64 BUREAU OF Aenea ETHNOLOGY (BULL. 75 
Analysis.—This song is harmonic in structure, containing only the 
tones of the major triad and the fourth, which is always raised a 
Semitone. The rapid phrases in which this tone occurs were given 
without variation in the four renditions of the song. In tonality the 
song is major, and 57 per cent of the intervals are major thirds. The 
rhyilimie form of the song is interesting and clear, with four occur- 
rences of the rhythmic unit. 
No. 7. Bear Dance Song (c) (Catalogue No. 692) 
Recorded by Sincer No. 4 
VOICE = 104 
Morache not recorded 
1 
( ) : BD done esate! Ae C). ae 
oe peter Snteiee 
a heed ah 
Co ea ae 
pute ftp 
: ¢ a = : 
Eup eeae aaa ea aaa 
Analysis.—In the renditions of this melody we have an example 
of the “connective phrase” found in Ute music and not in that 
of the Chippewa and Sioux previously analyzed by the writer. 
Similar phrases are transcribed in songs Nos. 39 (duplication), 41, 
46, 70, 72, 84, 85, 86, 89, 91, 92, and 93. A connective tone has been 
mentioned in the analysis of No. 4. This connective phrase was sung 
slightly rubato in its two final measures and occurs between all the 
six renditions of the song. It can not be considered an introductory 
phrase, as the singer began with the first measure of the melody as 
transcribed. Among the Chippewa and Sioux it was not unusual to 
find an introductory phrase, which was sung before the first rendition 
of the song and omitted in all the subsequent renditions. 
