370 



BUREAU OF AMERICAN ETHNOLOGY 



[BULL. 61 



Analysis. — This is a rather simple melody on the second five-toned 

 scale with, the minor tliird as one-third of the intervals. The rhythmic 

 unit is brief but forms the basis of the rhythm of the entire song. 

 The compass of 11 tones is accomplished in two progressions wdth 

 the introduction of the words of the song. 



The four following songs might be called "love songs connected 

 with war." ' It was said that in tlie old days all the love songs 

 were associated with a man's qualification to wed, this being deter- 

 mined by his success in war or in the buffalo hunt. (See duplication 

 of song No. 133.) No narratives concerning these songs were 

 secured. 



Two renditions of the following song were recorded, one by Two 

 Shields and the other by Siya'ka. This duplication, which was 

 unintentional, gives an opportunity for comparison, as Two Shields 

 and Siya'ka were equally good singers, and neither knew that the other 

 sang the song. (See song No. 133.) The words are slightly different 

 but express the same idea. It is not unusual for the words of a song 

 to differ in this manner when the song is sung by another singer. 

 Both records are transcribed, and it will be seen that the melody 

 progressions are the same in both. 



No. 151. "You May Go on the Warpath" (Catalogue No. 531) 

 Sung by Two Shields 



Voice J =92 

 Drum J =: 92 

 Drum-rhythm similar to No. 5 



:BTH2a: 



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-p- f I f f u r t :. 



Ho - we zu - ya ya - ye ho - we zu - ya ya 



ye 



^ 4t- 



£:^ 



LJLJ—L 



^ 



-p. 



ho - we zu - ya 



ya 



ye to - kSa ^a 



fe 



ei 



-•- -•- -•- -^■•- 



4: -bJ— 1 1- 



i 



hoij kiij-haij hiij-gna 6i-yiij kte a 



AVORDS 



ho'' we . .^ you may 



zuya' ya'ye go on the warpath 



to'k^a when 



' For comparatively modern love songs, see Nos. 232-234. 



