. Bulletin. Ethnology. J(3Q BUREAU OF AMERICAN EmiNOLOGT No. 43. Bear Dance Song (d) Recorded by Gus Whjjs Vdice Jr 88 Striking sticks J: 88 Rhythm of striking sticks similar to No. 30 [Bull. 136' (Catalog No. 2268) mi^m^m^^m m^J^^rM. Analysis.—The short rhythmic unit in the first of these songs is extended iu the second. A major triad forms the framework of the first song and the middle phrase of the second, followed by a distinct change of rhythm and a descent to E, introducing a minor triad and minor seventh with the tones in descending order. The "shouts" with the two songs were
. Bulletin. Ethnology. J(3Q BUREAU OF AMERICAN EmiNOLOGT No. 43. Bear Dance Song (d) Recorded by Gus Whjjs Vdice Jr 88 Striking sticks J: 88 Rhythm of striking sticks similar to No. 30 [Bull. 136' (Catalog No. 2268) mi^m^m^^m m^J^^rM. Analysis.—The short rhythmic unit in the first of these songs is extended iu the second. A major triad forms the framework of the first song and the middle phrase of the second, followed by a distinct change of rhythm and a descent to E, introducing a minor triad and minor seventh with the tones in descending order. The "shouts" with the two songs were different, those which preceded and followed the first song being shown as nearly as possible in the transcrip- tion. The second song is in the same tempo as the first. The "shouts" were different and are not indicated. The melody tones of both songs are those of the fourth 5-toned scale and the number of progressions is the same in both songs, comprising 12 descending and 9 ascending intervals. Variety is given to the rhythm of the striking sticks by a change to 2 eighth-note beats on the last coimt of each triple measure. Stomp Dance This is not one of the dances that are given in prescribed order. On the occasion of the writer's visit, the Stomp dance was given by request, following the other dances. Men and women stood in a circle, facing the center. They were not in couples but in any de- sired order, and all joined in the songs. The leader of the singing was an old man, who stood in the middle of the circle. As stated, the leader of the singing need not take part in the dancing, though a young man usually leads the line of dancers and sings. The mo- tion of the dance consisted in jumping with both feet at once, the circle of dancers moving in a contraclockwise direction. No instru- mental accompaniment was used with these songs. A general characteristic of the 12 Stomp dance songs under analy- sis is their rhythmic structure. Five of these songs contain three
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