30 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187 



and eskanyegowa, three in parts of Drum Dance and Yeidos med- 

 icine rite, through four- and five-tone scales of Feather, Eagle, Strik- 

 ing-the-stick. Little Water, various agricultural, animal and bird 

 dances, to the large scales of various introductory chants, individual 

 songs. Drum Dance, women's dances, and several social dances. This 

 distribution has no apparent connection with function. However, 

 esoteric rites lie at the meager end of the scale, and some social dances 

 lie at the full-scaled extreme along with new compositions, with food 

 rites in between. The following examples are from Coldspring. 



These scales are here classified into four main types according to 

 their tonal nucleus. The first is monotone, confined to chantlike pas- 

 sages, antiphony, and calls or whoops. The next classification is 

 termed secundal because of the predominance of two adjacent notes, 

 that is, the ground tone and the second of its scale. Other notes may 

 lie above and at times below, but they are less important. The third 

 group is termed tertial because the two nuclear notes lie a third apart, 

 namely the ground tone and the third above. Tertial scales tend to 

 build up their entire scale on a skeleton of thirds, sometimes both 

 above and below the ground tone, as in Yeidos and some Feather 

 Dance songs. Most commonly, they build in series above. Two con- 

 secutive thirds add up to a fifth. When the melody dips down to a 

 fourth below the ground tone (the fifth of the lower octave), as in 

 ga'daso't. Duck Dance and others, an octave results in intervals 

 known to buglers. Three consecutive thirds add up to a seventh, as 

 in 'ohgiwe and Pigeon Dance, which add an extra note to complete 

 the octave. In rare instances, four thirds build up to a ninth, as in 

 Shaking-the-bush 3. This superimposes a chain of four thirds on 

 another chain of three thirds. These chained thirds are an exception 

 in Iroquois music. Their rare occurrences may be significant. The 

 fourth group is termed quartal because of the nuclear position of notes 

 a fourth apart, sometimes a single interval of a fourth, often two or 

 even three, as labeled, in war type, women's, and recent songs. 



These scales are not confined respectively to intervals of a second, 

 third, and fourth, but may contain a variety. The last category, in 

 particular, may include many incidental notes, up to a complete 

 diatonic scale in Shaking-a-bush. The terminology refers to the 

 functional notes and tonal progressions. Quartal scales may connect 

 their nuclear tones directly in jumps of a fourth, or indirectly, that 

 is, 4 2 2 1, as in Changing-a-rib. The fourth of the scale varies greatly 

 in importance, from true secundal songs, through Buffalo songs with 

 fairly emphasized fourth to Hand-in-hand Dance with its great gaps 

 of fourths. Thus secundal and quartal scales are related. 



Though scales range from monotone to diatonic, they are predomi- 

 nantly four- or five-tone. Quartal scales build on tones 54 21 ; tertial 



