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Show 98 BUREAU OF AMERICAN ETHNOLOGY [ BULL. 75 The eighth- note values of the drumbeats were maintained more steadily in the 5- 8 and 7- 8 measures than in the 2- 4 and 3- 4 measures, and the drum was more synchronous with the voice in the latter than in the first part of the song; thus the notation of the drum should be understood as approximate rather than absolute. . After singing the song as transcribed the singer began at the first measure without a break in the time, ending the performance with the ninth measure of the song. The third and sixth measure^ in both renditions were sung as indicated, although the ninth and eleventh measures from the close, containing the same progressions, were sung in 3- 4 time. Observing the formation of the melody, we note that it is major in tonality and comprises the tones of the fourth five- toned scale with B as keynote, yet the structure of the melody is chiefly that of the minor triad and seventh. ( See analysis of No. 38.) The song has a compass of 11 tones, yet 87 per cent of the progressions contain two or three semitones. No. 31. Turkey Dance Song ( b) ( Catalogue No. 732) Recorded by SINGER NO. 7 VOIOB J- 104 DBUM J ^ 104 Dram- rhythm similar to No. 80 • 0 4- ^ ^* i m m Analysis.- This song resembles the preceding song in melodic structure, though differing widely from it in rhythm. Eighty- four per cent of the progressions contain two or three semitones, yet the song has a compass of 10 tones. Ascending and descending progressions are singularly uniform, there being in ascending progression 1 fourth, 3 minor thirds, and 3 major seconds, while the descending progressions comprise 2 fourths, 5 major thirds, and 5 major seconds. The tone material is that of the second five- toned scale. The interrupted drumbeat, noted in the preceding song, is present in this phonograph record but is not transcribed* |