52 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 
COMPARISON OF ANALYSES OF UTE SONGS WITH 
ANALYSES OF CHIPPEWA AND SIOUX SONGS 
TABLE 1.—Since the Ute songs are those of a tribe less advanced 
in civilization than the Chippewa and Sioux, it is interesting to note 
that they show a much higher percentage in major tonality. Ref- 
ence to Tables 11 and 12 will show the proportion of major thirds to 
be also larger in the Ute songs than in those of the other tribes under 
analysis. 
TABLES 2 AND 3.—These tables combine to show what may be 
termed the boundaries of the melody. In the Ute songs the initial 
tones of the songs, in about 75 per cent, are either the keynote, its 
third, fifth, or octave, and 50 per cent end on the keynote. In the 
Chippewa and Sioux songs the preference is for the twelfth and 
fifth, with the octave and tenth next in frequency. It will readily 
be seen that the Chippewa and Sioux songs are of wider range, what 
would be called in musical terminology the tonic chord being given 
in the upper octave. In Bulletin 61, page 42, attention was directed 
to the fact that the octave, twelfth, second octave, and its major 
third are the first, second, third, and fourth upper partial tones, 
or overtones, of a fundamental. The relatively large proportion 
of Chippewa and Sioux songs beginning on the twelfth suggested a 
feeling for the second overtone, the fifth representing the same scale- 
degree in the lower octave and occurring in songs having a compass 
of less than 12 tones. The compass of Ute songs is smaller than 
that of the songs previously analyzed. (See Table 5.) The reason 
for this must remain a matter of speculation. The environment of 
the Ute is entirely different from that of the other tribes under con- 
sideration, which adds interest to the radical differences appearing in 
some of the characteristics of the songs. 
TaB_E 4.—The lower percentage of Ute songs in which the final 
tone is the lowest tone counterbalances to some degree the higher 
percentage of Chippewa and Sioux songs ending on the keynote, as 
shown in Table 3. In the Ute songs the tone lower than the final 
tone does not immediately precede it in a majority of instances but 
occurs during the progress of the melody. 
TaBLe 5.—A high percentage of Ute songs have a compass of six, 
eight, and nine tones. It will be noted that only 30 per cent of the 
Ute songs have a compass of more than nine tones, while 57 per cent 
of the Chippewa and Sioux songs have such a compass. 
TaBLe 6.—It is interesting to observe that although the Ute songs 
have a higher percentage in major tonality they have a lower per- 
centage of songs on the fourth five-toned (‘‘major pentatonic’) 
scale. Instead of finding the major songs in the pentatonic group, 
we find them in the succeeding groups which comprise songs with 
