DENSMOUKJ 



TETON STOUX MUSIC 



461 



Analysis. — The upward and downward progressions ar(> more 

 noarly equal in this than in many of the songs under analysis, the 

 upward intervals being 18 and the downward intervals 22. The 

 fourth is prominent, constituting 37 per cent of the intervals, while 

 the minor second constitutes 31 per cent. Like the fourth five- 

 toned scale, this song lacks the fourth and seventh tones of the com- 

 plete octave, but the fourth five-toned scale is major in tonality 

 (the first third being a major third), while this song is minor in 

 tonality. Tliis tone material is found in a few Chippewa songs and 

 is considered in the analysis of No. 26 in this work. Sjmcopations 

 occur in this melody, being clearly given in both renditions. These 

 are unusual in Sioux and Chippewa songs. (See Songs Nos. 165 and 

 237, also Bull. 53, p. 130.) 



PLOTS OF CHIEF SONGS 



Although both Buffalo and Chief songs are included in the tabu- 

 lated analysis, the plot of the hunt songs is considered with the war 

 songs, the plot of song No. 177 appearing in figure 35, page 419. 



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No. 1S9 No. 193 



Fig. 37. Plots, Group 6. 



An interestmg peculiarity appears in the plots of the Chief songs. 

 (Fig. 37.) Of the 8 songs constituting this group, 5 have a com- 

 pass of an octave, beginning on the upper tonic and ending on the 

 lower tonic, the note bemg repeatedly sounded in both octaves. It 

 will be recalled that emphasis on the tonic is a characteristic of songs 

 expressing self-reliance. Tlie songs of the medicine-men and also 

 certain war songs show this emphasis on the lower tonic. The placing 

 of the emphasis on the upper as well as the lower tonic suggests a 

 quality of character in the chiefs which was not m the medicine-men 

 or the warriors. The two plots herewith shown are the songs of two 

 men of radically different character. Tlie first (No. 189) is a song 

 concerning Gabriel Renville, whose stability of character won him 

 an enduring place in history. His song, in addition to the emphasis 

 on the tonic, shows the steadily descending trend which may be said 

 to be the simplest as well as the most prevalent type of Indian 

 melody. No. 193, a song of Sitting Bull's, shows as great a contrast 

 as there was between the two men. Not only are the intervals wider 



