Songs of the Copper Eskimos 197 



Third song of No. 46 



Ab major tonality to ? 

 Phrases Measures Beats 



[A / a b b b 4 16 



V. ? \ 4 4 4 4 



[B / bi b^ c Ref.d 4 16 



\ 4 4 4 4 



C / e f g b .4 15 



\ 3 4 4 4 



In the first song the plan, if any was really established, breaks down at the 

 second verse, second part, which contains more phrases than the corresponding 

 section in the first verse. This is interrupted by talking and the refrain is 

 omitted. The third verse starts regularly and in structure is like the first parts 

 of the other verses but the second half contains a phrase from the first part of 

 verses 1 and 2 and another from the second refrain. A third refrain is a com- 

 bination of the second and the last part of the first. 



The difficulties in the way of measure analysis have been discussed else- 

 where (p. 27). It was for this reason that three versions of the song are given 

 here, any one of which may be correct, br wrong in places. The second version 

 is the original, the first as given here was the second to be made and the third, 

 the last. Where all three agree, there was no uncertainty as to the accents, 

 and the rhythm was especially marked. Such places are the series of two-four 

 measures in the J phrases and the three-four measures in the E phrases. The 

 first version probably comes the nearest to being right from the standpoint of 

 the music alone, with its predominating number of two-four measures. The 

 second is the compromise that is actually made between the three-beat swing 

 of the words and the two-four measures, and the third is perhaps the way the 

 words alone are accented. The tune starts on the first beat, tonic, and ends on 

 the second, but the tonic is the general level. 



The second song is joined immediately to the first with the one beat of rest 

 at the end of the first song intervening. Observe the almost perfect two-four 

 metre. It commences where the other stopped, on the second degree of E major 

 (the gradual rise in pitch throughout the first song is not important) . In reality 

 this starting tone is the third degree of D major, which is definitely established 

 as the tonality in the second phrase. This second song is so Hke the first in its 

 beginning that the fusion between the two is complete except for the words. 

 The general level is the third and the song ends on this tone. The complete 

 fusion hides the effect of the connective as the introductory prelude. Perhaps 

 if the two were not joined this would be omitted. A connective as a prelude, 

 it will be remembered, is a rare phenomenon in these dance tunes. 



The third song is doubtless a distinct tune, for the change in key and words 

 is too abrupt for it to readily form a part of the other, and the style, too, is 

 different. It is a fine example of almost perfect four-four metre, also rare in 

 the dance tunes from this section of the country. In form it is a pisik without 

 prelude. It begins with the first beat on the fifth degree below the tonic and 

 ends on the tonic which is the general level, but through modulation becomes 

 the third degree of the new key. The refrain, oddly enough, begins before the 

 phrase B is finished and continues through C. 



