DENSMORE] NORTHERN UTE MUSIC 53 
only four tones, these being the major triad and one additional tone. 
Comparison shows the Chippewa and Sioux songs to be much below 
the Ute in the percentage of these major four-toned songs. The five- 
toned scales mentioned in these analyses are the five pentatonic 
scales designated and named by Helmholtz. These five scales con- 
tain the same tones, but differ in keynote. (See Bull. 61, p. 7.) 
TaBLE 7.—Only 4 per cent of the Ute songs contain tones chro- 
matically altered (‘‘accidentals”), and the only tones thus altered 
are the fourth and seventh, which are raised a semitone. Among the 
Chippewa and Sioux songs the most frequent accidental is the sixth 
lowered a semitone, next in frequency being the fourth and seventh 
raised a semitone. The lowering of the submediant suggests a 
clearer musical perception than the raising of the fourth and seventh, 
as it suggests a change from major to minor tonality, further suggested 
by the lowering of the third in 6 per cent of the songs. The raising 
of the seventh makes it a “‘leading tone,’”’ but does not affect the 
tonality of the song. The singing of the fourth above the indicated 
pitch may have been due simply to an imperfect rendering of the 
interval. 
TABLE 8.—The percentage of songs of a mixed form is more than 
twice as great in the Ute as in the Chippewa and Sioux. A better 
comparison lies in the percentage of melodic, which is much smaller, 
and harmonic, which is slightly larger,in the Ute. 
TaBLES 9 AND 10.—The proportion of songs beginning with an 
upward or downward progression is identical in the Ute and the tribes 
previously analyzed, and the difference in proportion of upward and 
downward intervals is too small to be of significance. 
TABLES 11 anp 12.—In Table 11 (downward progressions) it is 
important to note that the proportion of major seconds is practically 
the same in the Ute as in the songs formerly analyzed. The Ute do 
not use intervals larger than a major sixth, which appear with some 
degree of frequency in the songs of the other tribes under considera- 
tion, but they do not substitute a large percentage of whole tones 
and semitones. Instead we find in the Ute songs an increased pro- 
portion of fifths, fourths, and major thirds, the minor thirds being 
smaller in percentage than in the other tribes. If small intervals 
preceded larger intervals in the formation of primitive music, we 
should expect to find a preponderance of small intervals in the songs 
of a tribe which, like the Utes, is acknowledged to be still primitive 
in thought. The comparisons noted in the downward progressions 
are found with little variation in Table 12, which shows the percent- 
ages of intervals in upward progression. In both tables the minor 
third is the most frequent interval except the major second, which is 
usually a passing tone. 
