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Show 5 2 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 75 COMPARISON OF ANALYSES OF UTE SONGS WITH ANALYSES OF CHIPPEWA AND SIOUX SONGS TABLE 1.- Since the Ute songs are those of a tribe less advanced in civilization than the Chippewa and Sioux, it is interesting to note that they show a much higher percentage in major tonality. Ref-ence to Tables 11 and 12 will show the proportion of major thirds to be also larger in the Ute songs than in those of the other tribes under analysis. TABLES 2 AND 3.- These tables combine to show what may be termed the boundaries of the melody. In the Ute songs the initial tones of the songs, in about 75 per cent, are either the keynote, its third, fifth, or octave, and 50 per cent end on the keynote. In the Chippewa and Sioux songs the preference is for the twelfth and fifth, with the octave and tenth next in frequency. It will readily be seen that the Chippewa and Sioux songs are of wider range, what would be called in musical terminology the tonic chord being given in the upper octave. In Bulletin 61, page 42, attention was directed to the fact that the octave, twelfth, second octave, and its major third are the first, second, third, and fourth upper partial tones, or overtoneSj of a fundamental. The relatively large proportion of Chippewa and Sioux songs beginning on the twelfth suggested a feeling for the second overtone, the fifth representing the same scale-degree in the lower octave and occurring in songs having a compass of less than 12 tones. The compass of Ute songs is smaller than that of the songs previously analyzed. ( See Table 5.) The reason for this must remain a matter of speculation. The environment of the Ute is entirely different from that of the other tribes under consideration, which adds interest to the radical differences appearing in some of the characteristics of the songs. TABLE 4.- The lower percentage of Ute songs, in which the final tone is the lowest tone coimterbalances to some degree the higher percentage of Chippewa and Sioux songs ending on the keynote, as shown in Table 3. In the Ute songs the tone lower than the final tone does not immediately precede it in a majority of instances but occurs during the progress of the melody. TABLE 5.- A high percentage of Ute songs have a compass of six, eight, and nine tones. It will be noted that only 30 per cent of the Ute songs have a compass of more than nine tones, while 57 per cent of the Chippewa and Sioux songs have such a compass. TABLE 6.- It is interesting to observe that although the Ute songs have a higher percentage in major tonality they have a lower percentage of songs on the fourth five- toned (" major pentatonic") scale. Instead of finding the major songs in the pentatonic group, we find them in the succeeding groups which comprise songs with |