DENS more] 



CHIPPEWA MUSIC 



159 



Analysis. — Only the first two words appear on the phonograi)h 

 record, yet five Indians were in the room when the song was recorded 

 and they all agreed that these were the proper words for the song. 

 This is one of the instances in which the melody is evidently more 

 important and constitutes more fully the identity of the song than 

 the words. The melody shows great complexity of rhythm, a feat- 

 ure to be expected from the nature of the words. The tones of the 

 melody are those of the tonic triad. 



No. 145. " I HAVE Come After your Stake" (Catalogue no. 224) 



Sung by Ga^gandac^ 

 Voice J -69 

 Drum J=r 120 

 (Drum-rhythm similar to No. 143 ) 







-1 — 



-ft n^ •- 



-^ 



A- -»- 



^i 



::i=± 



Nim -bl - na - dl - nun ki - da- di - mi-nfin ?ii a ya a 



^ 



H ^ ^ L-.! L J — F— 1=— 



:^==: 



•—li—ii—d—d d d —^ 



ni - ta - wa - ta - gi- y un a ya 



WORDS 



Nim'binaMinun^ I have come after it 



Kide^imOn Your stake 



Nita'wata%iyun^ You good players 



Analysis. — The rhythm expresses the idea of this song in a very 

 interesting manner. The voice rhythm is slow, steady, and deter- 

 mined, while the drum rhythm is the quick, energetic beat of the 

 moccasin game. 



Moccasin-game Songs — White Earth Reservation 

 Melodic Analysis 



■ TONALITY 



Number 

 of songs. 



Catalogue numbers. 



Major tonality. 

 Minor tonality. 



Total 



181,203 

 112, 224 



