DBNf5MORE] TETON SIOUX MUSIC 335 



WORDS 



kola'pila friends 



epe'coi] ' I have said 



ti i''k(5eya in common life 



wido^ai) kiij the customa 



o''ta yelo^ are many 



kola^ friend 



he^na those 



e ^ni are not (do not interest me) 



yelo'' epe^lo I have said 



Analysis. — This song was recorded by the same singer on two 

 occasions. The dupUcation was accidental, and a comparison of 

 the result is, therefore, the more interesting. Both renditions were 

 transcribed and are herewith presented. It will readily be seen 

 that the points of difference are slight and unimportant. This is 

 usually the case when a song is repeated by the same singer or sung 

 by two equally good singers. The rhytlun, which is peculiar, was 

 exactly repeated. It has been frequently noted that the rhythm 

 of a song is more accurately repeated than the melody progressions. 

 The foregoing transcription was from the second ''recording," in 

 which the song was sung three times, while in the first recording it 

 was sung only once, with a repetition of the first part. The tran- 

 scription which follows this analysis is from the first recording of the 

 song, in which the pitch was slightly lower, and the tempo slower, 

 than in the second. Probably it was because of this low pitch that 

 the singer closed both part? of the song on the third instead of on the 

 tonic. The drumbeat was alike in both recordings, but was specially 

 clear in the second, as is shown in the foregoing transcription. It is 

 not customary to vary the rhythm of the di*um as m this instance, 

 but Two Shields is a particularly efficient singer at the drum when 

 large gatherings are held, and such "leading drummers" frequently 

 elaborate their part, especially in songs of this kind. It is prob- 

 ably unnecessary to state that the writmg of the drum part on a 

 staff does not imply pitch. Drum and voice coincided tlu'oughout 

 the performance. Between the three renditions recorded at this 

 time the diTimbeat was continuous. The pause in the voice was 

 about equal to two measures, but was not exact; in one instance it 

 was interrupted by shrill cries. The time in the five-eight and three- 

 eight measures was absolutely exact, and the triplet and couplet 

 groups are indicated according to the rhythm in which the passage 

 was sung. The melody contains the tones of the second five-toned 

 scale. About one-fourth of the intervals are minor thirds, but the 

 melody progresses principally by whole tones, the major second 

 forming 49 i>er cent of the entire number of intervals. 



' Contraction of epe'ii koy- 



