44 BUREAU OF AMERICAN ETHNOLOGY [Bull. 187 



continue with new material (3). This example typifies the subtle 

 connections and thematic overlapping in Iroquois songs. 



Pattern Analysis: 



For convenience, single themes and their variations are called "A," 

 and sections with new materials "B." The composite tabulation of 

 musical characteristics shows that the single theme is reiterated in 

 sequential chants and men's esoteric rites, also on Old fskanye, Shake- 

 the-pumpkin and Robin Dance. The form A A A' A A' is transitional 

 to the binary form A A B A B in War Dance and Buffalo songs, and, 

 with a characteristic alternation of instrumental impulse, in newer 

 women's dances and Fish Dance type. The final recapitulation of 

 part A produces a ternary form of A B A or A A B A in Bear, many 

 Changing-a-rib, towisas, ga'ddSo-t, and Pigeon songs. 



Elaborate calls precede and follow each Feather Dance song and 

 each ado-we chant, connect all False Face songs and even slice Robin 

 Dance tunes in half. Short double terminal calls signal the close of 

 yeidos, Buffalo, Bear, many Quavering and Changing-a-rib, new 

 women's songs, and all stomp and Fish dances. They are absent only 

 in introductory chants, Eagle, Dark Dance, Old eskanye, and towisas. 

 These generalizations will later be synthesized with tonal and func- 

 tional observations. 



CONTOURS 



(See fig. 10, p. 88) 

 Melodic contours can be determined in two ways, either by graphing 

 every note for details or by tracing out the general rise and fall 

 for the large patterns. The former method was used in the 1953 

 analysis of Eagle Dance. The latter proves more eloquent for the 

 present purpose. Contour patterns are of course infuiite in their 

 variety, from absolutely level monotone to erratic melodies. A few 

 of the more regular forms have been selected as generally typical. 

 They can be equated with the tonal range and means of thematic 

 manipulation. The first six sketches of figure 10 display the tonal 

 geometry as a whole, the last four show the sections separately. Each 

 sample represents a good many songs with, of course, variations in 

 detail. Explanation of figure 10 showing typical contours follows; 



Monothematic and Nonthematic: 



1. Irregular swell and ebb repetition. False Face. 



2. Continuous swell and ebb repetition. Yeidos. 



3. Wavering between a high fifth and a final lower main tone. Feather. 



4. Large swells, rise and fall, dwindling toward end. Bear, Dark Dance, Shaking- 

 a-bush. 



5. Terrace descent, dwindling at each level. Drum, War, ^skjinye. 



6. Inversion, rise and fall, then fall and rise. Buffalo, Robin. 



