Zz CEE: tssscsssospeemKKMQ[muae—ratrne }]H#P#@#?#zq@5J1 Z Zs LLL: ut og y \ " a ¥ Ati Pt) vent hi 7 , ‘ h* ik i at ha f j , / \ : vit nal! a Fi MY ‘ i. i | ut j F yi a oe) rr ‘ yi iil . ‘ ipa {\t AAP OYA 1 daly Ye 0 vALS Aon i i iy bs hl he t i At vt i, vy >) SMITHSONIAN INSTITUTION BUREAU OF AMERICAN ETHNOLOGY BULLETIN 90 PAPAGO MUSIC BY FRANCES DENSMORE UNITED STATES GOVERNMENT PRINTING OFFICE WASHINGTON : 1929 - a) Oey, Be val eS Ti. pare eee +) ne jes = 4. mt fav FRAO ov Reem AASANAWS WO FASE a . % $ 4 § 4 re | a ADDITIONAL COPIES OF THIS PUBLICATION MAY BE PROCURED FROM THE SUPERINTENDENT OF DOCUMENTS U.S.GOVERNMENT PRINTING OFFICE WASHINGTON, D. C. AT P = . $1.25 PER COPY (CLOTH) Pw : . a> MTS Mitek vi Al ¢ feat a me. rss "4d Q LETTER OF TRANSMITTAL SMITHSONIAN INSTITUTION, BuREAU OF AMERICAN ETHNOLOGY, Washington, D. C., May 8, 1928. Str: I have the honor to transmit the accompanying manuscript, entitled ‘‘Papago Music,” by Miss Frances Densmore, and to rec- ommend its publication as a bulletin of the Bureau of American Ethnology. Very respectfully yours, H. W. Dorsey, Chief Clerk, Smithsonian Institution. Dr. Cuares G. ABBOT, Secretary of the Smithsonian Institution, iit : me ’ : 4 < : : > pe Y v A : ; ae x ie , a , . ah, “i oe . 3 ot — 7 he ri. ot . a oad : { eee” : ’ Buk ih ey a ae aes ‘2 i : ; Pe ner the are 5 AM ‘ : Na: mh © De ‘ ; on ie : ss } rt formrtrrax] xatnoenrime iC, eae > \soeaeuurd “soisemsé 40 vaaned 3 Bath 8 you. Sy aA baie vi nae wet aed - HW ce eae atte DOs he FOREWORD The songs of a desert people are here presented, and will be found to contain interesting contrasts to the songs of the woodland, prairie, and high plateau tribes previously considered. The Papago are a gentle, agricultural tribe living in Sonora, Mexico, and southern Arizona. Their songs were recorded at San Xavier, Sells, and Vomari, on the Papago Reservation in Arizona, during the spring of 1920 and the following winter. The writer desires to acknowledge the assistance of her principal interpreters, Harry Encinas of San Xavier, who was formerly a student at the United States Indian School, Carlisle, Pa., and Hugh Norris, of Sells, the official interpreter of the Indian agency. With- out the interest and cooperation of these interpreters it would have been impossible to win the confidence of the Papago and make so intimate a study of their music. 1 Chippewa Music, Bull. 45; Chippewa Music II, Bull. 53; Teton Sioux Music, Bull. 61; Northern Ute Music, Bull. 75, and Mandan and Hidatsa Music, Bull. 80, Bur. Amer. Ethn.; Music of the Tule Indians of Panama, Smithsonian Misc, Colls., vol. 77, no, 11. Vv " My i 7] Us - x Pematt Gira eT obieD doodde nied ote HER rare | igs: oSiw wats olnek. Mut te bahroost sew Baie: tip Wane UT ibd fey Gre te 7 ath anes qi WE (Bi aly Gea bate oe CHOW AAO Mt tee: ana oe u ' j Bs nef u se bith Fehea anaes dal sn eon eee iittare: , Hitalivnne ot to marie of) 69 cAwmaIIOS Tes J Bryia oyuett. ad'T Ubavehieate eewaeroudy 7 araiale Gmodktioy bi yin: wintom at gabe Qia ‘oii oFGg ae aati, blr 30 bas evo, wh, bya 3 Beer «dain ia anil to pnitiipionn pe BaP ot eon 7 peor eRe Gite are ust lo Sache ae mee ee. YE nese narod odd to antag deat y Lataithn ods ull te oval! binow Jf Malaria acadd To. go eeqouy bate sewvaba Oe 4 ditees bays ong oak te cone tes: A: Abe of al ee ee ed 2 ine rane tA 9 the emp el Fiat sil os mers oe sate Maced omen ons Af emir ae ‘ips Siete Te Hein’ 4g roe ects barrage sie te 1 aie (¥, hie ont, oA CONTENTS JOSE ESIC ERE SS See Lo ere een eer SAR abe ee ROL i Arrangedsintorder of serialimumbers 92555 see oe es ee ee Arranged in order of catalogue numbers-_----_-___-_____-___-____- Special signs used in transcriptions of songs____-_--------------------- Names of singers and numbers of songs transcribed________.-_________. Characterization, OlsINersee a Sates ae So owee es Seem eau soe Saree Be el een ewig ie Musicaltinstruments*and). their uses jane = Sees Se a ee Tabulated analyses: Comparison of Chippewa, Sioux, Ute, Mandan, and Hadatsa: songs: with: Papago songss2cs2 222-2 2_22246-2645. 524222 - Comparison of Papago songs with the combined analyses of the Chippewa, Sioux, Ute, Mandan, and Hidatsa songs_-___----___--_-- eee ima eee SEN ope een eS Peet AM MN eri AN es Oe gs eed Lyi Bongaenunerted..with legends. 2.00. ee ee eee eet Spanien we Ashes) peOmles 24.6 Seen ey PDR MON AR ORI er yee ey aye a 8h ay ss a ee ea Stenyren tnevorigin of tae fluteiec 6 dae Sebo ee JENTGT EES) WAY (ed Soe hyypeales (Cal 2 eae eo Ie UES RS agg OPAL URS Leo ae TA Soe wD Bates MelodivaiNo wo see fie) eee ee 2 i Nee i ae PEVe CVE TNO CME RICK mse) oa, Se Wee ih ue a. Bs i a uhh Sickness caused by spirit animals or birds__----___-_--------------- Hinessesjattributed' to spirits of the: dead__- =. _- =.= 2. Songs counected with ceremonies 2... .. 2-4 5 2 Hance inisuppheation to thesun. J. 4.4.4. 24.o5 52. See ee et Ua OT Se ee eee eee nL Mek Ce Pa WER Seg OO et eee MTESDN ESRI TINC ORE RING) ae» 52h 2) Cok. Le RE Se le BIS MV aU Kat ees 2 Fee Set Ss cate) NS eye pn ee es Songs connected with expeditions to obtain salt_________-------------- ie Papen merece en ae te a ee pores pfihesneking-palliraces® 2.6. 24. 2) Slee pees ee aoe ee see Papcnrabiewoatleucome Ws Seles Uiwlaies tui ek ee ie BP SOUSS ie ee em wots Oo es eee ee PeGLING RANE 52 -- homer acmme wae SP ae a ee ok pongs for the entertainment of children. —-...._....---=i+-------+=.-- SETTERS SOTILS no ce See ee er tt Ps I Sl hanes a Melodic and rhythmic analysis of songs by serial numbers-_--_-_-__-_--_--_-- 101 135 135 137 148 164 169 175 200 202 205 210 212 215 218 225 aah oT, yaa sod? re Cia” wok eh hei a Koen! iets wa DPS arigatat: Intieg oe peer ee eee ee ee eae ee ee ee eee ee + _ ILLUSTRATIONS PLATES MrirarsnG carcia DAVving flute. 2 ol UE Se 2 eee . a, San Xavier village and mission. 6, Well and water trough at San Xavier... c,.Papago house at San Xavier_.....--..-..-......- =. . a, Desert near San Xavier. 6, Hillside with saguaro cactus near San Xavier. c, Cholla cactus near San Xavier__.___.____-___________ Seateeron tilsiae Durml at san Mayvier._.--- 2 . a, Baboquivari Mountain, southeast of Sells. 6b, Foot of Baboqui- vari Mountain. c, Opposite Baboquivari Mountain_____________ . a, House in Santa Rosa village. b, Ramada in Santa Rosa village. c, Inclosure around water hole in Vomari village_________________ . a, Jose Panco using scraping sticks with basket resonator. b, Siva- riano Garcia, Harry Encinas, and Jose Panco pounding basket . a, Mattias Hendricks. 6b, Mother of Mattias Hendricks___________ ivrecmnd. child of Mattias Hendricks .9—- 2-22 . ad, Burden basket. 6, Basket bowl in which tiswin was served_______ - Bamboo game at San Xavier. a, Preparing to play. 6, Conclusion ot play.. ¢, Preparing to settle. a. close score... =... 2-222... . Stick game at San Xavier. a, Preparing to play. b, Watching sticks laruueraic., “¢) Counting the seore-. =~. 2-22 Lb oe - 4, amy enemas. 6, Leonardo Rios: <0. a eee SinlG@se tendricks.-. 0, Jose PancO.. =... 20) 2 cect Lo eee . a, Jose Panco treating sick man. 6b, Deertail used by Jose Panco in treating sick man. , ‘‘Bull-roarer’”’ used in Viikita ceremony__ Tevowl woman 0. sivariano Garcia. oo2. ooo PO Se oS eee on ee . a, Jose Manuel. 6, Jose Ascencio. c, Rafael Mendez______________ . a, Site of spring in which children were buried. 6, Site at which BBE pS RE EER ore eee ie a in a ea tne ee et ad . a, Thatch on which cactus fruit is dried. 6, Place where cactus fruit is boiled. c, Lodge in which tiswin is made___._....____________- TEXT FIGURES » Implements: used in bamboo games. i225... ...2-2 5b 2s Pmnplements used. inustick game. oo oo soo ee a . Diagram of ground on which stick game is played (from a native LOTTE) AS See eng Ce AMEN ALERT 2 AY, ev eee BOP ER: MEGOUECSrATbIOn me umetreenis. bmi Sy oh ee 1 Sane he tee had 2 ES 81 91 5 a 4 t ' * ha Py ‘ aed : ¢ ‘ ane 5-2 a ay m é i ‘oe 3 . + ‘ ¥ D. : ; oy ' 7 i : ) t - ' eo a Siielie’s 7 « tag i 41% L ’ i ba tye { i 5 aA? i ivi ts é i ‘ar ! j i > P r it. pts ts yis5 w ' r rae pas mt ct u ‘ ‘ 1 z ’ 2 te Sie) cs srt t R €sC Tepes c is 43 sieye ob BTA e735 iAArG jap 2 ps3 “9 “ae) CAAT HT ? 4 r, em ' I hye =| pias 4 ef ) RAI Lilie : F ; en oe d rT aa TS es S , Pree a We ote 7 TAPE BL La ee ee 1% rfl a PES oo . yt yo Wavha x aa 4 : Pen). be ieee o ¥ eh y oN ‘ ninrat) cat ett wah si 5 “se a a at sivialltel ww “ ve tiepoded a = * Serial No. Catalogue No. i. Song'ot Coyote after the flood. ........_...-_ 2uiebeak 1000 2. Song of Elder Brother after the flood_______________-____- 1001 3. Song of Elder Brother after he had created the spirits of men__ 996 4. Song of Elder Brother after he had created the wind and the Clamgiat See 22) eiees Se. ce ek a OL 997 5. Song of Earth Magician when disappearing in the ground___ 1035 6. Song of Brown Buzzard after killing Elder Brother_________ 988 7. Song of Elder Brother after returning to life.______________ 980 8. Song concerning the Talking Tree__-_-__-___-_--_-_____--_ 991 9. Song before emerging from Ashes Hill_____________________ 981 10. Song after emerging from Ashes Hill-----_________________ 982 Dee Tt amtmaven Mountain? 262 vol. 26 2h. See Sk eal 985 12. ‘‘ White feathers along the edge of the world”’______________ 984 13. ‘‘I have been in this world a long time”______________- UD 986 14. Song with which two boys killed their grandmother_________ 987 15. ‘‘The world would burn without the rain”_________________ 983 16. Song after the inhabitants of Casa Grande were killed___-___ 998 17. Song that gave woman the strength to carry the burden basket. 999 18. Song of Brown Buzzard after removing his scalp_-_-_-_-_______ 989 to. ‘peemy scalp hangirig-on’a pole”. - 25.055.22 5.25.2 425 990 Den CLURRUIRE DA BIC De. 8 oS ae rca eee ce ee a 954 Zin Keagher meal.cive me to drink”? 2-22.22 2-_-=2-_ J 5Ne Ss 955 22.4 > Myteathers are growing longer’’._-..-... 22. 7S 956 ae. we hesenele-will destroy us- all?’ 2. 52-22 SOON 957 24.) °° Hei walked up the.slippery rocks”?’_..-.-_-2.... 229 4 = 958 ges. wong wo overcome fear... =... 0S eee 27) fee 959 26. Song to put the eagle to sleep___________________________- 960 27. Song of the old woman who attended Elder Brother________ 961 Zoe he mocks.are- making. a, noise S22 s~ ee 962 20.'Song/when restoring'a boy to life....._.___....... 0202214 963 30.) Lamenting the.deadiéagles=—=.2.- 22 -- 2222522 2~ coun BE 964 oe I veal pull. out, their feathers’’...-- =... .=--~_ Siar e_ Pl Le 965 32. Song after making the bow and arrows__________________-_- 966 33. ‘‘Four fires on the ground” (flute melody)_._____________- 967 Sacer Whos going to-marryame? =.) 22-2222. Pe sod FO 968 35. ‘“‘The girls are approaching” (flute melody)______________- 969 S08, Av iilet of white: eagle down’: 22-242 of ES Bhs _ OW 970 ame moneon the mountain: tops... ..~==.- 2222. neotenic 971 38.' “Terrible in its:power to destroy”... 2200620 ea 972 39. Song to make the boy invisible____________ eS , SOUIEOINGS | 973 Gu. Lieman waehas no joy” =. . 2.0/2 OU IO Sn ool at Wore ne 974 41. ‘‘From one dance circle to another”. ___-._____.2___-___-__ 975 42. Song of the women by the sea____________________________ 976 oun 1 opel toss -upithe ehliekes 2-2 22.224. 2s-cceeckeeeeuecedes 1066 44 977 LIST OF SONGS 1. ARRANGED IN ORDER OF SERIAL NUMBERS Sones CoNNECTED WITH LEGENDS Stas sme to pay your wager’. =... JS. ae XII LIST OF SONGS . Sones UsEep IN THE TREATMENT OF THE SICK Serial No. A5.)**A white wind from the west 22 222525822.) eee eee 1072 46. ‘‘The morning shines on Manasi Mountain”______________-_ 1033 47. Song when administering herb medicine__-________________- 1041 Ago "Sandy loam elds 2. Sere = a ee ee eee rae 1036 29. oT wallisit and: sing ?42 222 os sere eee 2 ee eee 1037 505‘ Out of the mountains; i. ae oe es ee 1038 51. 5 “‘Singing-to ‘the leaves and flowers’’_...........-.-.-.---< =) 1039 52: “Toward the mountains’... -.)-- .. —_ See ee eee eee 1040 53. Song of the badger medicine. ___ .. bv-el edi s4 le Senior 1024 54. ‘“They covered me with sunshine”_____________+_-__---_-- 1021 55. “A paintedssnake:comes out’!-2teas bad a) 45ite welds ot 1022 56. Song to a little yellow wasp_____- Be ae ee re 1023 5& ‘ Brownl lizard feos 43 pean eails sory peiee i ts 1042 58. Songto cure an injury/by adhorseld 2si:4 226 bese et ee 1014 §9. “‘I came-from the east” __ - ot! 24 _sehenis~ qtle Sadie sel 1016 60. ‘‘ You tied me with a black hair rope’’_ 2. _-.+--+---_.- +-- 1015 61- Song of a black horse: -___=-_-_- J niet sheet ep rs 5 1017 62. ‘‘Many spirits leading westward” ____~__2.1-_-s-_2.L-+ +2 910 63. ‘‘In the medicine man’s house’ _=-_.________.- Sipe ae 911 64. Song concerning the white bees__.___._.--_---------._-2_- 912 65. Song concerning the white mountain______-__-----____-_-- 913 66. ‘“Wesmoke together”: dius:beese siaih edd eyed nei snide 914 67. The meeting with Elder Brother____--_-_----+---+-----=-- 915 68. Song concerning the black snake________-_--_-+----_------- 916 69. “‘Themocks areshaking, 2 942 eae 42 2) hte a eee 28 917 7@®, Songiof the dawn. ~~ 2tae< 28! yrivaqeese atte been ye fl pee 1027 ab.“ Thegunrise” = 222022 2 2 Seine 2 ee ee 1075 Ro AB TOMER OWLS at brn 2 ee a 931 73. ““In the: blue night”. -- 22-2 - 2 ets ae ee ee ie 932 A. “The-zow! feather’ 2 --—.- 2) See ee abe ee oe ee 933 45,“ Theyocame hooting” = ...2._.-._2 25-2 hia ee ees Tie 934 76: “Tn the dark I enter”’__ 22. ____-=.-“adeer pape edt eee 935 77. ‘‘His heart is almost covered with night”_______--+-.---4++ 936 78. “‘I see spirit-tufts of white feathers” ______.-2----+L=-.2--- 937 #9. “Yonder lies the spirit Jand?”’ . 15- bobscsie ste cece 938 80. Sonmes a spirit... 2 ee eee 939 St. “‘ Wewill join them” _...._-_____2.__ otf ad-ged aaertens 940 oo. Myseathers”’ 22. 5 oe eee ee 941 éa. “Theywomen are singing”’___..=..._.__ Yegelsa) sight dee 942 34. “‘T amugoing to see the land” == 22 -n2ee fees Sat ht eee 951 35. “T runctoward Ashes Hill”’_ - oc 22-220. Tibesore lt wee 952 86. “‘ Theaters of the spirits” _____.____--- S226 eeeeeet eat 953 37. ““ There I will see the dawn” _..=--< i424 Sscia5eessen- See 943 83. “‘I swmtoward the east”’_-_......- =~... tee eee 944 S00 TE diewheére”? 26 522-0 ee eee 945 90. ‘‘I could see the daylight coming”’_____.--++.----s-+=+--+-- 946 ob.“ Thesdawn approaches”... 2) aes eiiget end Bates 947 92. ‘The owl feather is looking for the dawn”’____-__-------_-= 948 93. ““Theamorning star’. ~=__....> =. -Sadgnge ot olegin peers. 949 94, Song of a medicine woman on seeing that a sick person will Catalogue No. Page 86 87 LIST OF SONGS Sones CoNNECTED WitTH CEREMONIES Serial No. Catalogue No. fee CRO RIGS Rane termrete mie: 5 bt Sn oe EE OL 1063 96. ‘‘Great white birds over the ocean”____________________- 1064 7... Led welling-place of the sun’: 222 22. en Se 1065 Sete CAOUCS Aer A OLOAC IIT M4) poet 2 et nyt ai Misty eee TE eS 1074 a. Ware singing im the night”? = = 22k RESO TS 1009 LOA hevcornon: ProgyMountaime 5 So) Oo ee 1050 ii.) Weare making wohdertuil things 4 21" 30 Few 1006 102. “‘ Each singer wears a white feather’’________.._._.--_---- 1007 fe, Seneming light-in-the Gash) s205% 228s ee Es 1008 eee PORE. LUO TAD 2 op oti he es 1073 105. Sone-concerning the lost.childrent --2_ ----___2--2-=_=2__- 995 fies soneor che: watchers (ay olss SAS ith BM ON eS ee 1049 foro snre ouine watchers (b)6. 34622). = 2 ke en eek 1031 10s. Song during rain divination... ==. -C2°8*_ POL OP) art 1032 109. Song while tiswin is distributed _ - = ----_+-2_-- = 2-2 lL --- 1058 Sandee NON 118 eu N ease ae ai er ek a ae ew 1026 ils seug aiter drinking: the wines? 20 #400 oe ke 1025 ites Vonmake me drink-red water’: 22.) v.22 2522 3ee 979 iiea. Phe songs, are- beginning’? =-2- -==-0VVEV IL sel eto = 922 114. “I am running toward the edge of the world”’___-_-_------- 1043 115. ‘‘ White blossoms on Baboquivari Mountain” __________-_- 1044 aie. “Cattonwoad Jeaves-are falling’’.<-.=201* 022" Satt ft - 1045 fit. *"Tie'imorning is.shining upward == _ 2°22) 22 222 tS _ 2 1046 118. ‘‘On top of the mountain the wind blows”’____----------- 1047 Pree hee Oward Ghe-Cash rs2== sees se sce tats Seco s ict 992 ims, *‘Cowaka, come and-help us sing”. 2o02 200222 2 Lae are LO Sones ConnEecTED WitH ExpPrEpITIONS To OBTAIN SALT 121. Song before an expedition to obtain salt___..-.-..--_---~- 1010 122; “ We; will run around the salt bed”... -s.2224 Jubemasvacu_ 1011 fee oe bee wind plows from the sea; =. 22-8 2 = 1028 124. ‘The rain on the corn and the squash”’______------------- 1029 f25. Che sun tises over the mountain” 22-2 Ss .----2e 1030 Wark Sones tae ‘* Yonder the-flames leap upward” = -___-_.-------.----=-- 918 127. Song before starting on the warpath__-____-_------------- 919 pize.): Phe Apache bide: behind-trees’” 2-2 bse =e 920 ao 7 Wile we drink the wile: 522.42. So -- eee e 921 fae Openin= song of ‘the waricamp == 2-2-2 2-2-5 24--.-=_--- 923 foe. “Hen nsilocate our enemies eho 55 5° oe 924 ig’ Sone for the enemy's’ countrys oo". 5> 2-22 2~-=---+--- 925 acu sone to brang the elouds:22s S24 bs es eee 926 lp4eechenvarceol the: herald: 2-2 25252 oe a ee eS Seer eee 1069 ida, the title captive children”... 5. 2222-4262 1062 Tae) Vousber for food Mikeia woman” ois. -.__ 28 S222 se se 1005 137. F have.gone through this before you”’.22.-----.----24--+ 1004 Reape oeoreie unapiae ars cent oe ee ee 1002 fae Gh aad amen Smee le eee ee ee 1003 ia A plaeemmimmene, earings oo... ees cee 1019 141. Song concerning a wounded Apache--.------------------- 1020 XIII Page 135 136 137 140 142 145 146 147 148 150 152 154 154 156 157 159 160 161 163 165 166 166 167 167 168 169 171 172 173 174 175 176 177 178 179 181 181 183 184 186 187 189 189 190 191 192 193 XIV LIST OF SONGS Serial No. Catalogue No. Page 142. Opening song of the Limo. 22 22. #9 2ees SS se eee 143. Song of the Limo. 2. = ..2.245- #22 Te i eee 144. “I am going to another part of Elder Brother’s land”’_-_--- 145.0 A.whirlwind is siiging.7=.. 29. 22" ee eee 146: 6‘ Tt.is the woodpecker 2225252222 221-2 ee 14%: ‘The eagle is: talking’. 3-0-2. Spa eet BP actos SonGs OF THE KiIcKING-BALL RacE 148. “ Wesmust run”... ---.------5__ Ya et eee 149. Song-for success in a race........2...-..+..+-2.."atee a SONGS OF THE Bat DANCE 150. Opening song of the Bat. Dance. --~ _ ~~ __ . -2cuasbete siete 151. ‘‘My wings make a noise as I fly’”’ DREAM SONGS 152. Dream song of a captive woman £5a. “I wandered away ” 22h a ee Be ee 1p4. ‘Tam, going to, the mountain’? ..2 24 4b a eee 155. “I went to the edge of the world”’ 146. “The.thunder sounds in the east”. 222 6.422 syiatee a) eae 157. ‘‘ White mountain birds were singing”’ Ge AWIBCR COW 9 se 2 ee i ee ee 159. “I sat under Santa Rita mountains”’ HuntiInG Sones 160... Song 'for. success in hunting. -<22_ 21210 _ bs HOPNESGFS Ue 161. Song of an unsuccessful hunter SONGS FOR THE ENTERTAINMENT OF CHILDREN eae ULES | ee eee OE Ne Ree SNES cle Ole NRA Pang Yi 163. ‘The squirrel and the mesquite beans” 164. ‘The robin brings the cold wind”’ MISCELLANEOUS SONGS 165. ‘The snow is falling”’ ier teeta MemCan 2b. 2 oe I i 167. ‘The pigeon and his tiswin lodge”’ 1076 194 1071 196 927 197 928 198 929 199 930 200 978 201 993 202 1051 203 994 204 1048 205 1055 206 1054 206 1057 207 1056 208 1059 209 1060 209 1061 210 1013 211 1018 211 1068 212 1052 213 1053 214 1067 215 1070 216 1034 217 LIST OF SONGS 2. ARRANGED IN ORDER OF CaTALOGUE NUMBERS XV Title of song Name of singer iy ‘“Many spirits leading westward’’__-_| Sivariano Garcia_-- 62 “Tn the medicine man’s house’’-_----_/_---- MGs: 322 245244 63 Song concerning the white bees_----_|_---- dosh. iia. ntee 64 Song concerning the white mountain__|_-___- do 52h) ij Wear 65 “We smoke together??-_. .-...-.-- |... doe). axtevesks 66 The meeting with Elder Brother_----|-_---- Oss ed dys ee 67 Song concerning the black snake-_--_!__-__- BGs ast debian 68 SS rherocks are shaking’... 02-0020} 3 dO.s 2 434tants- 69 “Yonder the flames leap upward”’_ ___|__--_- GOs yt 15523 126 Song before starting on the warpath__|-_ --_-_ GOne Mie eee 127 “The Apache hide behind trees’’____|___-_- dO} 25 P ta! 128 ““While we drink the wine’’______--_-_|_--_- 3 (eee eee 2 129 “The songs are beginning’’_________|]----- Cote ine Sa rey 113 Opening song of the war camp-_-_-_----_|----_- dosa++ 2). 242 130 “Help us locate our enemies’’__-_-____|___-_- Gos. 22224 2 131 Song for the enemy’s country_-____--_|----- Moen ste 132 Song to bring the clouds.--_-.._---_|--.-- rs (ce ae ee ore 133 “T am going to another part of Elder |----_- doses. See 144 Brother’s land.” ““A whirlwind is singing’’_----------|----- Ossie: S45 145 Pit is the woodpecker’... -—- - Se theakc ce GOseass ahh et 146 mene eagle is talking?) = ...£ =. =» _ujifieleas dO 2.44 tne 147 PREC OLOW IS. ots te | d@alwedt 4s ee 72 Pip tne - OMe plight” eh. 2.2 =" sed bileg as 2 GOd6 25-5432 73 sabne owl feather 2%. .=-52- 55 ee sep. GG: a44ecu cat 74 “(hey eame hooting’. --—- -------- -=|s2s.+ das. s56-4) ne 75 y dnjthe darkiLenter?’ toi). (_.0 ft do. 2. Meee gs 76 “His heart is almost covered with |_---- ra fc fee peer ee Cis night.” “T see spirit-tufts of white feathers’’- _|_____ dose ese Paes 78 “Yonder lies the spirit land’’_____--_|_---- Aosivecdes. Sesh: 79 ce TENTED) A EES To) aaa a a ae 770 A a ta 80 We will.join them 7s... 203 ssi hee re io eee Se 81 Peay SenGnets as = gh 8 ae tee Meta J dot $424 Fhe 82 The women are singing” 2). |. 5 a. et ig 83 ‘““There I will see the dawn’’______-_|__--- rc (a ey ne es © es cy * 87 iL run-toward the Gast 70-6200. 0 Ll 5 (tae ane. 88 Pee ORG. <2) ees ek ee So AN (Cy dle DO 89 “T could see the daylight coming’’__|_____ fo PL ee eee oy ew 90 *‘"The dawn approaches”’.__......_.-|_-.._ dans 228 es 91 “The owl feather is looking for the |_--_- AG. - sue 242 92 dawn.” jhe morning star.".4>_... ) 224s 2lehs 2 Gs 38 2482 93 Song of a medicine woman on seeing |-_--_- dol Sassen! 94 that a sick person will die. “‘T am going to see the land”’________|____- doo 22 34s ss 84 “‘T run toward Ashes Hill’’_________|____- Ags. seat 4 85 ‘The waters of the spirits’’____-.___|_-__- M033 a2 ea = 86 Ween ER rers Fete ee es Geode dare 20 XVI LIST OF SONGS 2. ARRANGED IN ORDER oF CaTALoGuE NumMBERs—Continued Cata- logue No. 955 956 957 958 959 960 961 962 963 964 965 966 967 968 969 970 971 972 973 974 975 976 977 978 979 980 981 982 983 984 985 986 987 988 989 990 991 992 Title of song Name of singer ‘‘Feather meal give me to drink’’___-_| Sivariano Garcia_-- ‘“My feathers are growing longer’’___|_-___ dot soLhont 3 “The eagle will destroy us all”’____--|--_-- Gould yalureeys ‘‘He walked up the slippery rocks’’__|_____ does Saletan Seng to overcome fear... -~-»--=<|--——= doavssgul ga08 Song to put the eagle to sleep_—-----|----- God _vile nalts Song of the old woman who attended J__--- Goose Bult: Elder Brother. “The rocks are making a noise’”’___-_|_~-_- de 2mdeb uli Song when restoring a boy to life__=_/-___- dbysitveds 2103 Lamenting the dead eagles_-_--------|/----- da_2hig Abus “T will pull out their feathers”’__--_-|----- doli_240h os. Song after making the bow and arrows-|-__-__ dogau. ria Seu “Four fires on the ground” (flute |____- do 3ut_up Behe 4 melody). “Who is going to marry me?”’____-_-_|-_--- dé_Lames eal “The girls are approaching” (flute |____- do_eai Wire melody). ‘A fillet of white eagle down’”’-------|----- do ai! & 3a Song on the mountain top_----------|----- dguts al ata ‘Terrible in its power to destroy’’_--|----- dasosgboom a0 Song to make the boy invisible--_-_---|----- des. sle_e_ wR “The man who has A0-joy”’.-=-=5--<| 22225 28252 2 13 Me | sega ahs Sal i seh 13 1 Major triad and one other Benen ee Od ne on ol ee ae 105 12 14 8 119 1g NEN OTSUMAC = aa 2) 22 2-k to ek A Nis Fac S| lb Le ta uhh ALS EM TES . Minor triad and one other POE Ls oF heated NO Re 86 10 Ne joes su ole cee 86 9 Octave complete----_------- 51 6 7 4 58 6 Octave complete except SOVeENt Rete Ae eas a ee 75 9 18 10 93 9 Octave complete except seventh and one other tone_ 66 8 27 13 93 9 Octave complete except sixth- 33 4 5 8 38 4 Octave complete except sixth and one other tone-_------- 15 U2]hh | Meera Petes bl (aie ga 15 1 Octave complete except fifth and one other tone_-_------ i ie i PN U3 a a tl Pa 1 bY eee Octave complete except LXOYU DT Hal yap ees eee 24 8 2 1 26 3 Octave complete except fourth and one other tone_-_ Saleeeaers 2 1 10 1 Octave complete except third_ Doh 22 tea 3 1 GM) Seer Octave complete except sec- OFOL0 Lanta LE ne pe SR ae oe SO vel 26 8 ea s2: 20 3 Other combinations of tone___ 44 4 14 8 58 27) 2 EN predates it 820° |sebnal hoy Hee ei 987 | Ee OY. 1 The 5-toned scales mentioned in this table are the 5 pentatonic scales according to Helmholtz, described by him as follows: ‘‘1. The first scale, without third or seventh... To the second scale, without second or sixth, belong most Scotch airs which have a minor character. .. The third scale, without third and sixth. . . Tothe fourth scale, without fourth or seventh, belong most Scotch airs which have the character ofa major mode. The fifth scale, without second and fifth.’ (Helmholtz, H. L., The Sensations of Tone, London, 1885, pp, 260, 261.) “ 8 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 TABLE 7.—ACCIDENTALS ctapgere: cial Percent| Papago |Percent| Total | Per cent Hidatsa’ Songs containing— No accidentals_________- 697 85 147 88 844 8&7 Sixtheraised: 4225 2 52 5 14 1 3 2 uly¢ 1 Fourth-raised- 22-2 16 1 4 3 20 2 Thirdtraised£.2 2.2 222 ee Dit ae hs Sn eee S| ao ee ard “lowered -. 2. eo 52 | SuRaee een ee eee ie | “see HL 2, | 5a Other accidentals______-_ 89 EL Go ee ee | eae 89 9 Dries. ee ee Die ees 10 6 12 1 otal: a2 ae eee S20 jen Se Leia O87 i.e TABLE 8.—_STRUCTURE Chippewa, Stowe Use Percent! Papago | Percent Total Per cent Hidatsa’ ~ Melodieetsst tate fee ae 482 59 112 67 594 60 Melodie with harmonic frame- WOE Sete epee. Rebeca ee 161 19 36 21 197 20 Earmonicnes 2258 aes Be 2 175 il 9 6 184 19 Irregulars. <2) fee pee 2) Ae radtena 10 6 12 1 ADO) i571] Ke ene ee ene Se S20 Mee oe 1 cy glee! ae O87 eee TABLE 9.—FIRST PROGRESSION—DOWNWARD AND UPWARD Chippewa, je eta Percent} Papago | Percent Total Per cent Hidatsa’ Mow niwanrg). feos es ee 547 67 61 37. 608 61 Wipwardisnet 3. Ske Rie are Ff - 273 33 106 63 379 38 NO Gace = Se ase O20 eee UGf cee O87, je ae TABLE 10.—TOTAL NUMBER OF PROGRESSIONS—DOWNWARD AND UPWARD Chippewa, Sioux, Ute, Mandan, Hidatsa Percent| Papago | Percent Total Per cent 64 2, 809 59 | 16, 848 63 36 1, 929 41 9, 929 37 Papago Dn ATSB 22 ON QO | Interval of a— DENSMORE] _TABLE 11—INTERVALS IN DOWNWARD PROGRESSION Interval of a— Major Sixth 32 Se IMEinorNsix the | Major thirds “i Ins Minor third Augmented second Major second.________-_- Minor second: 22222225 2 PAPAGO MUSIC Chippewa, Sioux, Ute, Mandan, Hidatsa Per cent Papago Per cent | Total Per cent TABLE 12.—INTERVALS IN UPWARD PROGRESSION Hourteenth. = a Major sixth Miner sixth: 2 <0 * 52 3% Ppt dele. 2 cele, Se ee ee PE ae Major third Minor third Majer second_____- _!__- Minor second__________- Chippewa, Sioux, Ute, Mandan, Hidatsa Per cent | Papago Per cent | Total Per cent 10 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 TABLE 13.—AVERAGE NUMBER OF SEMITONES IN AN INTERVAL Chippewa, gr ane Percent} Papago |Percent| Total | Per cent Hidatsa Number of songs_----------- S20) Ee see L67e (252258 9877 |e Number of intervals______-__- 2250392 eee gay cate Papas al 26; 71a) (ee eee Number of semitones__----_- 67;'662>|222 2-8 4: 222 Sea $1°884" | oe Average number of semitones iInvanviMtervalss a2 Sees S107o | fae ae Or Sees 3. OS; |Z 22am RHYTHMIC ANALYSIS TaBLE 14.—PART OF MEASURE ON WHICH SONG BEGINS Chippewa, SMa: Percent| Papago |Percent| Total | Per eent Hidatsa Beginning on unaccented part ofmeastires 4 a Vee es 289 37 65 389 354 36 Beginning on accented part Of measures oe ee oe 489 63 102 61 591 60 Transcribed in outline______- ADM) tesa’ oe |e entree Pees 42 4 TABLE 15—RHYTHM (METER) OF FIRST MEASURE Chippewa, pre eee Percent} Papago |Percent} Total | Percent Hidatsa First measure in— DA GENE 12 Sey ee 429 56 110 66 539 64 ae (ce On Oe cS | 305 39 51 30 356 36 AA NMG 22 eh au ee 9 fi) em = ee (soe |e 9 1 54 time son ss, dee 13 | OA Papel enmrese| ences i 13 1 G—4.timie! ... 8 2 2 Bie 1 a vg 6 (Oey fe PR ee Weijos. see (—4 time! Re. Doe ee hee Lal a 2 i= oO wimes.t Aes 23 ips 5 | seeks 2 1 yal ey seeaiia 4=8 tiie! tae eet Yell Pep 2S oe nh bake GUee 2 5-8 time... 2862 2b ee | 6) |e 2 i Sie 6S time ae be ce eet | eel rer tee ] aera | ye i ee i=8 timee= 22 oe ee OD, ts CRIS ar Soa all 1 Eo Na a ODA Se en =e ere PL Di Si ch aeaptoe ef lied Cup de). | CL a 2)|\ ose Transcribed in outline_______ FA) (eae ee ete (8 toe A gS OL 42 4 DENSMORE] PAPAGO MUSIC 11 TABLE 16.—CHANGE OF TIME (MEASURE-LENGTHS) Chippewa, ae Percent| Papago |Percent| Total | Percent Hidatsa Songs containing no change CHEN Fite (cee Del CeCe, meee es 120 16 14 9 134 10 Songs containing a change of LLIN Selle en alld eB 658 85 153 91 811 84 Transcribed in outline_ -_-_---- AD REIS SUA SEAR RASS 0 CARRE hae 42 4 Ci) 1) See eS oe S200 Ly fh 167.|s26¢2. 980i \aa2625 TABLE 17.—RHYTHMIC UNIT Chippewa, Paine Percent} Papago |Percent} Total | Percent Hidatsa Songs containing— No rhythmic unit. _-__---- 248 32 57 34 305 30 One rhythmic unit___-_-_- 458 59 66 39 524 53 Two rhythmic units_-_-_-_- 61 8 35 21 96 10 Three rhythmic units___- 9 1 4 2 13 1 Four rhythmic units__-_-_- Lees Se. 4 2 One| ase oe Five rhythmic units___-__ BO pe me 1 ol | cpm te 7 ji il eet Transcribed in outline- __-_--_- OA as SE be aps | ee BE LA 42 4 COMPARISON OF PAPAGO SONGS WITH THE COMBINED ANALYSES OF THE CHIPPEWA, SIOUX, UTE, MANDAN, AND HIDATSA SONGS On comparing the tabulated analysesof Papago songs with 820songs of other tribes, previously analyzed, we note (Table 1) that the Papago have 47 per cent major and 36 per cent minor in tonality, while the other tribes have 54 per cent major and 44 per cent minor. Table 2 shows that the percentage of songs beginning on the fifth and keynote is larger than in the songs previously analyzed, while the percentage of those beginning on the octave is much smaller. The percentage beginning on the keynote is 24, compared to 7 per cent in the group of 820 songs. This does not indicate smallness of com- pass, as many Papago songs lie partly above and partly below the keynote. The percentage beginning on the fifth is 37, compared with 24 in the other songs, while the percentage beginning on the octave is 6, compared with 23 per cent in the larger group. Only 7 per cent begin on tones above the octave, while in the larger group 12 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 28 per cent have such initial tones. No Papago songs begin on a tone higher than the tenth above the keynote. It is interesting to note (Table 3) that the percentage of songs end- ing on the keynote is much smaller in the Papago than in the com- bined songs. The percentage of Papago songs with this ending is 41 and in the other songs it is 57 per cent. The songs ending on the fifth constitute 44 per cent of the Papago and only 30 per cent of the combined group. Thus it is shown that the songs of the Chippewa, Sioux, Ute, Mandan, and Hidatsa have a preference for beginning on the fifth or octave and ending on the keynote, while the Papago prefer to begin their songs on the keynote and end them on the fifth. Only 10 per cent of the Papago songs end on the lowest tone of the octave (Table 4), contrasted with 87 per cent in songs previously analyzed. In 17 per cent of Papago songs the tone lower than the final tone is a fourth, many such songs ending on the keynote approached by an ascending fourth. A compass of 7, 8, and 9 tones is found in 71 per cent of the Papago songs (Table 5), compared with 39 per cent of the former group, while the percentage of songs with a larger compass is 1 per cent in the Papago and 29 per cent in the combined songs of other tribes. The principal group in Table 6 consists of songs on the second and fourth five-toned scales (‘‘minor and major pentatonic’’), and in these we find that the Papago contains a slightly smaller per- centage on the second and a much larger percentage on the fourth five-toned scale. The percentage of songs containing no accidentals (Table 7) is 88 per cent in the Papago and 85 per cent in the combined group. A melodic freedom of Papago songs is shown by a percentage of 73 in the Papago (Table 8) and 59 in the larger group, while the per- centage of harmonic songs is 6 in the Papago and 21 in the com- bined songs of other tribes. Only 33 per cent of the combined songs begin with an upward progression while 63 per cent of the Papago have this beginning (Table 9). There is less difference in the total of ascending and descending progressions (Table 10), the percentage of ascending intervals in the Papago songs being 41 and in the larger group a per cent. In Table 11 it is shown that the percentage of major seconds in Papago songs is 48 per cent, compared with 44 per cent in the larger group, while the proportion of major and minor thirds is considerably less. The relative proportion of ascending and descending inter- vals is similar in the Papago (Table 12) to that in the songs of other tribes, while the average size of the interval is slightly smaller (Table 13). The percentage of songs beginning on the unaccented part of the measure is 2 per cent greater in the Papago than in the songs of DENSMORE] PAPAGO MUSIC 1533 other tribes, while the percentage of songs beginning on the accented part of the measure is 2 per cent smaller (Table 14). Papago songs show a larger proportion beginning in double time and a smaller proportion in triple time (Table 15), the difference being 11 per cent in double and 9 per cent in triple time. A change of time occurs in 91 per cent of the Papago songs (Table 16), con- trasted with 85 per cent in the larger group. The use of a rhythmic unit differs only slightly, the Papago having 34 per cent without a rhythmic unit and the larger group having 32 per cent of such songs, but the Papago songs have 25 per cent with two or more rhythmic units (Table 17), while the larger group has only 9 per cent with this rhythmic structure. In the songs of other tribes it has seldom been difficult to designate one tone as the keynote of the melody but among the Papago we find songs which are so free in melodic form that it is not considered advisable to designate any tone as keynote. These are classified as “irregular in tonality”? and comprise 6 per cent of the number of songs. Allied to these are songs in which the third above the apparent keynote is lacking, these constituting 10 per cent of the number; there are also two songs which are classified as ‘‘both major and minor” in tonality. The Papago melodies, generally speaking, contain greater variety and are more pleasing to the ear than the songs of the other tribes under observation. Melodic free- dom, as found in Papago songs other than those classified as irregular or lacking the third, may be defined as a prominence given to the second and fourth, with a lack of prominence of the triad based on the keynote of the melody. With this melodic freedom we find two variations from the usual custom of repeating a song over and over without a break in the time. A Papago said, ‘‘Some kinds of common songs can be sung from the beginning to the end, over and over, but the very old songs and the medicine songs must be sung twice through, then the last part sung twice through, and then the whole song sung twice and the last part twice, and so on to the end of the performance.” In certain songs the first half is sung twice, then the last half is sung twice. The time is usually maintained when parts of a song are repeated, but there is usually a slight break in the time between repetitions of the entire song, as in the common melodies. In addition to this slight break in the time there was frequently a change of one or two notes in beginning a repetition. Other distinctive peculiarities of Papago songs are a prescribed manner of singing certain classes of songs. A glissando was used fre- quently in the Limo songs and those connected with the ceremony for bringing rain, and three sorts of medicine songs were sung with special degrees of loudness and speed. 106041°—29——3 14 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 A peculiarity of singing heard among the Papago consisted in the sustaining of a tone above the general trend of the melody, this tone being held by two or three women’s voices for the space of perhaps three or four measures, after which the voices descended and joined the others in the remainder of the song. This was heard at a dance held in an isolated place a few miles north of Vomari. It was said that only a few women in the tribe could sing this “‘drone,” and it appeared to be regarded as an embellishment to the melody. This peculiarity was not noted among the tribes whose tabulated analyses are here compared with the Papago but was heard once among the Pawnee, during the Morning Star ceremony. ‘There was no oppor- tunity to make a phonograph record of this peculiarity in either tribe. Among the Makah, Quileute, and Clayoquot, studied in 1923 and 1926, it was permissible for a woman to sing in a high monotone if she did not know the melody being sung or if she ‘‘could not carry a tune.’’ By this means she could join the other singers. In these tribes the high monotone was known as “metal pitch.” It was seldom used and was not held in high esteem. The various classes of Papago songs appear to have more rhythmic dis- tinction than in other tribes. For example,Owl Woman’s songs used in treating the sick are characterized by a steady forcefulness of rhythm. The words of Papago songs are always continuous throughout the melody, which is in contrast to other tribes under observation. Some songs of other tribes are sung with no words whatever, the tones being separated by means of a peculiar action of the throat, while in many songs the words are used with only part of the melody, the remainder having vocables or vowel syllables, as ho, ah, or ay. In three classes of songs the first word is preceded by a word or syllable which is either meaningless or obsolete. Thus the koép songs begin with eliwérci, the songs connected with expeditions to obtain salt begin with hicid, and the wakita songs begin with hoi, hoi. No accompaniment was used with the songs concerning Elder Brother, the songs of the tiswin lodge, and the wind dance. A gourd rattle accompanied the songs for treatment of the sick and the wakita songs. Rattle and basket drum were used with the Limo and bat dance songs; and rasping sticks, either with or without a basket resonator, were used with the songs of expeditions to obtain salt. The manner of shaking the rattle varies more in the Papago than in other tribes. The common rhythm is an accented and an unac- cented stroke, corresponding approximately to the first and third counts of a triplex, but a doctor shakes the rattle ‘“‘in accordance with the instructions received in his dream.” Thus some doctors shake the rattle four times sharply before they begin to sing, while Garcia, who recorded more songs than any other Papago, preceded his ' singing of medicine songs with a ‘‘roll”’ of the rattle for a few seconds. DENSMORE] PAPAGO MUSIC 15 Among tribes previously studied a considerable number of songs have been recorded with instrumental accompaniment, the rhythm of which is indicated in the transcription of the song. This was impossible among the Papago as they use no percussion instrument with a loud tone. @ ae oe --0—-#-0-|--9-_e-® HH : CF See . ———+ Bese Se ea oppemn em ec ee 3 = TRANSLATION I have created you here, I have created you here. The red evening I bring to you. Analysis.—In this, as in the song next preceding, the third above the apparent keynote does not occur. Like the preceding song, it begins and ends on the same tone. More than half the progressions are whole tones. No. 4. Song of Elder Brother After he had Created the Wind and the Clouds (Catalogue No. 997) Recorded by Martias H»npricks Voice » — 100 @- -8- -p- See fe eeeeeee f eoee oe eee ere= Fine TRANSLATION I suffered to the bottom of my heart but at last I created a great deal of wind and at last I created many clouds, so now I am singing for joy. Analysis.—This song is classified with E as its keynote, although C sharp is a particularly prominent tone. Except for the opening interval the melody progresses entirely by minor thirds and whole tones. Like several other songs of this series it ends with an ascend- ing minor third. The phrases contain five, six, and seven measures, respectively, and each phrase has its individual rhythm. Earth Magician had a bad temper. The things he made were criticized by the others and he became very angry. Then he began DENSMORE] PAPAGO MUSIC 21 to-sink into the earth. Elder Brother caught at him as he dis- appeared and became infected with a ‘‘cause of sickness.” Endeav- oring to shake this from his hands he disseminated sickness among men. (See pp. 82, 83.) No. 5. Song of Earth Magician when Disappearing in the Ground (Catalogue No. 1035) Recorded by Jose HENDRICKS Voice J= 92 Goes Sel ‘ee @.2 @. 2 #. -p- -D-. TRANSLATION 2% Here I sink, and I know all sorts of things. Analysis.—There is a peculiar quality in this melody which may be regarded as wistful. The ascending fourth is a prominent and also the final progression. Two rhythmic units occur, each having the same count divisions in the opening measure. The tone material is that of the first five-toned scale which omits the third and seventh above the keynote. Elder Brother had a rival named BGs Buzzard, whose power was so great that he could make boiling water bubble out of the ground near his house. He said that he would kill Elder Brother but that after some years he would come to life and then worse things would happen to the people. Four times the people tried to kill Elder Brother but he always came to life in four days. In their third attempt they boiled him in a big olla, but he put up his head and looked out of the boiling water. If the fire went out he got out of the olla, replenished the fire and got into the olla again. The fourth attempt to kill Elder Brother seemed to be successful. He 86 Compare words of No. 13. 22 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 was shot by Brown Buzzard, who went to him, after he was dead, and sang a song. In this song Brown Buzzard said he would not destroy all the things that Elder Brother had created, but would keep the wind and clouds for the benefit of the people. No. 6. Song of Brown Buzzard After Killing Elder Brother : (Catalogue No. 988) Recorded by Mattias HENDRICKS Vorce = 69 Sie 2a ieee ee ieee een re aN Bing = po iesse ee aes ate eee TRANSLATION I have done the worst thing now in killing you, my brother, but I am going to leave your wind and your clouds. Analysis —This melody is characterized by a descending trend. The phrases are short and the tone material is that of the fourth five-toned scale. Elder Brother remained dead so long that children played with his bones and made bridges of his ribs. One day the children ran home and told their parents that Elder Brother was sitting there and fixing a clay canteen. As he worked he sang this song. No. 7. Song of Elder Brother After Returning to Life (Catalogue No. 980) Recorded by Marrias HenpRICcKS VOICE ls 76 Oust of Fk Xe ES Tae oe ae Al ‘ good for his food. This went on for many years. After he had cleared the country of game he thought he would begin on the people and start with the children. After he had been killing the children for many years and had killed about all of the small ones he killed the older people. The villages near him were gradually cleaned out and he got nearer to the village where he used 106041°—29—_5 46 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 to live when he was a gambler. The people where he used to live were getting excited. They held meetings to talk it over and remem- bered how they laughed at Elder Brother and that on his second visit he had said something bad would happen. Perhaps it was this, and they said they must do something before the eagle got to their village. At their meetings they tried to find a man who had power enough to kill the bird. They inquired in all the villages that remained but could find no one strong enough to do it. While they were hold- ing another meeting and trying to find a man to kill the eagle there was a man in the crowd who did not say a word until the last minute. Then he spoke, saying, “At every meeting you have talked and talked but no one has mentioned a man who left here not long ago. This is his work. We will have to see him, for he is the only person who can kill the eagle.”” Then they all spoke up and said, “We will see Elder Brother and find out whether he is willing to save us or wants us all to be killed.” They sent a man over to Elder Brother’s house. When the man got there he told Elder Brother what the people wanted and that he was sent to ask whether Elder Brother would be willing to save them, as the eagle was killing people every day. Elder Brother said he would do it, and he told the man to go back and say that in four days he would be at the village and would begin his preparations to kill the eagle. When the man returned to the village he told the people that Elder Brother would do it and would be there in four days. The people waited four days. Night came and he had not arrived. He did not come all that night. Then the people did not know what to do. The men said, ‘‘It is only a little way; he ought to be here. Probably he will say again that it will be four days.” So they sent the man again the next day. When he reached Elder Brother’s house he said, ‘‘What is the matter? This is the day you promised to be at the village.’ Elder Brother said, ‘Yes, I said that I would be there at the end of four days and I will be there at the end of four days. Go back and tell the people again that I will be there at the end of four days.’”’ The man returned to the village and said, “Wider Brother said he would be here at the end of four days.” Four days passed and again he did not come. The people held another meeting and again sent a messenger to Elder Brother’s house, who returned with the same report. When this had occurred four times the man who had suggested sending for Elder Brother spoke again and said, ‘“‘ You know very well that Elder Brother talks backward sometimes; perhaps he is doing that now and means that he will come in four years.”” The people began to see that was what he meant and that he was going to give the eagle four more years in which to destroy them. So they waited four long years for Elder Brother. DENSMORE] PAPAGO MUSIC 47 At the end of four years he came to the village, and when he arrived he said he should need a number of things and did not tell what they were. It was necessary for the people to guess one thing after another until they suggested what was in his mind, thus exerting themselves toward the securing of a benefit for the tribe. (This custom is frequently noted in connection with events depending on dreams.) Following this custom the people brought many things to Elder Brother, but he always said they were not right. The people had about given up, for they could not find even the first thing that he wanted. They held a meeting and the man who spoke at the other meeting said, “‘“You have tried everything around here. Over in the west is wahok, a stone like clear glass; you had better try that.”” They went west and got the stone and showed it to Elder Brother. He said it was what he wanted. After they got that stone he asked for another thing to take with him, but did not describe it fully. He said he wanted wasiuh (very hard wood). They looked everywhere and brought the hardest sticks they could find but he said they were not right. Then the same man said, ‘“‘Look in the west where you found the stcene.” They went and got the sticks at that place and Elder Brother said they were what he wanted. ‘Then Elder Brother said, ‘‘There is one more thing; I must have a stick to use for a torch.” He gave the right name but they had a different word for it and could not understand him. They sent people out to look and tried many. They went to the same man, who said, “There are some right near here; go and get them.” So they got a bundle of those sticks and Elder Brother said they were what he wanted. These sticks were about 6 feet long and he tied them in four bundles. He put the clear stone in the fire and melted it so that it would spread out thin on the ground and he could sharpen the edge of it for a knife. Taking the first sticks that were brought him he selected and sharpened four of them, these sticks being 6 or 8 inches long. After he was ready he waited until four years from the time at which he began his preparations. When he was ready he said, ‘‘I am going, but there is one thing I want to do before I start. I will travel during the day until I get to the place at which the eagle is destroying the villages; after that I will travel at night.” He traveled four days and got to the place where the eagle was killing people. From there he traveled at night, using a torch each night, and when daylight came he hid so that he would not be seen by the eagle. On the second night he started out with his second torch. On the third night he was again on his way and the next day he hid from the eagle. His last torch he lit for his last night’s travel, and that night he reached the foot of the mountain. He looked up in the night and it looked as though it had no end. He looked up for a while, then went over, and sat down. 48 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 THIRD PAUSE Along toward morning it was so cold that he had to make a fire, so he made a fire in a little can and sat close to it. About daybreak he could hear a. roaring inside the mountain. Just before the sun rose the eagle came out and was circling around his house so Elder Brother had to cover up the fire. Four times the eagle circled over the house, then he flew straight east to the place where he had been killing the people. In the morning Elder Brother looked at the rocks and saw there was no projection by which he could climb. He took the four sticks that he had sharpened and stuck them into the rocks for handholds and for his feet to step on. Then he sang this song: No. 24. ‘‘He Walked Up the Slippery Rocks’’ (Catalogue No. 958) Recorded by StvarRIANo GARCIA Voice = 104 Irregular in tonality (1) ) ; — Be, &-be 2 Tay P 90-9 at PP 0 ee ee 3 prea Se = ba eS ea Ka-ni-na na va-va-hi © nah - pi-o-ni ka-ni-na na (1) ian SSS ee va - va wal - po-la ka- ni-na na va - va nah - pe eee Saye pi - o-ni ka-ni-ya na éy Seo pee as ta - ca-i ko -i - cai - cai -i -i WORDS Kanina vavahi nahpiéni wahpola It was rocks slippery arrow shafts tacai kojtha caiimuna stick in on this walked up Analysis—This song is classified as irregular in tonality and is transcribed without a signature. Other songs classified as irregular are Nos. 8, 12, 14, 31, 33, 36, 88, 119, and 145. The song consists of pitNeworr| PAPAGO MUSIC 49 two periods having the same rhythm and containing A sharp, and two closing periods in a different rhythm containing A natural. Ascending and descending intervals are about equal in number, and the pro- gressions, with only four exceptions, are major thirds and whole tones. When he got up about halfway and looked down he began to tremble, he was up so high and the rock was so straight below him, so he sang a song to overcome his fear. No. 25. Song to Overcome Fear (Catalogue No. 959) Recorded by StvarR1aANo GARCIA Voice = 104 Thani thonai Ethoj vavahi Iam white Elder Brother rocks sithahpi6éni koina kaimo himuna slippery over this Iam going Analysis.—It is interesting to study this song in connection with its title. We note the beginning on the accented count of the measure and the ascending fifth as the first progression. The song has a com- pass of an octave and moves from the highest to the lowest tone of the compass in the first six measures. The change to triple time is effective. The keynote is emphasized in the next three measures but does not appear at the close of the song. The principal interval is a major third, although the song is minor in tonality. Elder Brother was getting almost to the top. A woman that the eagle had taken up alive was up there. She heard sounds and won- dered how a man could have gotten there and where he came from. She thought someone was coming, and then thought that perhaps the sound came from the dead people lying at one side. When Elder Brother reached the top and saw the woman sitting there he walked toward her and began to tell why he came to the top of the big rock. He said that he did not expect to see any living person, and she said that she never thought she would see a living person up there and did not see how he got up. He had already told her what he came for and he inquired the usual time for the eagle’s return. She said, ‘‘When the people were near he came back early, 50 BUREAU OF AMERICAN ETHNOLOGY (BULL. 90 but now he has to go farther, so he does not get back until noon.” The woman had a baby (eagle) sitting at her side. He asked if the baby could talk and she said, ‘‘No.”” The woman said, “‘When the eagle comes home he looks everywhere and kills anything he finds.” Elder Brother said he would do his best to keep out of sight. Then he turned into a little brown snake, crawled into a crack between the rocks and said, ‘‘Can you see me?” “Yes; I can see you easily,” cried the woman. Then he turned into a green fly and said he would fly over the dead and maybe the eagle would not bother him. She said, ‘It is not safe; there is not even a fly alive up here.”” Then he turned into a very small brown fly and hid among the dead. She said, ‘‘No; he turns over every dead body there. He is so afraid that something will happen to him.” Then he changed into a very small fly and he flew around four times, each time wrapping a differ- ent color of mist around him—green, black, white, and yellow. Then he crawled into one of the oldest corpses; he crawled far into it, and she thought he might be safe there. As for the things he had brought, the knife and the four sticks, the woman hid them under her trash pile in a corner. He stayed there and about noon he heard something like a windstorm coming and as the eagle came nearer he could hear the people groaning. The eagle laid them down. The eagle walked back and forth and turned over the dead. He asked his wife if anyone had been there and she said, ‘‘No.’’ He sat down beside the pile of dead and began to turn them over and throw them to one side. When he got to the last one, in which the fly was hidden, he said, “‘Teo old; better throw it away.” His wife said, ‘“‘No; the food may give out. The baby is getting old enough to eat, and we may have to cook that one for him.” He and his wife walked toward the house and he said, ‘“‘My heart feels queer. Didn’t some one come here?” She said, “No; who would dare to come up to this place?”” They got into the house and she began to give him his dinner. After sitting a while he grew sleepy, so he laid down and went to sleep. She began to sing and he said, ‘‘What is the matter? You never sang like that before.” She answered that she was glad they had so much food. He said, ‘All right,’’ closed his eyes, and went to sleep. She had been singing softly, then she sang louder, and as the eagle did not move his eyelids she knew that he was sound asleep. The following is her song: DENSMORE] PAPAGO MUSIC 51 No. 26. Song to Put the Eagle to Sleep (Catalogue No. 960) Recorded by Stvartano GARCIA Vorcn g=88 mo- wa - li mo -wa - li mo- wa - li mo- wa - li mo - wa - Olds bit a} —_——<— —e——R@—o oa 220 =2e = es eeeee li mo-wa -li mo-wa-li mo-wa - mo- wa- SEs ii a a tee 35 A. = ers li mo-wa_ ~- mo - wa - li mo - wa - li. WORDS Mowali ha Fly ho Analysis —This song resembles No. 24 in that it comprises two long phrases followed by two short phrases in a different rhythm. The structure is peculiar in that, with three exceptions, the intervals are fourths and whole tones. A further peculiarity is that the third occurs only as the lowest tone at the end of a phrase. The melody has a soothing quality, perhaps due to the long tone at the beginning of each measure. Then Elder Brother sang the following song (recorded by Garcia), the tune being the same as in the preceding: WORDS nidkahai mohoko nahputho sikosimoko (no meaning) dead are you sleep-head TRANSLATION Are you dead with sleep? After she had told the fiy he came out and changed back to human form. She got Elder Brother’s things from under the trash pile and gave them to him. Then he said he was going to do what he had come to do and told her to hold tight against the rock for the rock would shake as soon as he killed the eagle. After he had cut off the head of the eagle and of the baby he ran and stood against the rock beside the woman, and as the eagle rolled and jumped about, after his head was cut off, the rock shook like an earthquake. This kept up until the eagle was dead. 52 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 Before Elder Brother left the old woman’s house he strung a string across her room, saying, “If this breaks you will know I am dead, but so long as it is not broken you will know I am alive.”” The shock of this earthquake broke the string and Elder Brother’s people began to fear that he had failed. At last the eagle was still. Elder Brother went over to him, pulled off his long feathers and downy white tufts of feathers, also those from the baby eagle. The tufts from the baby he threw toward the east and those from the father to the north, west, and south. He did this so that from the east white clouds would rise, and from the north and west black clouds would come, and from the south pinkish clouds would come. Then Elder Brother told the woman to heat some water. He sprinkled this hot water on the dead people and told them to wake up because the rain was near. They began to wake up, one at a time. Then he took his big knife and struck it against the face of the rock and a crack appeared. This was for the people to climb down. When all were down he questioned them as to where they came from. The first lot spoke and told where they lived and he sent them there. Then he sent back four groups of people that lived in different villages. The fifth lot had been dead so long that they could not talk the language of the people who were alive. He questioned them again but they would not talk, for they spoke a different language. Elder Brother said, “I don’t want you to be among my people. I will send you away and you can find your way back to the other side.’”’ He also sent the Yaqui along the shore of the ocean because they also spoke a different language. He cut one of the largest eagle feathers and gave it to the Spanish people, saying they would find it something easy to write with, so they could talk to each other at a distance. He sent them across, saying they would find that was the best place for them to live. Afterwards he sent away the woman and he was left alone. He decorated his hat with large feathers and also with eagle tufts; then he started home. Back at the house where his string was broken, the old woman had medicine power and she knew Elder Brother was alive and had killed the eagle. So she sang and danced. Before Elder Brother went away he told the people to watch a certain chain of mountains. He told them to watch a low place in it and said that if he had killed the eagle there would be white clouds over that place. So the people watched the old woman dancing and singing, and they also looked for the clouds in the low place. At last something appeared that looked like clouds but it was Elder Brother’s hat decorated with tufts of eagle down. Then they remem- bered his words and said to each other, ‘It must be that the old lady knows more than we know and Elder Brother has killed the eagle.” DENSMORE] PAPAGO MUSIC 53 After Elder Brother came down from the high place where his hat showed he did not come home at once but went to a quiet place and lay down for several days. The old woman was out walking and came upon him, asleep from exhaustion. After she found him she went home and began to make an olla to cook gruel for him, and a little olla for him to drink from, and a plate, and a little spoon for the gruel. When she had finished making the dishes and had made the gruel, she got some water, took it over, and set it beside him. This is her song. No. 27. Song of the Old Woman Who Attended Elder Brother (Catalogue No. 961) Recorded by S1variaANo GARCIA Voice g—72 FREE TRANSLATION You have done it right, you little bit of an Elder Brother. Henceforth the villages will be safe and I am on the ground, I will get along better. Analysis—In the first part of this melody we seem to catch the fussiness of the old woman, and in the latter part her joy at the safe return of Elder Brother. The song begins and ends on the fifth above the keynote and progresses chiefly by whole tones, though the minor third occurs with frequency. After giving him the food she cared for him 16 days. She had also made ollas to carry water for his cold bath and she cared for him in every way, as Beater Wind had cared for the boy at the beginning of this story. At the end of the fourth day she moved him nearer the house and did the same after the next period of four days. At the end of the third period of four days she took him in- side the house and continued her care until the end of the fourth period of four days, when he took a bath and was entirely free. 54 BUREAU OF AMERICAN ETHNOLOGY (put. 90 Then he lay around the place for a while. He knew everything was settled and that everything would go on the same as before the gambler was made into an eagle. STORY OF THE ORIGIN OF THE FLUTE ne In one part of the big village in Sacaton Valley Elder Brother had a sister named Acorn Eater, who lived alone. In the village was a man named Lion. (This man’s name was said to refer to a large animal, not a “bobcat.’’?) He decided to marry this girl and on that day he went hunting, killed game, took some of the meat over to the girl and told her his plans. He put the meat at one side and told the girl. Then she went out, took what he had brought and threw it away. She told him to go, and said she was getting along better without a husband. Soon afterwards a man named Tiger did the same thing and she told him what she had told the first man. After these two had failed there was a man named Blue Hawk who thought he would try his luck at winning the girl. He went out and killed some game but she did the same to him as to the others. There was a fourth man who tried. His name was Eagle and they were the four meanest people in the village. She turned Eagle away also. Elder Brother heard that some men in the village were trying to marry his sister so he thought he would go over and tell her whom she should marry. He told her that he did not see why she refused those four young men, all of whom killed game and brought it to her. Then he told her that he wanted her to marry Gopher. Of course his sister turned her back on him and said she did not want to marry anything that looked like Gopher. Elder Brother went away when he saw that she would not mind him. The place where they got water was quite a long distance away and they had to cross four ranges of hills. Gopher lived under ground and he heard what the girl said when her brother wanted her to marry him. His magic power was great and the next day he made her go to the place where they got the water, and by his power she became pregnant. She had great difficulty in making the return journey to her home and by the time she reached the last of the four ranges of hills she was obliged to crawl. She sang the following song facing the west, then the south, east, and north. When she had sung the song four times her two babies had been born. Both were boys. 6> Of. “Origin of the Flageolet.” Bull. 80, Bur, Amer. Ethn., pp. 80-84. DENSMORE] PAPAGO MUSIC 55 No. 28. ‘‘The Rocks are Making a Noise’”’ (Catalogue No. 962) Recorded by Sivari1aANno GARCIA Voice g—76 [Fats Be SS ea ee eri pisseata Cire WORDS Vavahi ” kohona hononi wuma idsoikima Towering rocks sounding evening with them I am erying Analysis —The interval of a fifth ferms the framework of the opening measures of this song and the whole tone is the principal interval in the latter portion. The keynote occurs only on unac- cented counts in two measures, midway the length of the song. The next morning she felt better and went home. About noon the people in the village were playing ginskut. They saw her coming and wondered. One man said he believed that what she carried in her arms were babies. Quite a while afterwards Lion found out about it and thought he would go over and see the babies. He took some game as before and she sent him away again, saying the father was someone whom she did not know. All those men who had tried to marry her did as before and she again sent them away. Coyote found out and he said to the people, ‘‘I am going over to see my babies. They belong to me.’ Coyote did as the others had done but in getting game he killed only animals that crawled, such as snakes and lizards. She threw them away and told him to go. For many months, as the children began to learn to eat, old Gopher came and brought them roots, which are the food of the gophers. The girl knew he was the father of the children and she tock the roots inside for the babies to eat. The people did not know yet who was the husband of this young girl. In the spring, when edible plants are coming up, she used to go after them and leave the two boys at home. While she was gone old Grasshopper and Cricket began to jump about and bother the chil- dren, who began to cry. She heard the babies crying, came running to the house and saw Grasshopper and Cricket jumping about. Cricket crawled into a crack and Grasshopper hid in the grass. She went into the house, took hot ashes from the fire and filled the crack, and she set fire to the grass, but Cricket and Grasshopper were gone before she got there. She kept on gathering plants every day and 7 This is the same as the first syllable of Vavakivari. See p. 3. 56 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 left the babies in a hammock for more safety. The babies were now able to talk together. One day they were left in the hammock and lots of seeds were scattered below the hammock. A flock of quails came and made a noise under the hammock. One boy said, ‘‘Do something so they will not keep us awake.”’ The boy threw some- thing among the quails and they lay down as if they had been shot. Then the children went to sleep. When their mother came she found the quails lying there. She put away what she had brought, threw out the quails and came back. The babies waked up and cried. She did not know what to do with them and finally decided they were crying for the quails. She got them and the babies stopped crying at once. Then she found that one of the little fellows had killed the quails. She made a fire and began to roast them. Several men in the village said the children were theirs. After the boys were old enough to talk and understand she told the people to gather at one place. She said she would turn the children loose, and if their father were there the children would crawl toward him. So she got the people together, turned the children loose, and they crawled around the circle. Coyote was about the last one. They were crawling along and not looking around. When they came near to Coyote, he tried to call them, but they went right by and went to their mother. She said, ‘““Now, you see that the father of these children is not present, and you must keep still. I do not know what you have been saying.”’ Afterwards she told them who was the father of the children. All the people went home except Coyote, who stayed and called himself their grandfather. As they grew older they went around the village like other children. When they were old enough to go far away, their mother said, ‘‘ You have been here among the people, not know- ing what I have in store for you. About this season certain things will be there all the time.’”” Then the boys began to ask her to tell them exactly where these things were, for they wanted to see them. She said, ‘‘They are very high; it is hard to get up there.” They decided to go, but their mother said, ‘‘ You had better not; you do not know the ground and besides if you reach the place you can not climb so high.”” They kept wanting to go and she tried to dissuade them, but finally she let them go. They asked her the number of days it would take to get there. She said, ‘‘About four days.’ She made a lunch for them to take. They left home, went quite a dis- tance, and camped; they went on the second day, camped again, and so on for four days. On the fifth day they were at the place where these things were. They got to a great rock, and, coming closer, the younger boy saw them first. The boys looked up quite a while, and then both saw them. The younger said, “‘See if you can get our pets (young eagles) so that we can take them home.” . The DENSMORE] PAPAGO MUSIC 57 boy turned himself into a little snake that can climb a rock, went up about halfway, slipped, and fell to the ground dead. The younger boy went to work and brought him to life. Before the older boy rose up the younger boy stood beside him singing this song. No. 29. Song When Restoring a Boy to Life (Catalogue No. 963) Recorded by SrvarIANo GARCIA FREE TRANSLATION He lies face downward. Analysis.—The framework of this melody consists of the descend- ing tones C sharp, A, F sharp, and C sharp, the only additional tone being G sharp. Six of the twenty-one intervals are fourths and nine are major seconds. After the older boy came to life he told his younger brother that it was his turn to try to get them down. He turned into a tuft of feathers, which the wind carried to the top of the rock. He got two eagles and came down with them. When he had brought them down, he fainted and his brother revived him, singing the same song that had been used for himself. As soon as the younger boy got up he walked over to where he had put the eagles and took the larger one. His brother said, ‘‘Take the smaller one; you are the youngest.’’ He said, ‘‘No; I will take the larger. I went up there and brought them down.” He went on, and finally the older one took the smaller bird and they started home. The first night they camped and all night the wind blew as hard as it could, and they had to sit up all night. It stopped the next evening, but rain began to fall and they 58 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 had to sit up all night again. The third night the ground was damp and it turned cold, so they had to sit up all night. The fourth night it snowed all night and the eagles were killed. The boys burned the eagles and everything that they had, and on the morning of the fifth day they were crying over the death of their pets and singing this song. No. 30. Lamenting the Dead Eagles (Catalogue No. 964) Recorded by StvARIANO GARCIA Voice — 120 WORDS Hayah niroika Oh my pet Analysis.—In this song we note the prolonged tone on the first count of the measure which characterized No. 26, which was sung to put the old eagle to sleep. Both songs are minor in tonality, the present song containing only the minor triad and second. This song contains six sorts of ascending intervals but progresses chiefly by whole tones. The tempo is more rapid than in a majority of these songs. All that day they cried on the way home and they cried as they entered the house where their mother was cooking for them. They had no eagles. She said, ‘‘I do not see why you did not get them. They are always there at this season.’”” But she knew the eagles were dead. She tried to make them eat but they would not. Then she told them to stay there and she would go to another place where there were little eagles and she would get some that would look just like those that had died. She went to the place where they had burned the birds and dug down in the place where they had their fire, got out the young eagles and took them home. She put them outside the house and told the boys to go outside and see their pets. They stopped crying at once. The older boy told the younger to peep ee the door, saying, ‘‘They may not look the same as the others.”” The younger boy said nothing but went outside and got the larger bird which he had claimed before. Then they began to quarrel about which should have the larger bird. The mother went out and said that the younger child should take the younger bird as it would grow up to be just like the older bird. DENSMORE] PAPAGO MUSIC 59 Coyote was living there with them and he killed lizards and other small animals for the eagles to eat. He also made a house for the eagles to live in. After the eagles got older their feathers grew very long. The boy’s mother said, ‘‘The feathers are too long. I will pull them but others will grow.”’ No. 31. ‘‘I Will Pull Out Their Feathers’’ (Catalogue No. 965) Recorded by S1tvarR1aANno GARCIA Voice d= 60 Irregular in tonality giozey ees sarmaieeeaeeeaiccal| FREE TRANSLATION I will take any young birds and raise them. When their feathers grow long I will pull them out. Analysis.—This song is classified as irregular in tonality. Other songs thus classified are Nos. 8, 12, 14, 24, 33, 36, 88, 119, and 145. As in several other songs with this classification, the melody is based on the interval of a fourth. Examination of this song shows the descending intervals C to G and G to D as the framework of the melody. ‘The rhythm is simple, consisting chiefly of eighth notes. The boys pulled out the feathers of the eagles and turned them loose. Afterwards their mother told Coyote to go and get a kind of tree that she was going to use in making bows. Far in the east there was a mountain and at the foot of the mountain was a tree that made good bows and arrows. Coyote said, “All right, those mountains are right next my feet, I can get that tree.” He went toward the east, cut two saplings for the children and one for himself and brought them home. He threw down the two for the children and their mother pulled off the bark, curved them by the heat of the fire, and put strings on them, doing this at once. Coyote cleaned the wood of his tree nicely and bent his bow by leaning the tree against another tree so that when dry it would be in the proper form. The mother had used the whole tree except the rough outer bark but Coyote scraped off part of the wood on each side of his bow. He told the woman she was doing something that no one ever did and that his way was right. Then she sent Coyote to another range of mountains where there was wood that was good for making arrows. He went again and returned in a short time. 60 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 When Coyote brought the sticks the woman made arrows by just stripping off the bark. Coyote put water in a dish and put his sticks to soak, intending to take off the bark and polish them with an arrow polisher. He made his arrows as smooth as possible but the woman had better arrows and they were finished long before Coyote finished his. When they were making the bows Coyote had sinew for his bowstring but the old woman used her spittle. He told her she was doing something that no one had ever done and that people would take his way. After finishing the bows and arrows the old woman sang the following song. No. 32. Song After Making the Bows and Arrows (Catalogue No. 966) Recorded by SrvaARIANO GARCIA Voice a= 69 sEgt——e— Oe = TRANSLATION Bows now are made, Arrows now are made. Toward the west we will try them. You can watch them fly, my boys. Analysis—No rhythmic unit occurs in this song but the rhythm of the song as a whole is suggestive of firmness and confidence. A compass of nine tones is accomplished in the first two measures, and a compass of an octave within two measures occurs twice in the later portion of the song. Five sorts of descending intervals occur, which is an unusually large variety. About one-third of the intervals are fourths, an interval frequently associated with motion and vigor. Each of the four rhythmic periods ends with an ascending fourth. Coyote and the two boys went toward the west and stood together to try their bows and arrows. The old woman sang her song over and over as they pointed their arrows toward the points of the compass, changing one word according to the direction in which they were shooting—west, south, east, and the last time toward the north. The first time she sang the song through once and at the last word the boys acted as though they were going to shoot toward the west 7 DENSMORE] PAPAGO MUSIC 61 but they did not shoot their arrows. Coyote shot his. The same was done toward the south and east, Coyote letting go an arrow every time. Then they turned toward the north and this time, at the last word of the song, all three let their arrows go. Coyote’s arrow went only about a third of the way, whirling around, then falling. The boys went to get their arrows but Coyote did not go. He said that people never went to get their arrows when they were in war; they let their arrows go. FIRST PAUSE In the evening their mother told the boys that there was game near by. She said that she had seen jack rabbits and if they wanted to get some game they could go and shoot one. Afterwards they brought home jack rabbits and other game every day. Once she went out to gather ‘Elder Brother’s beans.’”’” When she came home she told the boys that she had seen a deer that was not afraid of her and she would like to have the boys go and see if they could get it. Next morning the old woman got up early and went on ahead. The boys stayed in bed until almost sunrise, then they followed her, after eating their breakfast. They reached the place where their mother had seen the deer and the younger boy stood by a tree. An old buck walked off into the woods. They tracked the old buck and while they were following the tracks their mother came walking. She asked them what they were looking for and they said they had lost the tracks. Then the younger boy said, ‘That was no buck, that was our mother; she was showing us how a deer looks. We will find game like that before long.”’ Coyote stayed at home and fixed up the meat while the boys got the game. After they had grown older their mother told them some- thing else. She said, “‘I havea plant. It stands in the water, but I do not think you will ever get to 1t because it is in such a dangerous place.”” They wanted to see what they could do so they left home the next day. After traveling four days they reached a place where tall. cane stands in the water. On that day it looked as though there would be rain and lightning, but they walked on until they came to an oblong lake and saw cane (commonly called bamboo) standing at one corner of the lake. One boy said, ‘“‘Our mother said the plant was in a dangerous place but it is near the shore.’”? They went toward it but the bamboo moved to the next corner; when they came near it the bamboo moved to another corner, until it had been in all the corners, and then it moved to the middle of the lake. They stopped and began to talk, saying it did look dangerous. A red snake was coiled around the bamboo, reaching almost to the top. This snake was 106041°—29——6 62 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 what they had thought was lightning. The elder brother changed himself into a water snake and said he was going to enter the lake, - and if he met anything he would probably be killed. Their mother had told them that they had a grandfather in the water—it was a beaver. The boy came to a beaver, lying right in his way, and he said to the beaver, ‘‘Get out of my way; I want to get to my bamboo.” He went to an alligator and told him to get out of the way and then he came to a large animal which the old people say once lived in the water and did not come out at all. Before this animal could move out of his way the boy ran back to the shore, tired out. He was so tired that he fainted and his brother revived him. Then he told the younger brother to see what he could do. The younger brother turned himself into a fish, met the beaver, the alligator, and the large animal that lived in the water, and he finally reached the rattlesnake coiled around the bamboo. He said, ‘‘Grandfather, get out of my way and let me get my bamboo.” The snake said, ‘‘ You had better let me cut it for you.”” The snake cut it and it fell toward the older boy who was on the shore. He could almost reach it, and he got into the water and seized the large end of it. The younger boy was in such a hurry to get out that he climbed over his grandfather. He got so tired that he fainted on the shore, but the elder brother did not take care of him; instead they quarreled about which should have the larger end of the bamboo. The younger boy said that he ought to have it because he went into the water to get it. So they took the whole bamboo to their mother, who was the one to decide it. When they got it home their mother cut two lengths of two joints each and made them each a flute. After the flutes were finished she put ornamental designs on them. She gave the flutes to the children, who blew right into them, but could not play tunes. She paid no attention to them, knowing that some day they would be able to play tunes on the flutes. She kept hearing them blow as hard as they could. One day she asked for one and said, ‘‘ Now listen and you shall hear how it should be played.’”’ She took it and began to play, and after she handed it to the boy and told him to play he was able to play just as she had done. Then she did the same with the other boy. This is the melody which she played on the instrument. It was said that the following words were sung, if no flute was available when the story was told. DENSMORE] PAPAGO MUSIC 63 No. 33. ‘‘Four Fires on the Ground’’ (Catalogue No. 967) Recorded by StvaRIANO GARCIA Voice P| = 60 Irregular in tonality FREE TRANSLATION One in the corner, in the square on the ground, A fire in each corner, four fires on the ground. Analysis.—The peculiar sequence of tones in this song suggests D as a keynote, though that tone occurs only in the first measure. This song contains no change of time, which is unusual, and about two- thirds of the intervals are whole tones. (cf. flute melodies, pp. 217, 218.) After the mother had played on the flute she let the boys go and of course they both played the same tune. They played that tune early in the morning and it could be heard quite a long distance. One morning the old woman said she was going north to the edge of the world to see if there she could hear the sound of the flutes. She went north and stood at the very edge of the world and there she could hear the sound of the flutes so clearly that she began to dance. When she got home she said, ‘‘That sounds fine. It seems as though it sounds better when I am at the edge of the world than it does when I am near by.” Every morning the boys went hunting and in the afternoon they came home, raced with their wooden balls (cf. pp. 200, 201), and then they played on their flutes. One morning they were up at daybreak and went around the house playing as usual. At that time the earth was young and it used to rain every other day. The earth was damp and the flute could be heard a long distance. Over in the east lived Brown Buzzard. He had two daughters. The older one got up very early and she heard this music in the west. She stopped and listened, thinking it was some sort of bird, but still she knew it was not a bird. She went in the house and called her sister to come and listen. The sister did not come, but said, ‘It is some sort of bird whistling and singing.” The elder sister said, ‘It is not a bird; it is something different and it is coming nearer.” Finally the other sister went out to hear. The elder girl said they must try to find out what this was. The younger girl refused to go at first but the elder sister kept coaxing and after a while she con- 64 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 sented. They dressed in their best. In those days they had beads and other ornaments and they put tufts of eagle feathers on top of their heads. At evening they came to a house and the man who lived there asked where they were going. They said they had been . hearing something wonderful the last few nights and wanted to find where it was. The man said they would not hear that sound anywhere except at his house, so they had better stay there that night. The girls said they would do so. The man went up in a high tree and began to make a noise like a bird. The younger sister asked the elder, ‘Is that the way it sounds?” The elder one said, ‘No.” They would not sleep there when they found it out, so they ran away. The man tried to call them but they kept running and he fell out of the tree. They went on and came to another place. Everything happened as before. A man went to the top of a tree and tried to sing but the girls ran away. This man was an owl. The next evening the same thing happened again. This time it was a little screech owl. The girls refused to listen and ran away. They went on and after a time they came to a little hawk’s house and everything happened exactly as before. When the little hawk told them that the bird sang early in the morning the girls said, ‘‘Show us a little so we can hear if it is right.’”’ He went to the top of a tree and made a sound that really was a little like that of a flute. The elder one said, ‘‘That sounds right; let us stay.”” The younger one said, ‘‘No.” The elder one believed the younger one and they went on. They began to run toward the west. On the fifth day they felt that they were getting nearer the place so they stopped and sang a song. No. 34. ‘‘Who is Going to Marry Me?”’ (Catalogue No. 968) Recorded by StvarRiANo GARCIA Voice g—76 (1) (1) FREE TRANSLATION Who are you, nice boys? Who is going to marry me? Analysis.—A question and answer seem to be suggested in this melody, the first two phrases ending with an upward progression, and the last two phrases containing only a downward progression. The compass of the song is only three tones and it is minor in tonality. DENSMORE] PAPAGO MUSIC 65 Of course the boys could feel that the girls were approaching, so they played the following tune on the flute. As in the previous instance, the words are sung if a flute is not available. No. 35. ‘‘The Girls are Approaching’’ (Catalogue No. 969) Recorded by StvaRIANO GARCIA VoIcE J= 84 ea Feseiesstas sea af eaaeeed eerie prea RE eee FREE TRANSLATION From the east the girls are approaching. They came to the place of the singing, They are here. Analysis.—The rhythm of this song is an interesting contrast to the rhythm of the song next preceding. The melody is said to have been played on a flute but the tones are not those of the flute played for the writer. The melody tones are those of the first five-toned scale in which the third and the seventh above the keynote are omitted. They played the tune once and then stopped, for they knew the girls would arrive during the day. While the boys were racing with their balls that afternoon the girls arrived. The girls were at a dis- tance from the house when the boys got home. The boys knew they were the ones who had been coming toward them. The two boys went into the house, got their flutes and went on top of the house. They noticed that the girls were brightly adorned and made this song about them. No. 36. ‘‘A Fillet of White Eagle Down’’ (Catalogue No. 970) Recorded by S1vaRIANO GARCIA VoIcE we 116 Irregular in tonality FREE TRANSLATION I am showy, I am showy, with glittering belt and a fillet of white eagle down. 66 BUREAU OF AMERICAN ETHNOLOGY [BULL. 90 Analysis.—Only three tones occur in this song, which is classified as irregular in tonality. Other songs thus classified are Nos. 8, 12, 14, 24, 31, 33, 88, 119, and 145. ‘The interval of a fourth constitutes half the progressions. This interval is prominent in other songs classified as irregular in tonality, also in No. 26 (concerning the eagie), and has been noted frequently in songs concerning birds. The girls came and sat beside the house. The mother was inside the house cooking and Coyote was outside fixing the meat that the boys had brought. Screech Ow! came over and sat down at one side. Coyote had a long stick, and each liver that he took from the game he put on this stick. He had quite a number on the stick, and he called, “‘Screech Owl, take these and roast them for your supper.”” Screech Owl did not lke to have his name spoken before the girls, so he said, ‘‘ You mean yourself; you cook them for your supper.”’ He was ashamed about the speaking of his name, but anyway he went over and got the livers and started forhome. There were certain plants they used for making gruel. The gruel was greenish in color. The mother had some in a big olla and was cook- ing it. After it was cooled she put a generous amount in dishes for her sons, but for the girls she put only a very little in each dish. When she put it before them the elder girl said, ‘“That is not a meal; I am hungry.” After the mother had placed the gruel before them she went off and sat with her back to them. They began to eat the gruel, and as they ate it there was just as much as at first. They ate until they were filled, but there was just as much in the dish as at first. The old woman asked why they did not eat it all and said, “Tt is easy to eat that all up.”” She put.in her hand and scooped it up and ate it all at once. The mother made up the bed for the boys and they went to bed, but she let the girls sit outside. Finally they came in and the old woman said, ‘‘Where do you come from to disturb my children like this?” She kept awake. Finally the younger son got up and tcok his flute and struck it against the big post in the middle of the house and broke it to pieces. After that his brother never played his flute because he did not want to play it alone. He left it in the house and it was destroyed with the house later. The girls stayed there some time, and at last they decided to go back and see their father. They told their husbands, who said that was all right. They got home at last and told their father how they had come. Their father knew that the younger girl would have a child and he said, “if it is a girl, we will take care of it; if it is a boy, I am going to roast and eat him.” The old man was getting blind, and when the child was born they told him it was a girl. He said they must take good care of her so she would — grow up to be like her mother. But the child wasa boy. They took DENSMORE] PAPAGO MUSIC 67 good care of the little boy and dressed him like a girl until he was old enough to run around. When the old man found that the child was a boy he decided to harm him, so he told his daughter that he was going after wood and wanted the child to follow him. He went on ahead. When the little boy overtook the old man there was a big log on the ground. The man pretended he wanted to have it put on his shoulder and told the boy to help lift it, but instead of putting it on his shoulder he let it fallon the boy. He thought that he had killed him and went home, but when he got there he saw the child sitting beside his mother. He said, ‘‘What does this mean?” This went on day after day. The old man tried four times to kill the boy and every time the boy was sitting at home when he got back. Finally the old man saw that he could not harm the boy. | The husbands of the girls had no luck after their wives went away. They killed game once in a while but not so often and they kept thinking of their wives over in the east. So one day when they were out hunting the younger questioned his brother as to what he thought of going to see their wives. The elder one said, ‘‘No; we had better not go.” The younger kept wanting to go, and finally the elder said, ‘‘ Well, we had better find out from our mother whether she wants us to go.”” When they got home that evening they asked their mother, saying that the younger boy wanted to go and see how his wife was getting along. The elder boy said he did not care but that the younger one wanted to go. ‘Their mother said she did not like to have them go, for if they went she would worry all the time; besides, she knew that the father of these two girls was a man who would not spare their lives if they entered the house. The younger brother wanted to go very much, so he said they would go—he did not care if it was dangerous. Finally the elder brother decided he wanted to go in order to protect his younger brother. The old woman finally said they could go and that they would see for themselves whether they would have any trouble in getting there. The next day when they were ready to go, the old woman said, “‘If anything dan- gerous happens or if anything speaks to you at your first camp you had better turn back and come home.’”’ They left the next day and went quite a distance. Their mother ‘jumped right into their tracks”? and that brought them back home. They did this four times. When their mother saw they were determined to go a fifth time, she said, “All right; if you see anything dangerous this time you had better fight your way through and go on.” Then they went, and at evening as they were walking, the elder one, who was going ahead, dropped suddenly face downward on the eround. The elder brother knew that something bad was going to happen. The younger brother was braver than the elder. He made 68 BUREAU OF AMERICAN ETHNOLOGY (BULL. 90 a little fire and fixed the camp right there. After lying for quite a while the elder boy got up and came to the fire. The younger said, “This shows that our mother was right; we had better turn back.” The elder said, ‘‘No; things our mother says do not always happen; sometimes she is trying to fool us.’’ So they camped. The younger one went ahead the next day and when he got to the place for camp at night he dropped down. The elder one made a fire and sat down by the fire and when the fire got bright he put on more wood so he could see a long way by the flame. A headless wild cat came and sat across the fire from him. He touched his brother and said, ‘Get up and see, I guess this is what our mother meant.” After the younger boy got up the headless wild cat disappeared. The younger boy said, “Tt is nothing; we will go right on.’’ The next day they went on again, the elder boy leading, and at night he fell down. The younger boy made a fire and sat down beside it, and along came a big owl, talking and trying to tell them something. He wakened his elder brother and said, ‘“‘ You had better wake up and listen. Perhaps we are already dead.” ‘Then his brother got up and said, ‘‘I tell you again, things our mother says do not always come true; perhaps she is trying to fool us.”” Next day the younger brother made a fire, and a screech owl sat on the opposite side of the fire; he sat there and went away. The boy wakened his brother and said, ‘I want to tell you something that has happened. We have been traveling four days and nights, and every day and night something has happened, but we have gone on, hoping each time that nothing more would happen to us. We will go on again and I think we will get there to-day, but I do not know whether we will be safe there or not.’”” They went on to Head Mountains and sat down. They got up on the top of these mountains and decided to make a song about their trip. No. 37. Song on the Mountain Top (Catalogue No. 971) Recorded by Stvar1ano, GARCIA Vorce J — 120 -9- -O-. Analysis.—This song is in a rapid tempo and has a simple rhythm without a recurrent rhythmic phrase. The keynote is the first and DENSMORE] PAPAGO MUSIC 69 also the highest tone in the song, which is unusual. One-half of the intervals are minor thirds. Then they went on to another range of mountains called Frog Mountains. They went on the top and from there they saw their wives’ houses, so they knew they were near the place. After they got on Frog Mountains they sang another song which had the same tune as the preceding but mentioned Frog Mountains instead of Head Mountains. After singing this song the elder boy began to encourage his brother, saying they wouid get there soon and they would together find out what would happen. He told his brother not to be afraid as it had been their plan to go there in spite of danger. They flew from there to the house and they put something on their claws that shone like stars. One came down on the head of one of the girls, the other on the lap of the other girl. Their father heard the girls laughing and sent the little boy to find out, as he had never heard them laugh like that. The little boy said, ‘““Give me some roasted pumpkin seeds to eat as I go along.”” The old man gave him four or five which the boy ate and then ran back. The old man asked, ‘‘What are they doing?” The boy said, ‘I do not know. I ate the pumpkin seeds and so I came back.”’ He sent the boy again and the boy said, ““You better give me some roasted corn to eat as I go.’’. The boy came back as before. The old man sent the boy again and he said, “‘Give me some popped corn.’’ And the fourth time the boy said, “Give me some hard corn.”” With this he went clear over to the place and peeped in the door, then he cried out and ran back to the old man. SECOND PAUSE When he came crying to his grandfather the old man asked what was the matter there to make him cry. He said, ‘“‘One was with my mother and the other with her sister.’”” Then the old man said, “All right, the time has come for me to do something. I have never spared anything that has come into my house and I will not do so now.” The old man got up and went into the next house where he got his vlub and his shield, then he went to where they were, peeped in the door, and said, ‘‘Oh, these are my sons-in-law.”” The boys said, “Yes.” The old man went back and put his club and shield where he kept them. He had intended to do almost anything, but now that he had seen his sons-in-law it seemed as though he could not do it. He knew that these boys had great medicine power and he no longer wondered why his girls went so far to find them when there were people living all around them. Then he thought of his neigh- bors, who were the meanest people in the world and who had wanted to marry the mother of these boys. He thought of Lion, Tiger, and the 70 BUREAU OF AMERICAN ETHNOLOGY (BULL. 20 two others. He talked with them and they all said the boys’ medicine was stronger than theirs. They came and looked at the boys. Then he went to Blue Hawk (the fifth animal who wanted to marry the girl). Blue Hawk said that if the old man wanted to get rid of the boys he would not go to look at them but would stay in his house and get ready. He sang the following song. No. 38. ‘‘Terrible in Its Power to Destroy’’ (Catalogue No. 972) Recorded by StvarIANo GARCIA VoIcE dis 69 fee o, e—F 5 BESS aes a—t: FREE TRANSLATION Hanging motionless in the sky yet terrible in its power to destroy. Analysis.—It is interesting to study this melody in connection with its title. It contains four phrases, each with a fourth descending to D. The tones’ E flat and F occurring at the close of certain measures give a peculiar melodic effect. The song contains all the tones of the octave and has no change of measure lengths. Afterwards Blue Hawk flew to the east and then back and swooped down on the house and knocked out the west side of it, singing the above song. He rose up, came back, knocked out the east side of the house and sang again. Then he flew toward the north and knocked out the south side of the house. Then he flew toward the south and knocked out the north side. After knocking each side he sang the song. While coming back after knocking down the last side he flew low over the boys and tried to destroy their medicine power. Then he flew west, came down and knocked down both boys. Then he flew up high and went home. After the boys were killed the old man dragged them to his house and made a place in which to keep them. While the old man ate them he saved everything so he could crush the bones and get all the grease. The little boy sat near. Some grease splashed in his mouth and he liked the taste. He ran to his mother saying, ‘“‘ What is that grease that my grandfather has?’ His mother said, “Do not go near that place. All that remains of your father is there. Do not go near the old man, go somewhere else.’”’ The little fellow wandered - off, but soon got back to the old man. He had the bones all crushed pENsMone] PAPAGO MUSIG Tt in a big dish and was sucking off the grease. The old man handed a bone to the boy, but then drew it back and put it in his own mouth. The boy ran to his mother and told her what the old man had done. She said, “‘I told you not to go around the old man. He is making fun of you.’”’ The old man ate up everything. They lived there quite a while afterwards. The old woman knew that the boys had been killed and she played on the flute; then she began to ery. One of the tunes she played was recorded as a fiute melody (p. 217) and also as a song which was not transcribed. The song corresponding to the second flute melody (p. 218) was not obtained. When the little boy was old enough to go far away his mother said, “T think you are old enough to go, and if you want to see your grand- mother she lives straight west.”’ Of course the mother of the two boys knew that they had been killed and was almost crazy thinking about it. One day the little fellow said he would like to see his erandmother and would go wherever she lived. His mother said, “All right. It is quite a distance but there are people living all along.’”’ The little boy started next day and went as far as the last camp of his father and uncle. He found ashes and wondered if any one wandering like himself had camped there. The ashes looked fresh and he stirred them and found fire. He sat there and near by was the place where his father had fallen; opposite was where his uncle had sat. Both men appeared slowly. The boy went and tried to set them up but they acted as if they were drunk and could not sit up. Then they began to disappear again. Then the little fellow knew that his father and uncle were traveling right with him. The next night he came to their thirdcamp. They appeared again and he tried to set them up again but they could not remain in position, and they finally disappeared. The fourth night he came to their first camp and there he got them set up. He acted affectionately as a child would act toward his father and then saw that his uncle was disappearing. He hastened to him and tried to keep him from disappearing. Then he ran to his father because he, in turn, was disappearing, so he went back and forth again and again. His uncle said, ‘“‘My poor child, you can not keep us from disappearing; we are different now that we are dead. You must let us go. You know that your old grandfather chopped us up. If we had any bones we might be able to sit up for a while and tell you what we would like to tell you.”’ Of course because they had been chopped up they could not give any power to the boy. He had some magic power of his own, or he would not have been able to see them. The boy arrived at his grandmother’s on the fifth day and stayed there. She went away to get food every day and told him to stay inside the house, saying, ‘‘There is something near here that swallows 12 BUREAU OF AMERICAN ETHNOLOGY tire $0 children and it will get you.”’ He thought one day that he would go and find what the thing was. He went to that place and before he got there he saw many flint stones and he picked up some sharp ones and went toward the place where the thing lived. (it was a large animal said to have lived in the water.) Before he knew it the animal came out and said, ‘‘ Where does this little thing come from? The children around here are afraid of me. JI will Swallow this little thing.’”’ He swallowed the little boy, but before the little boy died he looked around and saw a thin place. He struck at this thin place with his flint, cut it, and got out. He started back home but stopped to see what the animal would do and he saw it fall over. He went home. ral When the old woman QA got back he said, “I went to that place where you told me not to go and I was swallowed by the animal but I killed him and have come home.’’ The old woman could not be- lieve it, so the boy took her over and showed her the ani- mal. The old woman thought at once that the little fellow would follow in the footsteps of his father and uncle. The next day he was going out again and she told him not to go as something in another part of the village was ugly and killed children all the time. After she had gone the boy went over that way to see what strange sort of thing it might be and stood next to a tree. A big snake was lying down. He looked over and saw the boy by the tree. The snake fairly flew over and hit the tree with his head. He was going so fast that this killed him. The boy went home as before, took the old woman over and showed her the dead snake. He lived with his grandmother several years. "When he was old enough to understand it thoroughly the old woman related the life of his father and uncle and finally came to the manner of their death. While she told him this story the little boy cried. When he stopped 1 2 “3 Fic. 1.—Implements used in bamboo game DENSMORE] PAPAGO MUSIC 73 crying he said that he did not know that was the way they were killed, but now he understood. He said that he was going back home to get even with his grandfather. Then the old woman said, “My grandson, I don’t believe you can do it; the man is old, you are young and you have not so much magic power as he. I do not think you can do it.”” The boy said, “I will see my grandfather and find out whether he has as much power as J, for I want to get even with him.” She asked the boy to tell what he intended to use in killing his grandfather. ‘The boy said he would take some bamboo. They had only one piece originally and four joints had been cut off for making the flutes, so the old woman cut off four pieces, each one joint in length. After she had done this the little fellow said he would take those pieces but he did not know just which one of them he would use. So he took the four bamboos. No. 1 is called ‘Old woman,” and he took this first. With his medicine power he made it fly. It went just a little distance and fell down. No. 2 was called ‘Old man.” This went a little higher, but it also fell down. No. 3 was called “Black in the middle,” and that went up still higher but not high enough. No.4 bamboo was called ‘‘ Head.” (These designs, sketched from a set in actual use, are shown in fig. 1.) He made the fourth bamboo fly up and it went up to the sky and descended to the ground. The old woman had been watching. The boy said, “This is the one; [ think I can do it with this one alone.” Just as he was getting ready to leave the old woman called him to her. He stood before her, and she put her hands on his shoulders and said she would do something to him so he could not be seen and would reach his destination safely. She sang the following song for him: No. 39. Song to Make the Boy Invisible (Catalogue No. 978) Recorded by SivariaANno GARCIA Voicre o= 69 FREE TRANSLATION My poor grandchild, my poor grandchild, It is the head gaming stick that always wins, Throw it forward. 74 BUREAU OF AMERICAN ETHNOLOGY paoniao Analysis.—Attention is directed tc a comparison of the rhythmic units in this song. An hypnotic effect is produced by repetitions of rhythm that are almost but not quite alike, so these units are inter- esting in connection with the use of the song. It is also interesting to note the rhythmic completeness of the song as a whole. When she had finished singing she said, ‘‘This is all I will do for you. You may go, but I will know if anything serious happens to you.” He went on and after a time he began to feel queer. He thought that it was the old man’s power and said, ‘‘The old man knows I am coming and is making his medicine.’”’ Then he sang the song that the old woman had sung to make him invisible but changed the words slightly. There were four camping places, as there had been when he came, and he camped again where his father and uncle had camped, but they did not appear. When he reached home he saw the old man sitting and he said, “All right, grandfather, we will gamble.’”’ The old man said, ‘‘I do not gamble with young people. I play with old people and win. I do not see how a boy like you could beat me.”’ The boy kept teasing him to gamble and the old man kept on refusing. The boy had already sent his “head bamboo” up to the sky, and before it got back the old man had consented. The boy heard it coming down with a sound like a windstorm. The boy said, “It sounds as if we would have a windstorm.”’ Then the bamboo came down on the old man’s head and went right down to the ground. After the boy had killed his grandfather he took off the scalp and put it on a pole. He did not go near his mother. Then he started back and camped in the same places as before. He got to the old woman’s house on the fifth day. When he arrived he did not know what to do. He put the scalp, fastened on a pole, beside the door; then he went in and sat down by the fire. The old woman turned over and saw the boy’s clothing splashed with blood, so she knew that he had killed his grandfather. She went outside, took up the scalp pole and danced with it, singing the following song. This is the first Limo song that was ever composed. ‘The first line refers to the successful warrior who must undergo an ordeal of puri- fication, while the second line refers to the people who rejoice in his victory. The word Limo is here used with reference to the entire procedure that followed the return of the warriors. In definite use it indicated only the action that took place after they had completed their purification. (Cf. pp. 193-197.) DENSMORE] PAPAGO MUSIC €5 ° No. 40. ‘‘The Man Who Has No Joy”’ (Catalogue No. 974) Recorded by Stvarrano GarRcIA Voices o= 88 (1) (2) (2) FREE TRANSLATION Who is the man who killed an enemy and has no joy? I am having all the joy alone. Analysis.—There is an effect of tragedy in the repeated semitones of the first six measures of this song. The keynote does not appear until the seventh measure, but is persistent until the close. Whole tones and half tones comprise all except three of the intervals. The people heard her and came over and sang with her. Soon the whole village was there. After that big dance they were tired out. She took the little fellow to a quiet place and cared for him four days. During every night of this time the Limo songs kept coming to him. One of the old Limo songs refers to two girls who could not decide which songs they liked best and so wandered from one dancing circle to another. During the Limo several dances were often in progress at the same time. (See p. 197.) No. 41. *‘From One Dance Circle to Another’’ (Catalogue No. 975) Recorded by S1rvarR1aANo GARCIA Voice g\ — 132 -f- -¢- iM 5 en ws -9- -2- -g-