. Bulletin. Ethnology. 156 SYMPOSIUM ON IROQUOIS CULTURE [B. A. E. Bull. 149 i « 11 #50. ho ya ne we he ho ya ne- he t , . > > AABcBBC ABcBBC Figure 16.—'Ohgi'we song number 50, for men and women. Melody.—These songs are much longer, with a part C, several dup- lications of B and C, and an extra complete rendering by the women. The characteristic example, song 53 (fig. 17), at first reinforces the stable percussion by a series of even eighth notes, but in part C it shifts to a syncopated figure, in alternation with the even notes, and it ends suspended on three nebulous notes. Its tonali
. Bulletin. Ethnology. 156 SYMPOSIUM ON IROQUOIS CULTURE [B. A. E. Bull. 149 i « 11 #50. ho ya ne we he ho ya ne- he t , . > > AABcBBC ABcBBC Figure 16.—'Ohgi'we song number 50, for men and women. Melody.—These songs are much longer, with a part C, several dup- lications of B and C, and an extra complete rendering by the women. The characteristic example, song 53 (fig. 17), at first reinforces the stable percussion by a series of even eighth notes, but in part C it shifts to a syncopated figure, in alternation with the even notes, and it ends suspended on three nebulous notes. Its tonality shifts be- tween two foci on the third and first of a scale of 53217. Dance.—The solemn shuffle accompanies the first theme and the entire women's rendition; but during most of the men's singing, the dancers' faces brighten and the motions grow livelier, with improvised, staccato two-steps, stamps, crisj^ turning jumps, and pert gestures, such as the raising of the hands to shoulder level (B) or the wafting of the elbows from chest to shoulder level, forearms straight across the chest (C). Figure 17 shows a complete diagram of the song and progres- sion and of the steps and gestures. Conclusion.—Five songs, four by the ensemble, one by men alone. Drum.—(a) In songs 64-67 a tremolo heralds both the men's and the women's entrance (fig. 18) and turns into a duple beat, as in the somewhat faster introductory songs 1-5, thus tying up with the opening, (b) At the end of song 67, a tremolo connects directly with the last song, continues through the chant (-4), and bursts into a duple beat of doubled speed to a clean-cut final stroke {B, fig. 19). Melody—(a) The four paired songs introduce lively rhythmic mo- tifs. The eighteenth notes anticipate the climactic communal dance, Carry-out-the-Kettle (fig. 20). Songs 66-67 introduce a semitone between 5 and 4 in the scale of 65431. (6) The chant and final cry of the last song waver on the fifth, the semitone below, and the
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