DBNSMouE] CHIPPEWA MUSIC U 141 



Present work 



No. 28. — Song of a war charm; key of D flat major; octave complete 

 except third and fourth; trend of melody, 2-1, 6-5. 



No. 63. — Little girls' war song; key of F major; melody tones, 

 1, 2, 4, 5; trend of melody, 5-4, 2-1. 



No. 112. — Song of an ambitious mother; love song; key of E flat 

 major; melody tones, 1, 2, 5, 6; a free melody with the progressions 

 6-5 and 2-1 occurring frequently. 



No. 113. — Love song; key of E flat major; octave complete except 

 third; the progressions 6-5, 2-1 emphasized m melody. 



No. 116. — Begging dance song; key of G major; melody tones, 

 1, 2, 4, 5, 6; progressions 6-5 and 2-1 promment m melody. 



No. 121. — Song of ca'wuno'ga dance; key of A flat major; melody 

 tones, 5, 2, 1; trend of melody, 5-2-1. 



No. 178. — "He is going away;" love song; key of F major; melody 

 tones, 1, 2, 5, 6; progressions 6-5 and 2-1 promment in melody. 



Nq. 180. — Song of the crawfish story; key of C sharp major; melody 

 tones, 1, 2, 5, 6; trend of melody, 6-5, 2-1. 



In examining these outline analyses we note that 2 and 6 occur 

 as tones of approach to 1 and 5. This characteristic allies the group 

 under analysis with another group in which the harmonic tone is 

 frequently approached by the tone above, this group consistmg of 

 Nos. 29, 45, 51, 53, 65, 137, 139, 141. It will be noted further 

 that the tones 1, 2, 5, 6 (m a song of major tonality) are the tones 

 of the fourth five-toned scale lacking the third; another form of the 

 incomplete fourth five-toned scale consists of the tones 8, 6, 5, 3, 1 

 occurring as given in descending order. This is the major tonic triad 

 and sixth, which' constitutes the tone material of 42 per cent of the 

 340 Chippewa songs under analysis. (See Table 6.) It has been 

 noted that in songs contammg this tone material the sixth is usually 

 a preparatory tone to the fifth; the present group, however, may be 

 considered the more primitive as both tonic and dominant are 

 approached from the tone above and the intermediate third is absent. 

 The emphasis of the fifth suggests a particularly strong feehng for 

 that interval. The fifth is absent from only 2 (Nos. 51, 52) of the 340 

 Chippewa songs. The prommence of the octave and twelfth (or 

 fifth) m the beginnmg, as well as in the range, of these songs is shown 

 in Tables 2-5. In this connection it is interesting to note that these 

 are the principal "overtones" (see p. 4) of a fundamental tone. 



