98 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 
The eighth-note values of the drumbeats were maintained more 
steadily in the 5-8 and 7-8 measures than in the 2-4 and 3-4 meas- 
ures, and the drum was more synchronous with the voice in the 
latter than in the first part of the song; thus the notation of the 
drum should be understood as approximate rather than absolute. 
After singing the song as transcribed the singer began at the first 
measure without a break in the time, ending the performance with 
the ninth measure of the song. The third and sixth measures in 
both renditions were sung as indicated, although the ninth and 
eleventh measures from the close, containing the same progressions, 
were sung in 3-4 time. 
Observing the formation of the melody, we note that it is major 
in tonality and comprises the tones of the fourth five-toned scale 
with B as keynote, yet the structure of the melody is chiefly that 
of the minor triad and seventh. (See analysis of No. 38.) The song 
has a compass of 11 tones, yet 87 per cent of the progressions contain 
two or three semitones. 
No. 31. Turkey Dance Song (b) (Catalogue No. 732) 
Recorded by Stncer No. 7 
Voice d = 104 
Drum g-- 104 
Drum-rhythm similar to No. 30 
Analysis.—This song resembles the preceding song in melodic 
structure, though differing widely from it in rhythm. Eighty-four 
per cent of the progressions contain two or three semitones, yet the 
song has a compass of 10 tones. Ascending and descending pro- 
gressions are singularly uniform, there being in ascending progression 
1 fourth, 3 minor thirds, and 3 major seconds, while the descending 
progressions comprise 2 fourths, 5 major thirds, and 5 major seconds. 
The tone material is that of the second five-toned scale. The inter- 
rupted drumbeat, noted in the preceding song, is present in this 
phonograph record but is not transcribed, 
