. Bulletin. Ethnology. densmore] NORTHERN TTTI': MITSTC 59 a'gagar red vi^nugump wagon ku'avi^tsiya dust ma^rikat^ white man pumiVanupahai looking around Analysis.—This melody comprises six rhythmic periods, the first four containing two measures each and the last two containing three measures each. The final measure in every period contains two eighth notes followed by a quarter note. This phrase is sung on the lowest tone in the period which, with its frequent recurrence, gives the phrase a certain emphasis. Noting the tones on which this occurs we find them to be G, F, G, F, G, G. The tones
. Bulletin. Ethnology. densmore] NORTHERN TTTI': MITSTC 59 a'gagar red vi^nugump wagon ku'avi^tsiya dust ma^rikat^ white man pumiVanupahai looking around Analysis.—This melody comprises six rhythmic periods, the first four containing two measures each and the last two containing three measures each. The final measure in every period contains two eighth notes followed by a quarter note. This phrase is sung on the lowest tone in the period which, with its frequent recurrence, gives the phrase a certain emphasis. Noting the tones on which this occurs we find them to be G, F, G, F, G, G. The tones in the first, third, fifth, and sixth periods are those of the triad of G minor, and the song is analyzed in that key. The melody progresses chiefly by thirds, 63 per cent of the intervals being minor and 22 per cent major thirds. No. 2. Yellow Hair Recorded by Singer No. 2 (Catalogue No. 784) Voice J = 200 MORACHE Jz= 152 For rhythm of morache see analysis of song (1) (1) iS^g. oa'tSiwa^ones yellow hair sticking up The words of this song may refer to the appearance of a bear. Analysis.—This song is characterized by a monotonous rhythm and a lack of variety in melodic progression. Other songs containing the same characteristics are Nos. 3, 4, 6, 10, 15, and 16 in the Bear dance songs, and a majority of the hand game songs, Nos. 94-102. This rhythmic and melodic peculiarity suggests a vocal expression scarcely developed to the point of composed song. We find in it a resem- blance to the rhythmic vocalization which accompanies concerted labor among peoples low in the scale of culture. In a majority of the songs cited the principal interval is the minor (or nonmajor) third,. Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original Smithsonian Institution. Bureau of American Ethnology. Washington : G. P. O.
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