392 Canadian Arctic Expedition, 1913-18 



To a certain extent these scales representing the tonal content of each 

 song are misleading, for it all depends upon the frequency with which certain 

 tones appear, what is the general colour of the song. In such a little scale the 

 merest changing or passing note receives equal attention with tones which may 

 be said to be primary. The same set of notes may in one case give one impres- 

 sion and in another a different one because of the prominence given to certain 

 notes and the almost involuntary appearance of others. 



The fact is outstandingly clear, however, that there are two modes wi^ 

 which the people are quite familiar and with which they play, the major an^ 

 the minor. In more than a few instances there is very evident play between 

 a major tonality and either its relative or its tonic minor with the stress on the 

 pivotal tones. Many other interesting modulations occur through means that 

 would delight the modern composer and master of unusual tonal effects, as 

 well as through the more ordinary channels. One interesting example that 

 comes to mind is No. 81 in which the modulation is back and forth between C 

 major and D flat major by means of the flat sixth and seventh of the former key, 

 and a pivoting on the fourth. There are numerous others which musicians will 

 readily note. 



After a study of the little scales it will be apparent that all of the tones of 

 the diatonic major scale are known and used with frequency, but the major 

 seventh occurs more often in a combinational major and minor scale which will 

 presently be discussed, than in a major setting. On the other hand, the natural 

 minor scale is most commonly used of the three and the raised sixth and seventh 

 of the melodic minor are seldom encountered. Augmented seconds, as between 

 the sixth and raised seventh of the minor, are not used to any extent, (but see 

 No. 74, which might also be considered as belonging to the combinational 

 group soon to be discussed) . The augmented second between the tonic of a 

 major scale and its raised second degree is not uncommon. The third tone 

 of the major scale is perhaps the most common of any; it is employed very 

 often for opening and closing songs and for the general level. In fact, the tonic 

 as a resting tone or general level, takes a very secondary place to the third and 

 fifth. In the minor mode the third and fifth are also prominent tones, the latter 

 especially so, and it, of course, is the same as the third of the relative major, 

 in general effect. 



It seems that rather than being set apart in the consciousness of the singers 

 the two modes are more or less intertwined. While we find numerous songs in 

 minor and many more in major, which is generally the case in many primitive 

 settings, in nearly all of the minor songs there are places where the feeling is 

 major. There are also many examples of songs which fluctuate between the 

 two or modulate directly from one to the other. 



Chromatics for nearly every diatonic tone are to be found many times and 

 this might be expected in music where modulation plays so important a part 

 as in that of the Eskimos from this section of Canada and northern Alaska. 

 They are used very effectively, not only for passing and changing notes but 

 prominently in the melodies themselves, chiefly as pivots in modulating. 



I have been particularly interested, however, in the same peculiar quality 

 which pervades many of the songs from the Copper Eskimos even where there is 

 not the same melody. The songs given by Haqutiyaq, a Puivlik woman, first 

 drew my attention to the matter, for they nearly all possessed this character. 

 It lies in a preference, which amounts to a fashion, for certain scale tones which, 

 according to the colour that the songs themselves appear to derive from it, are 

 taken from both major and minor tonalities as we should think of them. I 

 have found altogether 28 songs from the Copper Eskimos which contaifc 

 these tones in more or less constant combination, with now and thea' 

 others added, or the upper tones of the scale transposed downward or upward 

 an octave. They fall proportionately in the four groups, pisiks, atons, un- 



