6 BUBEAIT OF AMEKICAN ETHNOLOGY [bull. Tut 



The tone-material of most of these songs is diatonic, Table 7 

 showing that 85 per cent contain no accidentals. In songs contain- 

 ing accidentals the tone most frequently affected is the sixth, this 

 interval being either raised or lowered a semitone in 27, or 8 per cent, 

 of such songs. Accidentals occur more frequently in the love songs 

 than in any other group. 



There are next observed the accented tones in their relation to 

 one another, in order to determine whether the songs are harmonic 

 or melodic in structure (Table 8). In making this analysis songs 

 were classified as harmonic in structure if contiguous accented tones 

 bore a simple chord-relation to each other, and as purely melodic 

 if no such relation appeared to exist. According to this basis 83 

 songs, or 24 per cent, are harmonic in structure (see No. 144), and 

 222 songs, or 66 per cent of the number, are melodic in structure 

 (see No. 165). Having identified these groups of songs, it was 

 found that certain songs remained which did not properly belong in 

 either group. Thus there are many Cliippewa songs which would be 

 classified as harmonic except for one tone, or in some instances two 

 tones; a third group was made therefore to include these songs, 

 which may be termed "intermediate" in structure. Such songs 

 are classified as "melodic with harmonic framework." This group 

 comprises 35 songs, or 10 per cent of the entire number, an example 

 being No. 30, in which the only accented tone not having a chord- 

 relation to a contiguous accented tone is B flat in the fourth measure 

 from the close of the song. 



It has been noted that the boundaries of the melodies suggest a 

 chord-relation to the keynote and that the persistence of the third 

 and fifth suggests a chord; it is therefore surprising to note the small 

 percentage of songs which are harmonic m structure. 



The next inquiry concerns the progressions in the melody — their 

 direction and the nature of the intervals. Table 9 shows that in 70 

 per cent of the songs the first progression is downward, and Table 10 

 that 65 per cent of the entire number of progressions in the songs 

 are downward.^ It has been noted that in 90 per cent of the songs 

 the last tone is the lowest tone in the song (see Table 4) ; thus these 

 three tables combine to demonstrate the downward trend of Chip- 

 pewa melodies. 



The nature of the intervals now claims attention in Tables 1 1 and 

 12, The interval which occurs most frequently is the second; but 

 this is not of great significance, as the second is often a passmg tone 

 or a tone of approach. Next in frequency is the interval of the 

 minor third, comprising 34 per cent of the downward, and 29 per 

 cent of the upward, progressions. This interval has been mentioned 



1 The proportion of downward and upward intervals is more uniform in the various classes of songs than 

 any other peculiarity considered in the analysis. 



