76 BUREAU OF AMEEICAN ETHNOLOGY [bull, ei 



Analysis. — This song contains only the tones of the minor triad 

 and fourth. SimQar tone material is found in so many of these songs 

 that it deserves special observation. Reference to Table 6 shows 

 that it constitutes the tone material of 12 per cent of the songs, this 

 being the largest proportion except that of the second five-toned scale 

 (13 percent) and the fourth five-toned scale (18 percent). There are 

 two ways in which this tone material may be regarded — as a minor 

 triad with the fourth as a passing tone and as a combination of tones 

 leading toward the second five-tone scale. If the first be the correct 

 standpoint, we may expect a large proportion of songs containing 

 either the minor triad alone or with some other tone used as a 

 passing tone, but such is not found. We note only 1 per cent 

 containing the minor triad alone, and less than 1 per cent with an- 

 other tone as a passing tone. Regarding the matter from the second 

 standpoint, we note that the percentage of songs on the second five- 

 toned scale is less than that of those on the fourth five-toned scale. 

 It is observed, however, that the proportion of songs containing the 

 major triad and sixth is 12 per cent. This beare the same relation to 

 the complete fourth five-toned scale that the minor triad and fourth 

 bears to the complete second five-toned scale. In this connection, 

 see Bulletin 53, pages 4-5. Tests and comparisons similar to the 

 foregoing are presented merely as suggestions for the practical use 

 of the present method of analyzing Indian music. 



Like the preceding song, this has a compass of 12 tones, beginning 

 on the octave and ending on the tonic. It is, however, harmonic in 

 structure, while the precedmg is melodic. The proportion of mmor 

 thirds is larger than in the preceding song, constituting about 39 per 

 cent of the intervals. As in the preceding song, the vocables were 

 slightly emphasized, and the words of the many renditions were dis- 

 tinctly sung. Neither this nor the preceding song contains a change 

 of time. Only 23 per cent of the 340 Chippewa songs are without 

 change of time, and this continuity appears in only IG per cent of 

 this series. 



After the ceremony (which, as already stated, was not studied in detail 

 by the writer) the decorated pipe (or wand) and the corn became the 

 property of the child for whom the ceremony had been performed. 

 In departing with the children the Itaij'caq, pausing four times, gave 

 the long "wolf caU" which had signalized their approach to the cere- 

 monial lodge. Liberal rewards were given those who performed this 

 ceremony. Weasel Bear stating that he bestowed three horses and a 

 pipe on the old man who painted and "sang over" his daughters. 



The celebration of this ceremony placed a child in a highly 

 respected position m the tribe. Such a child was regarded as possess- 

 ing that which would "make it nothing but good in every way," and 

 was "recognized by all as rankuig above an ordmary child." 



