34 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187 



various intervals can be related to their function as follows: 



Monotone — in monotone chants and antiphony, commonly prolonged in 

 terminal phrases, often pulsated; recurrent in melodic texture in combination 

 with all other intervals, in all positions. 



Semitone — rare as a clear-cut interval, usually as a passing note, for instance, 

 in Hand-in-hand. 



Three-quarter tone — sometimes between a neutral or "blue" third and seventh, 

 and an adjacent note, as marked by signs + or — ; in reality an interval fluctuating 

 between a semitone and a second. 



Second — in all songs except tertial songs, commonly in stepwise fourths and 

 fifths. 



Third — in practically all except monotone songs^ in tertial scales as nucleus, 

 in quartal scales as substratum; frequently constituting quartal progressions in 

 combination with a second, as a third and second equal a fourth. 



Fourth — direct in descent in quartal songs, particularly those showing great 

 gaps in their scales; rebound in dips below the main tone; ascent in phrase begin- 

 nings. Indirect in both secundal and quartal melodies as 4 2 1, or in tertial 

 melodies as 4 3 1, sometimes stepwise as 4221 or 4331. 



Fifth — rare as direct interval ascent at phrase beginnings; indirect similar 

 to indiiiect fourths, as 5 4 2 1 and 5 4 3 1, in tertial scales as 5 3 1, in quartal 

 scales as 5 4 1 or 5 2 1. 



Sixth — as direct interval only in ascent in Hand-in-hand and Pigeon, and in 

 introductions such as Eagle 1. Stepwise in all conceivable combinations of smaller 

 intervals descending or ascending. 



Seventh and octave — never direct, indirectly only by long progressions of an 

 entire phrase. Exception: octave rise in New fskanye initial attack. 



Range or Compass: 



The range is evident from the weighted scale. As already men- 

 tioned at the beginning of this discussion, melodic compass varies 

 from a third to 12 notes, but functional tones most commonly 

 encompass a fifth in tertial and secundal scales, or an octave in 

 quartal and extended tertial scales. The range, as distinct from the 

 scale, is the distance between the top and bottom of the melody. 

 In addition to the monotone in calls, antiphonies, and Husk Face, 

 the distribution is as follows, with Tonawanda examples: 



Second — False Face 5 and 14. 



Third — ad<j-wf 6. 



Fourth — Drum 9, False Face 4 (Black) 5, Quavering 4. 



Fifth— Drum 1, 7, Eagle 4, 7, War 6, False Face 3, 12, 13, 14, Bear 2, Quavering 

 1, Raccoon 1, Trotting 3, Shaking-a-bush 4. 



Sixth — Feather 3, 6, Drum 7, Eagle 5, yeidos 4, Bear 3, Changing-a-rib 17, 

 ohgiwe 1, 4, 6, 7, Corn 2. 



Seventh — adgw^ 4, Sun Rite 3, Changing-a-rib 1, 8, Old Fish 1, Robin 3 

 (associated with chained thirds). 



Octave— Feather 4, 5, Drum 2, 5, 6, 8, 11; ado-w§ 1, 2, 3, 5, all Ashes Stirring, 

 Eagle 1, 6, War 1, 2, Sun Rite 1, False Face 2, 8, all Buffalo, Changing-a-rib, 1, 14, 

 16, ohgiwe 8, Carry-out-the-kettle 3, 4, Old §skanye all except 10, many New 

 fskanye. Corn 2, Hand-in-hand 5, 9, Trotting and Garters generally, Raccoon 3, 

 Duck, Robin 1 and 2, Knee-rattle 3, Devil Dance and Delaware Dance all, 

 Show and Story songs. 



