DEN-SMORKl TETON STOUX MUSIC 223 



i(5as^na rattling 



kigyai]^ flying 



aii^ we they come 



aii' we they come 



to'kiyatag kcna' from everywhere 



aii' we t hey c( )me 



Analysis. — Almost two-thirds of tho intervals in tliis song are minor 

 thirds. In the first part the descending minor third E flat-C forms 

 the basis of the melody. In tlie eighth measure the descending minor 

 third D flat-B flat is introduced and continues for several measures, 

 followed by the minor third A fiat-F, the song ending with D flat-B 

 flat, making a satisfactory close on the tonic. All the tones of the 

 octave are present in this song and the feeling of a kejmote is well 

 established, yet it is noted that the tones are not grouped along the 

 lines of triad chords, but of single intervals. This "interval forma- 

 tion" was given extended consideration in Bulletin 53, pages 7-8. 



(4) In giving a complete demonstration of the sacred stones, it was 

 customary for the man who was proving his power to tell his dreams 

 and sing the songs of the dreams, these being in the nature of creden- 

 tials. The two following songs were used in this manner by White 

 Shield and recorded by Two Shields. The words are obscure, as in 

 the majority of dream songs. 



In songs Nos. 70, 71, and 72 tlve sacred stones address th(ur owner 

 as "father," or "grandfather." 



