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Show 156 BUREAU OF AMERICA*? ETHNOLOGY [ BULL. 75 78.) Six renditions were recorded in 1914, the rendition^ being uniform and connected without a break in the time. The transcription is from the cylinder made in 1914. Five renditions of the same song were recorded in 1916, at which time the writer did not play the first record, but " hummed" the transcription. The singer recognized it and said he would like to make another record of it. This second cylinder was transcribed and the results compared. In this comparison it is found that all the renditions recorded in 1916 omit the fifth and sixth measures and the last measure of the song as transcribed. As these measures are repetitions, this would be of slight importance, but as it reduces the occurrences of these phrases from three to two the change suggests a tendency toward regularity 4 + t A + + • + * * * * * * X * * * 1* . f . * • \ v. : i : " * * B ., * * X, ^ * ^ .-/ • *• FIG. 13.- Diagram, Scalp dance, o, Singers with hand drums. 5, Two circles of women moving in opposite directions. and conventionality. The first group of renditions was m a tempo of J = 104, and the key of G minor; the second was faster ( J= 108) but in a lower key- the key of F sharp minor. The 5- 4 division of certain measures was strictly maintained. The song contains the tones of the second five- toned scale and is melodic in structure. Considering the lack of variety in progressions the melody is interesting and quite diversified. One- half the intervals are minor thirds, and of the other half all except one interval are major seconds, that interval being an ascending fourth. Other songs containing rests are noted in the analysis of No. 8. The dancing with the scalps ( commonly known as the Scalp dance) began late in the afternoon and ended soon after dark. There was no feast connected with this dance. The singers stood in a line facing |