Songs of the Copper Eskimos 



347 



No 117: 

 KecordKC. 6.a. 



A 



t .f Hn'-/ j.^ 



"^nalina andCukaiyoq. Hersciiel Islaricl.Mstf.keniie 1?iver women 

 3 . . Ce»t 



g=t 



5-»^ 



i 



ti 



^^ 



J J .'U'-' J 



o'- . J^>Min^ 



> • 



•— •■ 



CUM* kan-- d-A-a ta-ko-yi- -^0 ku-kani- li i- L e-qtoj-ani a- a. au-la-tct-yuw) 



) A 



ir.^ i-i' n jMMM>N-; J :;: i j ^^ 



£' 



^m 



^ 



EE 



> > • • 



a- &■ tv-kaiyuk-ciuktuM hu-i. hu- i. hc-e -e aorj- l-ya- ho hu- i. hu- i 



q.) i <ex+; 3 , -S ) A 



^ 



g^lF^^ 



A^r-fi i ttt .MU>,ff g. J 



r>. f f f 



1 i> i» fr i ^^ 



< l • > 



anj-i- ya -ho 



e- e anj-i-ya- ho 



e- e 



aoj-l-ya- ho hu- i. hu- 



» s_^' ' • • > • 



he- e.- e a<vj-i-ya - ho - ta- i- ma 

 (1.) This peculiarity was cau&ed by laughter. The note was undoubtedly meant to be '0" 



No. 117. Record IV. D. 6a 

 C major and A minor tonality 



The form, rhythm and melody are all unusually interesting. The triplet 

 plays a quite important part. Note also the four- and five-beat measures like 

 a and c, and the position of the triplet in each, also the d measure and its elabor- 

 ation in e as both developed from c, and the melodic change that is brought 

 about in the f and f^ measures following the second c in the B' phrase. The 

 song begins with a triplet on the last beat of the measure, on the third degree of 

 the major or the fifth of the minor scale, and ends on the same tone. It appears 

 to commence in the minor mode and to shift to major at the extension of B but 

 on the return to A it is again in minor. The change to major is made once more 

 in the corresponding place in the B' phrase and back to minor to close. The 

 low beginning and the range of the melody nearly an octave above it are features 

 that have been noted elsewhere in the music of the Copper Eskimos, but generally 

 the range is not so great. 



