs, Oa. 16 and C. 9, explore this interval more timidly in their sequence of 54(3)1 Vâa different scale from S. 18. This concept is latent in several other songs with a secundal nucleus, such as S. 10 and 15, Oa. 6, 7, with their frequent progression of a fourth. Irregular scales (Jig. 24) â¢â âTwo versions of two beginning chants fluctuate in their tonality. Oa. and C. 1 with their introductory play on a third and their secundal coda, interpolate two quartal descents. As in S. 18, this descent is stepwise through an intermediate note. Technically this would be termed a "; In the case of Oa. and an almost diatonic scale results from the combination. S. 1 and its twin Oa. 2 superimpose three stepwise quartal units on a tertial basis, with the intervals of our regular tertial scale. Two composite songs are in a different tertial scale without a fourth, namely 5321 plus, but in one section they shift their tonal level and introduce quartal descents. S. 3 shifts from a clear-cut tertial section "A" to a cascading "B" in a full scale of 865321 VI, then back again to "; Oa. 9 terminates both sections in a 65321 scale, but raises p
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