KuRATH] IROQUOIS MUSIC AND DANCE 47 



Drum Dance, part II: 



Tonality the same in all versions; Tonawanda tempo slowest, Cold- 

 spring fastest; rhythms and meter greatly varied, Black most orna- 

 mental, Lewis simplest; structure and contour the same. 



Eagle Dance: 



Tonality and range same; Shanks somewhat slower; drum pattern 

 variable, rhythmic units the same and handled similarly in A, but 

 with variations in B, Johnny John being simplest. Shanks ornamenting 

 by pulsation, Smoke and Logan by trills; structure of Johnny John 

 more extensive than of other versions (A A B A' B A" as against 

 AAB AB). 



False Face: 



Tonality and range the same; Cornplanter False Faces much faster 

 than other versions, Husk Faces slower; rhythmic and metric proper- 

 ties the same; large contours analogous but details variable. 



Bu^ffalo Dance: 



Tonality the same except for Cornplanter 's transitional lower sixth in 

 songs 1 and 2 ; as shown by scales, somewhat lower weighting by Corn- 

 planter (frequency of lower notes) and greater focusing on main tone 

 by Coldspring singers on page 212; percussion the same, also rhythmic 

 material except for ornamental variants shown by brackets, with more 

 tendency toward sustained notes and slower tempo in Cornplanter; 

 structure the same except for expansion into fourth section in Corn- 

 planter 3; contours very variable, though all centered, with 

 reversal, respectively falling and rising in Cornplanter and Johnny 

 John 3, Deskaheh resembling Cornplanter and Redeye resembling 

 Johnny John in section 1(a) and Cornplanter in section 3(a'0- 



Bear Dance: 



Tonality and range identical, except for omission of lower seventh in 

 Shanks 1 ; Shanks somewhat higher weighting ; Shanks and Johnny John 

 faster than Logan; intricate rhythmic and ornamental variations, viz: 

 song 1 — Shanks grace notes and pulsation, Logan central sustained 

 notes; song 3 — Shanks alternate duple and triple units, Logan Scotch 

 snap and rapid figures. Smoke all duple units; song 4 — Logan and 

 Smoke complex short phrases (two to Shanks' one) ; song 5 — versions 

 on page 216 so variable as to be recognizable only by melody. Struc- 

 ture and contour generally the same, except for addition of terminal 

 antiphony in Shanks 3 and 4. 



Quavering: 



Tonality and range identical; tempi analogous; rhythmic and melodic 



variants in 7 insignificant; basic rhythmic units analogous in 11, but 



