DENSMork] CHIPPEWA MUSIC-^II 48 



The proportion of songs ending on either tlie tonic or dominant is 93 

 per cent, larger than in any other group except tlie pipe dance songs 

 and the songs for the entertainment of children. Ninety-seven per 

 cent of the love songs have a compass of an octave or more, and 

 four songs have a range of 14 tones. 



The love songs have the highest percentage among songs contain- 

 ing all the tones of the octave, the begging dance songs ranking next; 

 tho omitted seventh, which characterizes the war songs, does not 

 appear in this group, and the octave complete except the second occurs 

 in 17 per cent of the number. The five-toned scales appear less fre- 

 quently in this than in any other group. In accidentals the sixth is 

 sharped more often than in any other group; tho flat third, which 

 we are accustomed to connect with the idea of sadness, does not 

 appear, and the flatted sixth occurs only twice. Two songs have the 

 third omitted, a pecuharity found to exist in several songs concerning 

 women (see analysis of No. 53). Ninety-three per cent of the songs 

 are purely melodic in structure, a proportion much higher than in 

 any group except the woman's dance (100 per cent), the group nearest 

 it being the songs for the entertainment of children, which contains 

 87 per cent of melodic songs. Half the love songs begm with an 

 upward and half with a downward progression, the proportion bemg 

 the same in the woman's dance, the gift songs, and the songs for the 

 entertamment of children. The love songs, so eminently songs of 

 sadness, contain a smaller percentage of minor thirds (in both ascend- 

 ing and descending progression) than any other group. The pro- 

 portion of ascending fifths is much larger than in any other group, 

 and seven ascending intervals of a twelfth are found, showing, as in 

 the preceding Tables, a strong feeling for the dominant. The aver- 

 age interval is 3.4 semitones, the highest except in the moccasin 

 game and the pipe dance songs, two classes comprising songs of a 

 high degree of excitement, in which the average interval is 3.5. In 

 contrast to this the metric unit of the voice is slow. The proportion 

 of songs containing a change of time is much above the average, and 

 most of the songs do not contain a rhythmic unit. 



The interval of the twelfth is prominent, showing a feeling for the 

 second overtone as in the Mde'; it will be recalled that the war songs 

 show the first overtone, which is the octave. Completeness and free- 

 dom of expression are suggested by the melodic form, the large com- 

 pass, and the use of all the tones of the octave; an element of excite- 

 ment by the largeness of the average interval, and an element of 

 control by the slow metric unit, while a lack of definitely formed 

 thought is suggested by the small percentage containing a rhythmic 

 unit. 



For the rhythmic units occurring in the love songs see pages 

 325-327. 



