Kdrath] IROQUOIS MUSIC AND DANCE 35 



Ninth — Drum 2, Eagle 2, War 3, Sun Rite 1, Dark Dance 2, 5, 6, Carry-out- 

 the-Kettle 1, 2, Old eskanye 10, Corn 4 (1948), Hand-in-hand 4, New Fish, 

 Choose-a-partner 2, Garters 1, Shaking-a-bush 2, Knee-rattle 1. 



Tenth — False-Face 1. 



Eleventh — Drum 3, yeidos 3, Dark Dance 1, Quavering 3, 4, New ^skanye 1, 4; 

 Corn 9, 10 (1948), Hand-in-hand 1, Shaking-a-bush 6, all Pigeon. 



Twelfth— Hand-in-hand 5, 9 (1948). 



This selective list shows the vast preference for an octave's range, 

 sometimes by dipping to the fifth below a central main tone, sometimes 

 by descending to a basic main tone. The fifth and ninth run second. 

 Very small and very large ranges are uncommon, as are very small and 

 very full scales. Functionally, the octave and other average ranges 

 are well distributed, the smallest compasses occur in sacred rites, 

 the largest in social and new dances, and in some war-type songs. 

 From another angle, Drum, False Face, War, women's medicine rites, 

 and individual chants show extremes of compass. The octave pre- 

 dominates in animal rites and social dances, eskanye and Trotting 

 Dance. 



To an extent the compass guides the magnitude of the scale and the 

 intervals; a compass of an octave or more gives more space than one of 

 a second or even a fourth. However, Choose-a-partner 1 and 4, 

 with a compass of an octave, contain a four-tone scale; whereas the 

 diatonic Hand-in-hand song 4 extends to a compass of a ninth. 

 Consequently, the sparsely strewn Choose-a-partner songs demand 

 many intervals of a fourth and fifth, and the Hand-in-hand song 

 moves stepwise in small intervals. 



Summary: 



While Iroquois songs show a bewildering variety of tonal materials 

 and handling, moderation is preferred in all aspects: in the majority 

 of five-tone scales, of tertial nuclei, of moderate or small intervals, 

 and of an octave's range. Though tonal types are distributed through 

 all functional categories, and though some cycles, as Drum Dance and 

 False Face, include extremes, in general the following tendencies con- 

 form to ritual types: 



(1) Secundal and small-tone songs with small compass are found 

 mostly in sacred rites for the Creator or shamanistic rites. 



(2) Average properties characterize animal rites. Trotting and Fish 

 type, Old eskanye and Corn cycles. These are largely tertial, focus 

 centrally. 



(3) Large and diffuse scales are common in Drum, War, and 

 women's medicine rites, also in Hand-in-hand and double-column 

 stomp social dances as well as most new compositions. These tend to 

 be quartal or composite, often with the main tone at or near the 

 bottom of the scale. 



