Kdrath] IROQUOIS MUSIC AND DANCE 31 



scales on 5 321 or 543 1, adding the sixth or seventh. Sometimes 

 there are chained thirds — -I 5 3 1. 



True secundal scales are in the minority — ^Drum, Eagle, Husk Face, 

 Quavering, Changing-a-rib, a few songs of Trotting, Garters, and 

 Chicken Dance, and are thus largely in rituals. However, a secundal 

 nucleus is still evident in the quartal Bear and Buffalo Dances, and in 

 the terminal play on two adjacent notes in a number of complex 

 scales — ^Eagle 2 (Tonawanda), Yeidos 1, Changing-a-rib 5, Devil 

 Dance 5, and others. Tertial scales occur in all cycles except Drum 

 Dance and Sun Rite, and characterize Stomp type and Fish type 

 social dances, including the obsolete variety. Quartal scales remain 

 conservative in adonwe, animal dances, both ritual and social, ohgiwe, 

 Old fskanye, and food spirit stomps. They swell to formidable size 

 in many introductory chants, notably Drum and Eagle Dances, in 

 some Yeidos, War, and New eskanye songs. They combine with a 

 tertial substratum in these last three cycles, also in Quavering, 

 Changing-a-rib, Hand-in-hand, Pigeon, Knee-rattle, and Devil Dance. 



The nuclei do not always appear in the same manner and in the 

 same combination with other tones, but on the contrary exhibit great 

 variety. Almost all Feather Dance songs are tertial, that is, they are 

 constructed on intervals of thirds. Tonawanda 1, 2, 5, and 7 exem- 

 plify three different ways of focusing a 5 3 1 combination and of pro- 

 ducing a range of a fifth or, by duplicating note 5 on a lower octave, 

 a range of an octave. Songs 6, 3, and 4 add other notes in intervals 

 of seconds and produce as many scales, song 4 building downward 

 below the main tone E. 



Drum Dance, entirely secundal and quartal, builds downward 

 during the first four songs, from a cluster of a fourth plus a second 

 (song 1) to two clusters of fourths (song 2) to three quartal clusters 

 dangling downward (songs 3 and 4). The main tone remains at the 

 base of the topmost cluster. The next set of songs, 5-9, shrinks 

 again to a secundal core, only to expand into quartal 10 and 11. This 

 terminates the dance cycle proper. The middle of the rite consists of 

 a series of monotone chants (12, 13). The last part recapitulates the 

 varied dance songs. Thus, within the rite as a whole and within 

 each series of dance songs, the nuclear, small-range songs are in the 

 middle, just as in each song the main tone is in the center. 



Ado'we and War Dance also show various ways of building up 

 scales. Tonawanda War Dances 6, 1, and 5, in particular, illustrate 

 the growth of additional quartal clusters. Song 5, however, termi- 

 nates on the uppermost note of the bottom cluster — G. Other scales 

 can be likewise examined. It is the variable insertion and addition 

 of subsidiary notes that produces the various types of five-tone scales 

 and the six-tone and diatonic songs. 



