i.KNSMonE] CHIPPEWA MUSIC— II 5 



sixth is used as a passing tone between the tonic and dominant in 

 descending progression (see No. 1 76) , the tonic chord being emphasized ; 

 (2) the sixth is combined with the tonic triad above it, forming a 

 minor triad and seventh, which changes to the tonic major triad by 

 the descent of the sixth to the dominant, the song closing with the 

 tonic chord (see No. 147). 



We next observe the tone-material of Chippewa songs in its relation 

 to the tones of the diatonic octave and find the seven tones of the 

 diatonic octave m only 6 per cent of the songs. The fifth is present 

 in 338 songs, the only songs in which it does not occur being the two 

 songs (Nos. 51, 52) on the fifth five-toned scale. A similar persist- 

 ence of the fifth is noted by Doctor Baker in his analysis of 31 Indian 

 songs, the fifth being present in 30 of the songs under his observa- 

 tion.^ The relative persistence of the fifth and fourth in the songs 

 of the Murray Islanders has been exhaustively studied by Dr. C. S. 

 Myers, who states:^ "There is good reason to believe that in Murray 

 Island the use of the fourth preceded that of the fifth, but that 

 with the development of the tonic, the note which is a fifth above it 

 is more often used than that wliich is a fourth above it." The next 

 interval in point of persistence is the third, which occurs in 329 songs, 

 or about 97 per cent of the entire number. The character of the songs 

 from which the third is absent is considered in the analysis of song 

 No. 53. A similar frequency of the third was noted by Doctor Baker, 

 who found the thnxl in 25 per cent of the 31 songs analyzed by him. 

 The presence of the sixth is noted in 276, or about 81 per cent of the 

 Chippewa songs; that of the second in 210, or about 62 per cent; 

 of the fourth in 135, or about 40 per cent; and of the seventh in only 

 110, or about 32 per cent of the songs. Doctor Baker noted also the 

 seventh as being found in only 8, or 26 per cent, of the songs under 

 liis analysis, this being the interval which occurred with least fre- 

 quency. Thus is noted some similarity between the result of Doctor 

 Baker's analysis of the songs of several Indian tribes and the result 

 of the analysis of Chippewa songs, in which the persistence (or 

 frequency of occurrence) of the tones of the diatonic octave are 

 in the following order: Fifth, third, sixth, second, fourth, seventh. 



An interesting group of songs is that classified as "octave complete 

 except seventh and fourth." The omitted tones are the same as 

 those lacking from the fourth five-toned scale, but in this group of 

 songs the third and sixth are minor intervals, making the songs 

 minor in tonality, while in the fourth five-toned scale these intervals are 

 major intervals and the songs therefore major in tonality (see No. 83). 



' Theodor Baker, Uber die Musik der nordamerikanischen Wilden, Leipzig, 1882; "Tabellen der Intervalle 

 und dcs Tacts," p. 82. 



^ In Reports of the Cambridge Anthropological Expedition to Torres Straits, vol. iv, Cambridge, 1912, p. 

 260. 



