densmoke] 



TETON SIOUX MUSIC 



43 



octave above the koynote (third ovortono). We find that, next to the 

 percentages ah'cady cited, the hirgest proportion is that of songs 

 beginning on the third and tenth above the keynote. With C as 

 a keynote these tones are E and e, readily seen to bo the fourth 

 overtone, sung in the two lower octaves, whicli are within the com- 

 pass of the voice. Thirti^eu ])cr (-(Mit of th(^ songs begin on these 

 tones and 5 ])er cent Ix'gin on the keynot(% tlu>s(^ mcdodies lying partly 

 above and partly below tlie Ley note. Thus SG ])cr cent of the songs 

 under analysis begin on lh(> keynote and its first four overtones. 

 These, as already indicat(><l, comprise the tones of a common chord. 

 Tahle SA. — The results of this aiudysis serve to (>m])liasiz(^ tiie pre- 

 ceding ])aragraph. It is hci-(> shown that idl (>xcej)t two of the songs 



10 



20 



rorccntages 

 ■■'.0 40 



GO 



70 



Fifth 



Third .... 

 Keynote.. 





Fig. J. Liv.sl note of song -its ri'luliou to Ucyiiolc. 



under analysis end on the kevnot(\, its third or fifth. Twenty-six 

 per cent end on the fiftli (corresponding to the secontl overtone), 12 

 per cent on the third (corresponding to the fourth overtone), and CI 

 per cent on tlie keynote. (Sec fig. 4.) Two songs are so irregular 

 in form that no tone is designated as a keynote. 



Tahle I^A. — This tal)le shows that the structure of 90 per cent of the 

 songs is above the final tone. The preceding table indicated the final 

 tone to be the keynote in 61 ])er cent of the songs. These tables 



I'orccntiigo.s 



10 20 :u) ■!() M CO 70 so 'JO 1;;.) 



Songs in wliicli niial toiio i.s lowest tone Songs in 



whicli 

 final tone 

 is not 

 lowest 

 tone 

 Fig. 5. Last note of song— i(s rclalloii (o compass of song. 



supplement Tal)le 2A in showing tlu* melodic st rucl ur(^ of these songs. 

 This structure appears to rest on a fundajnental tone, usually the 

 keynote. The tn^nd is downward and this freciuently is not heard 

 until the closing measures. A typical outliiK^ is as follows, the inter- 

 vals being repeated several tijues and bvtone-; introduced: g-e-c-A- 

 G-E-C. 



In 10 per cent of the songs the final tone is not the lowest tone. 

 In these instances the final tone is usually the keynote, preceded by 

 an aseent of a small int(U-val, as though at the close of the above 

 outline there were a descending interval, with a return to C as the final 

 tone. (See fig. 5.) 



