DENSMORE] NORTHERN UTE MUSIC 157 
the east, the men with hand drums being in the center of the line. 
In front of the men were two circles of women dancers, one circle 
being inside the other. The two circles moved in opposite directions, 
the inner one moving “with the sun.”” Each group of women had a 
leader, who wore a feather war bonnet. The leader of the inner 
circle was the wife of the chief, and only she was allowed to carry a 
scalp on a pole. The arrangement of the dancers is shown in the 
accompanying diagram (fig. 13). 
At the conclusion of the Scalp dances it was customary to take the 
scalps to the chief. He had a large tipi with tall poles, and the scalps 
were fastened at the tops of these poles, where they remained 
undisturbed. 
No. 78. Scalp Dance Song (a) (Catalogue No. 760) 
Recorded by StncErR No. 1 
VoIcE e = 96 
Drum not recorded 
wepeeete e Zee 6 : = -@-9-#-» 
pygp titeitencrsnt: Sa 
Sire | ae ee tae re tal ie researc. e te || 
Analysis.—This Song was twice recorded by the same singer, only 
one of the records being transcribed (cf. Nos. 39 and 77). The 
repetition arose from an impression frequently noted among the 
Indians, that if the words are changed in a melody it becomes a 
different song. Thus, in the first instance, the singer said this was 
a song which he sang in the war dance when he brought home a 
captive woman, and, in the second instance, he said it was a scalp 
dance song. The words were not taken in either rendition. 
A comparison of the two cylinders shows the pitch of the rendi- 
tions to be the same. Five repetitions of the song were recorded the 
first time and six the second time. The differences in these 11 
renditions are too slight to be of importance. In the first group the 
opening phrase was occasionally repeated, and in the second group 
the ending was occasionally changed in rhythm, and the fifth measure 
(last two counts) contained quarter in place of eighth notes. Passing 
from this comparison to an analysis of the transcription, we note that 
the melody contains only the tones of the minor triad and fourth 
and in structure is melodic with harmonic framework. Mcre than 
half the intervals are minor thirds, a majority of the remainder being 
major seconds. 
