38 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187 



rhythms in one and the same phrase enhances the contrasting effects, 

 thus in Changing-a-rib 7, Trotting 6, Pigeon 2 and 3. 



Ornamentation. — The more rapid figures partake so much of an 

 ornamental function as to be distinguished from grace notes and trills 

 only by the manner of writing. The writing has been determined by 

 the accent, by its placement on the first, second, or third note of the 

 ornament. For instance, with Tonawanda examples — £^' Feather 



Dance 5 as against •'p Feather 6, Drum 1 and 2. •^fP- Feather 7 as 



against ij • Drum 3, Eagle 5 and C-T T Eagle 4, War 4. C/ Corn 2 as 



against £j*' Corn 4. 



r appears in three forms, as vibrato on one note, in Drum 3; as 



trill in Drum 7, False Face 2 (Black); as downward glide in Eagle 5, 



False Face 2 (Cornplanter) . Similarly, •• (• can pulsate on one note in 



Eagle 6, glide downward in Eagle 4 or upward in 6 B. The grace 

 notes are sometimes replaced by a slur; upward in War 1, or downward 

 in War 2. Because of their varying contour and tempo, trills have 



all been written in full, to distinguish the slow ET^T from rapid •^rT 



of Eagle 5 ; and trills on a second, as False Face 2 (Black) from trills 

 on a third, as Drum 7 and Eagle 5. Often portions of the melody 

 proper produce an effect of trill, as the first triplet in Changing-a-rib 

 3 and the second triplet in 4. The unit ^ in its various combinations, 

 as Sun Rite 2 and 3, Bear 5, is ornamental. Vocal pulsation, marked 

 P also serves as ornament, by breaking up a sustained note into 

 small vibrating particles. Ornamentation is an important enriching 

 factor in Iroquois music and, one may add, a factor susceptible to 

 individual variation. It can add spice to any and all of the song cycles, 

 and appears inevitably in War dance type and eskanye, as pulsation 

 in Feather, ohgiwe, and Corn Dance. 



Grouping of units into phrases. — Each song uses its own special device 

 for grouping small rhythmic units into a pattern. Yet out of the 

 variety we can select typical devices for the various cycles, and we can 

 attempt a classification of patterns. The salient combinations are: 



(1) Repetition^ — False Face 6, Drum 10, False Face 4, Husk Face, 

 Buffalo, Quavering 3, Old eskanye 3, Corn 2 and 4, Trotting and 

 Garters, Robin, Duck, Grinding-an-arrow, Knee-rattle, Moccasin 

 gaming (Tonawanda). 



(2) Patterned combination of units in a number of ways, as: 



(a) Tapering from fast to slow units — Feather 5, Eagle 1, 6, 

 Dark Dance 4, Changing-a-rib 2, Fish type. Devil Dance. 



