densmOrb] CHIPPEWA MUStO 7 



Tone Material 



A wide range of tone material is shown by the songs under obser- 

 vation. Certain songs contain tones whose melodic sequence refers 

 defuiitely to a keynote or tonic. Other songs contain tones which 

 appear to belong to the system of tones commonly called major or 

 minor keys, but which are used in such melodic sequence that their 

 relation to a keynote or tonic is obscure. The border line between 

 these two classes of songs is not clearly marked. Because the rela- 

 tion of tones to a keynote is not apparent, one scarcely is justified in 

 saying that such relation does not exist, especially as the purpose of 

 the present work is not scale construction, nor scale analysis, but 

 recording, in the simplest and most evident manner, the musical 

 performances of the Chippewa. For this reason no attempt is made 

 to separate these two classes of songs. The distinction will be evi- 

 dent to those who follow closely the transcriptions and analyses. 

 In many instances the sharps and flats at the beginning of the staff 

 indicate that the tones upon those degrees are sharped or flatted, 

 but do not imply that the corresponding key is fully established. For 

 present purposes it is deemed sufficient to analyze the tone material 

 of the songs, with reference to the keynote implied by the beginning 

 and ending of the song and its general melodic trend. 



The present system of classification, while carried out consist- 

 ently, must be recognized as broad in outline and somewhat tentative. 

 The principal change from ordinary terminology is in connection 

 with what are commonly known as the major and minor ])enta- 

 tonic scales. These two consist of the same tones, a major tonality 

 being secured by using as a keynote the lower tone of the group 

 of three tones, and a minor tonality being secured by using as a 

 keynote the upper tone of the group of two tones. 



The subject of pentatonic scales is fully considered by Helmholtz," 

 according to whom a scale lacking the second and sixth tones is the 

 second five-toned scale. This is the scale commonly known as the 

 minor pentatonic scale. According to the same author, a scale 

 lacking the fourth and seventli tones is the fourth five-toned scale. 

 This is the scale commonly known as the major pentatonic scale. 

 Following the system set forth by Helmholtz, the terms "second 

 five-toned scale" and "fourth five-toned scale" are used to indicate 

 what are commonly called minor and major jjentatonic scales. 



A somewhat less important change in terminology is the use of 

 the term 'tonality" instead of the more common term ''key;" 

 this is fully explained in connection with the first tabulated analysis. 



ain his work The Sensations of Tone as t'ae I'liysiologifal Basis oi ,,I...sii; (pait J, iliLiptcr 14). 



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