DENSMOKK] TETON SIOUX MUSIC 7 



Many transcriptions n^prcsiuit tho msiilt of six or more readings 

 of tho phonograph cyhndor, a considerable interval of time being 

 allowed to elapse Ix^twecui thes(^ readings. It has been found that 

 the final transcription is usually the simplest, as by repeated observa- 

 tions the ear eliminates l)ytones and the mannerisms of the singer. 

 Thus in many instances it becom<^s possible to discern a rhythmic 

 unit accurately n^peated in <n^ery rendition of the song, when the 

 melody seemed at first to be lacking in rhythmic form. 



In th(^ present series the final measure of a song is transcribed as 

 a compl<Ue measure unless a repetition of the song begins witliout a 

 break in the time. Such a repetition is indicated by the usual mark 

 for repeat. It will be observed that in ])robably a majority of 

 instances tho time is unbroken during several renditions of a song. 

 WTien a brief pause occurs in the melody it is usually filled ^^■ith shrill 

 cricks and calls or words rapidly enunciated, accompanying which the 

 drumbeat is continuous. 



"Five-toned scales" are frequently mentioned in the descriptive 

 analyses and also appear in tho tabulated analyses. As stated in 

 the author's previous works, the hve-toned scales considered in these 

 analyses are the five pentatonic scales according to Helmholtz, 

 described by him as follows : 



1. The First Scale without Thii'd or Seventh. . . . 



2. To the Second Scale, without Second or Sixth, belong most Scotch airs which 

 have a minor character. ... 



3. ne T/iirrfScaZc, without Third and Sixtli. ... 



4. To the Fourth Scale, without Fourth or Seventh, belong most Scotch airs which 

 have the character of a major mode. 



5. The Fifth Scale, without Second and Fifth.' 



It may })e needless to state that all these scales contain the same 

 tones, the difference being in the keynote. The following examples 

 arc given for convenience of reference, the tones bemg the same m all: 



First five-toned scale: Kejaiote G (sequence of tones G, A, C, D, E). 



Second five-toned scale: Keynote A (sequence of tones A,C,D,E,G). 



Third five-toned scale: Keynote D (sequence of tones D, E, G, A, C). 



Fourth five-toned scale : Keynote C (sequence of tones C, D, E, G, A). 



Fifth five-toned scale: Keynote E (sequence of tones E,G, A,C,D). 



After a song is transcribed it is fully analyzed, the analyses being 

 com])ined in the tables at the close of the various groups and later 

 being incorporated in the tables on pages 12-21. Throughout the 

 present work the repeated part of a song is not considered in com- 

 puting the number of intervals which the melody contams. Such 

 part often begins with the second or third measure, the opening 

 measures taking the form of an introduction, a custom which was 



1 Helmholtz, H. L. F. , The Sensations of Tone as a Physiological Basis for the Theory of Music (translated 

 by A. J. Ellis),pp. 260, 201, 2d ed., London, 1885. 



