114 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 
transcribed (cf. No. 30). It is interesting to note that in the inter- 
rupted portion the drumbeat is slightly after the voice, while in the 
remainder of the song it is synchronous with the voice. The only 
difference in the renditions (several of which were without drum) is 
that in a few instances the first tone in the second occurrence of the 
rhythmic unit was sung as a quarter note. The rhythmic unit is 
long, as in No. 43. With the exception of one interval, a minor 
sixth, the progressions are thirds and major seconds. The song is 
melodic in structure and contains the tones of the fourth five-toned 
scale. 
PLOTS OF SONGS OF THE DRAGGING-FEET DANCE 
SSEREED 
BaVREEG 
HV 
| a a ea 
No. 43. No. 45. 
Fic. 8.—Plots, Group 6 (Dragging-feet dance) 
The plots of these songs, while different from the plots of the Lame 
dance songs, show a similar avoidance of the lowest point. 
TEA DANCE 
The name of the Tea dance indicates its modernness. If held out- 
doors the people danced around a fire, the men giving their bracelets 
and other ornaments to the women who took part in the dance. 
CHARACTERISTICS OF SONGS 
A scanty tone-material and wide range characterize these songs, 
none of which contain more than five degrees of the scale, while the 
range of the songs is from 11 to 15 tones. Two are melodic in struc- 
ture and one is melodic with harmonic framework, indicating freedom 
of musical expression. The fourth, with its suggestion of motion 
(see Bull. 53, p. 100), constitutes 28 per cent of the intervals. All 
the songs are major in tonality, yet the minor third constitutes more 
than 22 per cent of the progressions. The drumbeat of the dancing 
song (No. 46) and of the song next following is similar to that of the 
Woman’s dance, the drumbeat of the third song being unaccented 
eighth notes. 
The following song was sung during the dancing: 
