404 



BUREAU OF AMERICAN ETHNOLOGY 



IBLI 



Analysis. — Progressions of a somitone cliaracterize this melody, 

 55 per cent of the intervals being minor seconds. Strange to say, the 

 major third is next in point of frocjuency, constituting one-fourtli of 

 tlio intei'vals, though the song is minor in tonality, and the minor 

 triad on F forms the framework of the melody. The trend of the 

 melody is such that F is considered to be the keynote, and the song is 

 analyzed as in the key of F minor, though E and B are always sung 

 natural instead of flat. This is one of many instances in which the 

 term "key" is used for convenience, not as hidicating a system of 

 tones, all of which have an established relation to a keynote. In 

 every rendition of this song the tempo began as indicated and after 

 10 or 12 measures began to retard, the words being sung in the 

 indicated time. A dotted eighth and sixteenth note division of the 

 count characterizes the rhythm of the song, and forms part of both 

 rhythmic units. The upward and downward progressions are more 

 nearly equal than usual, the ascending progressions being 20 and the 

 descending intervals being 25. A change of tempo occurs in tlie 

 song. (See No. 5.) 



While Swift Dog was chasing the Assmibom they ran and hid in 

 a white man's house. Those who came near the window of the 

 house were fired at by the Sioux. Meantime he stole one of the 

 Assiniboin horses and rode away. He took a white horse with a 

 saddle on it. (See pi. 70, B.) He said that he had a bow and arrows 

 and shot as fast as he could, but did not know whether he hit anyone. 

 At that time he sang the following song: 



Voice 



84 



Drum not recorded 



No. 171. "Horses I Seek" 



Sung by Swift Dog 



0) 



(Catalogue No. 584) 



SI 



m 



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J2£#: 



88 



(1) 



(2) 



(2) 



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(2) 



Suq-ka - wa- karj o- wa - 

 J-84 . (1) 



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le 6ag-nahe-6a - moq we 



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