190 BUREAU OF AMERICAN ETHNOLOGY [BULL. 75 
interest, which may account for the fact that the renditions differ in 
tone values, the transcription being from the first rendition. In 
structure the song is melodic, in tonality it is major, and it contains 
all the tones of the octave except the sixth and seventh. It has a 
compass of seven tones. 
The two songs next following were said to have been sung to an 
accompaniment of pounding on a rawhide. The rhythm of this 
pounding is different from that of the drumbeat in the other Ute 
songs under analysis. This rhythm is transcribed with song No. 108. 
The unaccented stroke of the drummer’s stick is in the nature of a 
rebound and might be expected when the pounding is upon a stiff 
but unstretched material. A similar rhythm was noted among the 
Chippewa and described in Bulletin 45, page 6, as follows: “In 
beginning the rhythm of the woman’s fens the drummers give the 
unaccented beat with a rebound of the stick, so that it seems to be 
connected with the beat which precedes rather than that which 
follows it. As soon as the rhythm is well established, however, the 
unaccented beat clearly connects itself with the succeeding beat.” 
Thus the rhythm of the drum at the opening of a certain performance 
was as described above, and changing to the rhythm noted with No. 
36 of this series. This rhythm is further considered in Bulletin 53, 
page 10, the observation being made that the rhythm is similar to 
that of the adult heart. The rhythm occurs with only two Chippewa 
songs (Nos. 11 and 12, Bull. 53). These are the songs of a war 
messenger and the song which was sung on his return. 
Concerning the preparation of the rawhide used with the Ute songs 
it was said that two large buffalo hides were sewed together and 
allowed to dry, so that they were very stiff. Holes were cut at inter- 
vals along the edge and a thong passed through the holes. Both 
men and women stood around the rawhide holding the thong with 
the left hand and pounding the rawhide with a stick held in the right 
hand. Often 10 or 12 persons stood around the rawhide. 
When singing No. 108, a party of men carried the rawhide from 
tent to tent. No gifts were expected, the song being one of the 
“serenades” which are noted among numerous tribes. 
