SMITHSONIAN INSTITUTIONBUREAU OF AMERICAN ETHNOLOGYBULLETIN 110YUMAN AND YAQUI MUSIC BYFRANCES DENSMORE per\^m:^N0TO?ii^; SMITHSONIAN INSTITUTIONBUREAU OF AMERICAN ETHNOLOGYBULLETIN 110YUMAN AND YAQUI MUSIC BYFRANCES DENSMORE UNITED STATESGOVERNMENT PRINTING OFFICEWASHINGTON : 1932 For sale by the Superinteadent of Documents, Washington, D. C. LETTEE OF TRANSMITTAL Smithsonian Institution,Bureau of American Ethnology,Washington, D. C, May 6, 1930.Sir: I have the honor to transmit herewith a paper entitled " Yuman and Yaqui Music," by Miss Frances Densmore, and torecommend that it be published as a bulletin of the Bureau ofAmerican Ethnology.RspectfuUy, M. W. Stirling, Chief.Dr. Charles G. Abbot,Secretary of the Smithsonian Institution. FOREWORDThe songs of a group of tribes living along the Colorado River andin northwestern Mexico are here presented, the river culture affordingan interesting contrast to the woodland, plain, high plateau, anddesert cultures previously studied.^ The Yuma and Mohave materialwas collected near Fort Yuma, Calif., the Cocopa material nearSomerton in Arizona, a few miles from the Mexican border, and thestudy of the Yaqui music was made at Guadalupe village, nearPhoenix, the entire research being made in 1922. A cremation waswitnessed among the Yuma, and important dances were seen amongthe Cocopa and Yaqui.The assistance of interpreters and prominent members of the Indiantribes is acknowledged with appreciation. The principal interpreteramong the Yuma was Luke Homer, whose cooperation made possiblethe obtaining of old songs. During the work among the Cocopa itwas necessary to employ two interpreters. Nelson Rainbow translatingthe Cocopa language into Yuma and Luke Homer translating Yumainto English. Katco'ra, a Yuma who spoke no English, assisted inthe work by visiting the singers who lived at a considerable distancefrom Fort Yuma Agency, explaining the work to them, and bringingthem to the writer. A similar service among the Cocopa was per-formed by Frank Tehanna, who also spoke no English. The Yaquiinterpreter was Loretto Luna, a resident of Guadalupe village.Four of the principal singers died before the publication of thismaterial, and their bodies were cremated in the manner which theyhad described. The songs which they recorded for this work wereundoubtedly sung on these occasions. These men were CharlesWilson, Joe Homer, and Peter Hammon (Yuma) , and Clam (Cocopa) . 1 Chippewa Music, Bull. 45 ; Chippewa Music, II, Bull. 53 ; Teton Sioux Music, Bull. 61 ; Northern Ute Music, Bull. 75; Mandan and Hidalsa Music, Bull. 80; Papago Music, Bull.90 ; Pawnee Music, Bull. 93 ; Menominee Music, Bull. 102, Bur. Amer. Ethn. ; and Musicof the Tule Indians of Panama, Smithsonian Misc. Colls., vol. 77, no. 11. CONTENTS PageList of songs xiArranged in order of serial numbers xiArranged in order of catalogue numbers xivSpecial signs used in transcriptions of songs xviiiPhonetics xviiiNames of singers and numbers of songs transcribed xviiiThe Yuman tribes 1Yuman customs 8The Yaqui Tribe 15Yuman and Yaqui songs 16Yuman songs 16Yaqui songs 22Yuman musical instruments and their use 24Flutes and their music 25Yaqui musical instruments and their use 27Comparison of Yuman and Yaqui songs with Chippewa, Sioux, Ute,Mandan, Hidatsa, Papago, Pawnee, and Menominee songs:Tabulated analysis 28Descriptive analysis 36Cremation 41The cremation of Bernard Flame 43A cremation incident 48Yuman legend of the origin of the cremation custom and memorial cere-mony 48Yuma Corn dance 66Yuma Human Being dance (Pi'pa) 72Yuma Memorial ceremony (Karok) 73Cocopa cremation legend 85Mohave cremation legend 98Treatment of the sick by the Yuma 100Yuma Lightning songs 111Yuma Deer dance 130Yaqui Deer dance 154Mayo Deer dance 165Yuma Ca'koramu's dance 166Cocopa Bird dance 168Mohave Bird dance 182Cocopa Tcumanpa'xwa dance 185Yuma Tuna'k dance 193Yuma games 194Yuma songs for children 198Miscellaneous Yaqui songs 199Melodic analysis of Yuman and Yaqui songs 202Rhythmic analysis of Yuman and Yaqui songs 206Authorities cited 209Index 211vn ILLUSTKATIONS PLATES Page1 . Charles Wilson 12. Juncture of Colorado and Gila Rivers 43. a, Bridge across Colorado River at Yuma; b, Site of Fort YumaIndian school 44. a, Yuma dwellings (1930); b, Yuma dwelling (1922); c, Gathering ofleading men of Yuma Tribe 45. a, Yuma man and woman; b, Yuma woman; c, Yuma man 46. Group of Cocopa exhibited in the United States National Museum __ 87. Trail through jungle of arrow weed 88. Old man of Cocopa Tribe 89. Group of Cocopa with Dr. W J McGee 810. Cocopa habitations constructed chiefly of brush, elevated storagebins for grain 811. Cocopa habitations constructed chiefly of brush, elevated storagebins for grain 812. Cocopa house of earth and wattle, storage bin slightly elevated abovethe ground 813. Cocopa house of Cottonwood poles with roof of straw and clay 814. Conference at house of Chief Pablo Colorado 815. Cocopa cornfield after harvesting 816. Cocopa woman grinding corn on metate 817. Remains of Cocopa dwelling after cremation of owner and destruc-tion of all his personal property 818. a, Frank Tehanna (1900); b, Frank Tehanna (1922) 819. a, Irrigation ditch near Cocopa day school where songs were recorded;b. Stockade for cattle and sun shelter near Cocopa day school 820. Yuma war club 2421. a, House where songs were recorded; b, House in Yaqui village;c, Loretto Luna and child in front of his house; d, Chapel in frontof which Deer dance was given 2422. Basket used as drum, with cottonwood drumsticks and bundles ofarrow weed used as drumsticks 24Cocopa gourd rattle 24Mohave gourd rattle 24Yuma transverse and vertical flutes 24a, George Escalanti playing cane flute; b, Yaqui playing flute anddrum at the same time 26a, Katcora; b, Clam 26Yaqui rasping sticks and half-gourd used as resonator 26o, Yaqui rattle used in Deer dance; b, Rattle worn in Deer dance 26a, Juan Ariwares; b, Mike Barley 156o, Alfred Golding; b, Mrs. Charles Wilson 156TEXT FIGURES1. Map showing Yuma Reservation 32. Decorations painted on face of Cocopa girl 93. Cremation crib (a) and pyre (6) 454. Diagram of Human Being dance 735. Frame for image in Memorial ceremony 756. Diagram of Memorial ceremony 847. Diagram of Deer dance 150 LIST OF SONGS 1. Arranged in Order of Serial Numbers Cremation Legend SongsSerial No. Catalogue No. Page1. "I will make a flute" 1238 492. "I have finished the flute" 1239 503. The Wonder-boy is born 1240 514. The Wonder-boy decides to change his name 1213 525. The Wonder-boy selects a new name 1214 536. The Wonder-boy and his father (a) 1215 557. The Wonder-boy and his father (6) 1216 568. The Wonder-boy on the mountain 1217 579. The Wonder-boy on his travels 1218 5910. The Wonder-boy meets his brother 1219 6011. The Wonder-boy meets a jack rabbit 1220 6212. The Wonder-boy and his war bonnet 1221 6313. Song concerning the wild cat 1222 6414. Song concerning the humming bird 1223 65Corn Dance Songs15. Corn dance song (a) 1231 6816. Corn dance song (fe) 1232 6917. Corn dance song (c) 1233 7018. Corn dance song (d) 1234 7119. Corn dance song (e) 1235 72Memorial Ceremony Songs20. Memorial ceremony song (o) 1189 7721. Memorial ceremony song (b) 1190 7822. Memorial ceremony song (c) 1191 7923. Memorial ceremony song (d) 1192 8024. Memorial ceremony song (e) 1193 8125. Memorial ceremony song (/) 1194 8226. Memorial ceremony song (3) 1195 8327. The illness of the superman 1256 8728. The superman sets an example 1257 8829. The superman grows weaker 1258 8930. The superman speaks 1259 9031. The four corners of the earth 1260 9032. The superman dies 1261 9133. Coyote comes to the cremation of the superman 1262 9234. Coyote plans to seize the heart 1263 9335. Buzzard tells the animals what to do 1264 9436. Coyote makes a request 1265 9537. Coyote seizes the heart 1266 9638. Coyote eats the heart 1267 97 XII LIST OF SONGS Serial No. Catalogue No. Page39. "I am going to die" 1288 99Songs with Treatment of the Sick40. Song when treating the sick (a) 1196 10441. Song when treating the sick (b) 1197 10642. Song when treating the sick (c) 1198 10843. Song when treating the sick (d) 1199 110Lightning Songs44. " I have arrived in the sky " 1200 11245. "The sky is in darkness" 1201 11346. "On top of his own mountain" 1202 11447. Song of Coyote 1203 11548. "At the end of the path in the sky" 1204 11649. White Cloud declares his power 1205 1 1850. White Cloud demonstrates his power (a) 1206 12051. White Cloud demonstrates his power (6) 1207 12152. "White Cloud is singing in the sky" 1208 12253. "I will go toward the south" 1209 12354. Song to the woodpecker 1210 12555. Song concerning the ocean 1211 12756. "My power is in the sky" 1212 129Deer Dance Songs57. "The deer begins his travels" 1163 13158. "The water bug and the shadows" 1164 13259. Dance of the water bug 1165 13360. The water bug on the mountain 1166 13461. The water bug sees a fish 1167 13562. The water bug stands upon the fish 1168 13663. The water bug wanders forever beside the sea 1169 13764. The deer is taking away the daylight 1170 13865. All is darkness 1171 13966. The spider makes a road 1172 14067. Song of the blackbird 1173 14168. Song of the buzzards 1174 14269. Song concerning the raven 1175 14370. Song concerning the deer 1176 14471. The howHng coyote 1177 14572. The blackbirds are dancing 1178 14673. The dance of the blackbirds is completed 1179 14774. The redbird speaks (a) 1180 14775. The redbird speaks (6) 1181 14876. The humming bird speaks 1182 14977. The owl hooted 1183 15078. The redbird and his shadow 1184 15179. Song of the nighthawk (c) 1185 15280. Song of the nighthawk (6) 1186 15281. Song of the nighthawk (c) 1187 15382. Song of the nighthawk (60---.--. - , 1188 154 LIST OF SONGS XIII Serial No. Catalogue No. Page83. Dancing song 1273 15684. The quail in the bush 1274 15785. Thelittlefly 1275 15886. Voices of the people 1276 15887. The deer are at play 1277 15988. The deer and the flower 1278 16089. The summer rains 1279 16190. The rising sun 1280 16291. The bush is singing 1281 16292. The hunt (a) 1282 16393. The hunt (6) 1283 16494. The hunt (c) 1284 16495. The deer is dancing 1285 16596. Song of the deer dance 1292 166Ca'koramu's Dance Songs97. Song concerning the meadow lark and the diver 1236 16798. Song concerning the quail 1237 168Bird Dance Songs99. Opening song of the dance 1243 170100. Song in the early evening (a) 1244 171101. Song in the early evening (6) 1245 172102. Song in the early evening (c) 1246 173103. Song at about midnight (rt) 1247 174104. Song at about midnight (6) 1248 175105. Song at about midnight (c) 1249 176106. Song at about midnight (d) 1250 177107. Song concerning the diver 1251 178108. Song concerning the Pleiades 1252 179109. Song in the early morning (a) 1253 180110. Song in the early morning (6) 1254 181111. Closing song of the dance 1255 182112. Bird dance song (a) 1289 183113. Bird dance song (&) 1290 184114. Bird dance song (c) 1291 185TcumAnpa^xwa Dance Songs115. Dancing song (a) 1268 187116. Dancing song (6) 1269 188117. Dancing song (c) 1270 190118. Dancing song (d) 1271 191119. Dancing song (e) 1272 192Tuna'k Dance Songs120. Song of Tunak dance (a) 1224 193121. Song of Tunak dance (6) 1225 193122. Song of Tunak dance (c) 1226 194123. Song of Tunak dance (cO--- ,-, --,,, 1227 194 XTV LIST OF SONGS Serial No. Game Songs Catalogue No. Page124. Game song (a) ^ 1241 196125. Game song (6) 1242 197Songs for Children126. Lullaby 1228 198127. "Why did you cry?" 1229 198128. "Sleep, my baby" 1230 199Miscellaneous Songs129. Song of admiration 1287 200130. Yaquisong 1286 2012. Arranged in Order of Catalogue Numbers Cata-logueNo. Title of song Name of singer SerialNo. 116311641165116611671168116911701171117211731174117511761177117811791180118111821183118411851186118711881189119011911192 Yuma Songs "The deer begins his travels""The water bug and the shadows "__."Dance of the water bug""The water bug on the mountain "__."The water bug sees a fish""The water bug stands upon thefish.""The water bug wanders foreverbeside the sea.""The deer is taking away the daj^-light."All is darkness"The spider makes a road"Song of the blackbirdSong of the buzzardsSong concerning the ravenSong concerning the deer"The howling coyote""The blackbirds are dancing"The dance of the blackbirds iscompleted.The redbird speaks (a)The redbird speaks (6)The humming bird speaks"The owl hooted""The redbird and his shadow"Song of the nighthawk (a)Song of the nighthawk (6)Song of the nighthawk (c)Song of the nighthawk (d)Memorial ceremony song (a)Memorial ceremony song (b)Memorial ceremony song (c)Memorial ceremony song (d) Alfred Golding.dododododo .do. .do- .do. .do. .do. .do. .do- .do. -do- .do. .do.dododododododododoCharles Wilson.dododo 575859606162636465666768697071727374757677787980818220212223 LIST OF SONGS XV 2. Arranged in Order of Catalogue Numbers?Continued Title of songYuma Songs?ContinuedMemorial ceremony song (e)Memorial ceremony song (/)Memorial ceremony song (g)Song when treating the sick (a)Song when treating the sick (6)Song when treating the sick (c)Song when treating the sick (d) "I have arrived in the sky""The sky is in darkness""On top of his own mountain"Song of Coyote"At the end of the path in the sky"_White Cloud declares his powerWhite Cloud demonstrates his power(a).White Cloud demonstrates his power(6)."White Cloud is singing in the sky". "I will go toward the south"Song to the woodpeckerSong concerning the ocean " My power is in the sky"The Wonder-boy changes his nameThe Wonder-boy selects a new name.-The Wonder-boy and his father (a)The Wonder-boy and his father (6)The Wonder-boy on the mountainThe Wonder-boy on his travelsThe Wonder-boy meets his brotherThe Wonder-boy meets a jack rabbit.The Wonder-boy and his war bonnet.Song concerning the wild catSong concerning the humming birdSong of Tunak dance (a) Name of singer Song of Tunak dance (6)Song of Tunak dance (c)Song of Tunak dance (d)Lullaby"Why did you cry ?" "Sleep, my baby"Corn dance song (a)Corn dance song (6)Corn dance song (c)Corn dance song {d)Corn dance song (c)Song concerning the meadow lark andthe diver. Charles Wilson.dododo .....dodododododododododo .do.dododododoPeter HammondodododododododododoMrs. Charles Wil-son.dodododododo . _ Katcoradododododo SerialNo. 24252640414243444546474849505152535455564567891011121314120121122123126127128151617181997 XVI LIST OF SONGS 2. Arranged in Order of Catalogue Numbers?Continued Title of song Name of singer SerialNo.Yuma Songs?ContinuedSong concerning the quail.. "I will make a flute" "I have finished the flute".The Wonder-boy is born ? Game song (a)Game song (6) KatcoraJoe Homer.dodoNelson Rainbow.doCocoPA SongsOpening song of the danceSong in the early evening (a)Song in the early evening (fe)Song in the early evening (c)Song at about midnight (a)Song at about midnight (6)Song at about midnight (c)Song at about midnight (d)Song concerning the diverSong concerning the PleiadesSong in the early morning (b)Song in the early morning (c)Closing song of the danceThe illness of the SupermanThe Superman sets an exampleThe Superman grows weakerThe Superman speaksThe four corners of the earthThe Superman diesCoyote comes to the cremation of theSuperman.Coyote plans to seize the heartBuzzard tells the animals what to do.Coyote makes a requestCoyote seizes the heartCoyote eats the heartDancing song (a)Dancing song (b)Dancing song (c)Dancing song (d)Dancing song (e)Yaqui SongsDancing song"The quail in the bush"."The little fly"Voices of the people"The deer are at play"... Numawasoat.dodododododododododododoClamdododododododododododoMike Barley -dodododo Juan Ariwares.dododo .do. 98123124125 99100101102103104105106107108109110111272829303132333435363738115116117118119 8384858687 LIST OF SONGS XVII 2. Arranged in Order of Catalogue Numbers- -Continued Cata-logueNo. 1278127912801281128212831284128512861287 1288128912901291 1292 Title of Song Yaqui Songs?Continued "The deer and the flower""The summer rains""The rising sun""The bush is singing"The hunt (a)The hunt (6)The hunt (c)"The deer is dancing"Yaqui songSong of admirationMohave SongsSong of cremation legend..Bird dance song (a)Bird dance song (6)Bird dance song (c)Mayo SongSong of the deer dance.67183?35 Name of singer Juan Ariwares.do -do. .do. .do. .do. .do. .do.Jose Marie Umada.Anka Alvarez Billie PoorLeonard Cleveland . do .do. .Juan Ariwares. SerialNo. 89909192939495130129 39112113114 96 Page 160161162162163164164165201200 99183184185 166 SPECIAL SIGNS USED IN TRANSCRIPTIONS OF SONGS (. placed above a note shows that the tone was prolonged slightlybeyond the indicated time. .) placed above a note shows that tlie tone was given slightly lessthan the indicated time.The letters A, B, C, and D are used to designate rhythmic periodsconsisting of several measures. I I placed above a series of notes indicates that they consti-tute a rhythmic unit. PHONETICSVowels have the continental sounds and consonants the commonEnglish sounds, except that ? a is equivalent to English obscure a, as in the word ability.c is a sound resembling English sh.tc is a sound resembling English ch.X is a sound resembling German ch.il is a sound resembling English ng in the word sing.NAMES OF SINGERS AND NUMBERS OF SONGSTRANSCRIBEDYumaAlfred Golding 26Charles Wilson (Amp6'kwarau')'_ 24Peter Hammon (MisAhai'kwakiu)" 11Mrs. Charles Wilson (Mave',meaning snake) 7Katco'ra 7Joe Homer* (Jose Homer) 3Nelson Rainbow 2COCOPANuma'wasou't 13Clam* (Axlu'm) 12Mike Barley (Api'lnoune) 5 MohaveLeonard ClevelandBillie Poor YaquiJuan Ariwares 13Jose Marie Umada 1Anka Alvarez 1MayoJuan Ariwares 1Total 130 1 Died Sept. 10. 1929.XVIII Diod Apr. L'4, 1926. ? Died Dec. 22, 192? 'Died in 1928. BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 1 Charles Wilson YUMAN AND YAQUI MUSICBy Frances DensmoreTHE YUMAN TRIBESThe valley of the Colorado River was the early abode of a groupof tribes known as the Yuman. The Colorado is one of the greatwatercoiirses of the country, and in a portion of its length it sepa-rates the States of Arizona and California. On either side are sandystretches, high mesa rims, and barren mountains, beyond which liesan expanse of arid desert. The environment of the Yuman tribesshut them in and made them a unit, so that their civilization is dis-tinct from that of the Pueblo or the Californian tribes. The gapbetween the southwesterners and the Yumans is profound as regardsreligion. There is no trace among the latter of kiva, altar, mask,offering, priest, initiation, fraternity, or color symbolism. Theseelements are replaced by the predominant factor of dreaming.^The three Yuman tribes under present consideration are theCocopa, Yuma, and Mohave. It is said that in 1604r-05 the Cocopalived 5 leagues above the mouth of the Colorado River, and thatthey extended into the mountains of Lower California. Thus theywere confined almost exclusively to Mexican territory.^ When thepresent work was in progress they were living in Sonora, Mexico,and southern Arizona, as well as in Lower California. North ofthe Cocopa are the Yuma, whose territory is the Colorado bottomland as far as the mouth of the Gila River. The juncture of theserivers is northeast of Yuma, Ariz, (pi, 2), and can be seen from thatcity. The illustration here presented was taken in 1900 by DeLanceyGill, from the site of the old territorial prison, located on the highpromontory at the right of the bridge. (PI. 3, a.) The ruinsof the prison were standing in 1922. At this point the ColoradoRiver divides Arizona and California. The Yuma live almostentirely on the west bank of the Colorado. 1 Kroeber, A. L. Handbook of the Indians of California, Bull. 78, Bur. Amer. Ethn.,p. 780.2 Handbook of American Indians, Bull. 30, Bur. Amer. Ethn., pt. 1, p. 319. 1 2 BUREAU OF AMERICAN ETHNOLOGY [boll. 110Above the Yuma, on the Colorado River, are the Mohave, theircountry being the valley which bears their name and is now in thethree States of California, Nevada, and Arizona, The river civiliza-tion comes to a sudden stop with the Mohave, and above their coun-try is the Eldorado Canyon, a bend of the river, and the vast gorgethat culminates in the Grand Canyon. The Mohave are better knownthan the other Yuman tribes, and Kroeber states that " the mostconcentrated, energetic, and characteristic form of the river civiliza-tion of the past century or two has been that which it took amongthe Mohave."In comparison wath the Yuma they were " rather more venture-some and given to travel in far parts, and probably more active intheir inward life, since their sacred places are known farther thanYuma influence penetrated." ^The Yuman Indians are " remarkable not only for their fine phys-ical development, but living in settled villages with well-definedtribal lines, practicing a rude but effective agriculture, and welladvanced in many primitive Indian arts. The usual Indian stapleswere raised except tobacco, these tribes preferring a wild tobaccoof their region to the cultivated. None of the Colorado river tribesborrowed the art of irrigation from the Pueblo peoples ; consequentlytheir crops often suffered from drought. All of them depended moreor less on the chase?the river tribes less, those of the interior more.Mezquite beans, piiion nuts, tornillas, and various seeds and rootswere important articles of food. None of them were boatmen; incrossing rivers and transporting their goods they employed ruderafts, or balsas, made of bundles of reeds or twigs." ^According to Kroeber, " the Mohave . . . are distinctly yellowishin color, this color turning very dark brown by dirt and exposure tothe sun.? This is in contrast to their eastern neighbors, the Papago,whose color is a reddish brown."The town of Yuma, Ariz., is adjacent to the territory of theYuma Indians. (Fig. 1.) It is on the eastern bank of the ColoradoRiver and directly opposite, in California, is the high mesa on whichFort Yuma was formerly located. This is now the location of theUnited States Indian agency and school. (PI. 3, a, h.) Lookingwest from the point of this mesa one sees the Colorado River and theflat land bordering it, dotted with the huts of the Indians; to thesouthwest are patches of scrubby trees, and at a considerable distancethe cremation ground described in a subsequent chapter. Fort Yumawas established after the acquisition of California by the United * Kroeber, op. clt., p. 781. * Henshaw, H. W. Handbook of American Indians North of Mexico, Bull, 30, Bur.Amer. Ethn.. pt. 2, p. 1011,? Kroeber, op. clt., p. 728. dbnsmore] YUMAN AND YAQUI MUSICStates and the arrival of the overland tide of travel, but the Yumaoffered no particular resistance to the white man. Their last militaryundertaking was an expedition against the Pima in 1858, which endeddisastrously. The ancient enemy of all the Yuman tribes was theMaricopa, living along the Gila River.The Yuma call themselves Kwichana, Kwichyana, or Kuchiana,the meaning of which is unknown to them. A Spanish designation CALIFORNIA_Td\^fR CALIFORNIA Figure 1.?Map showing Yuma Reservation is Garroteros, clubbers, perhaps with reference to their mallet orpestle shaped war clubs. Father Kino wrote of the Yuma in 1690,^and the word " Yuma " appears first in his writings. The name issaid to be derived from Yahmayo, meaning " son of the captain,''which is seemingly the title of the son of the hereditary chief, con-tracted and applied to the tribe through misunderstanding by earlySpanish missionaries.^Father Kino and Father Garces encountered few difficulties amongthe Yuma, but two missions established later among the Yuma weredestroyed in 1781, having been in existence only a year or two. TheSpanish missionaries were massacred and the missions obliterated.Early writers describe the Yuma as a fine people physically, andsuperior in this respect to most of their neighbors. They were braveand not averse to war, but generally stayed in their villages, where ?Doc. Hist. Mex., 4th s., vol. 1, p. 230.? Bull. 30, Bur. Amer. Ethn., pt. 2, p. 1010. 4 BUREAU OF AMERICAN ETHNOLOGY [bull. 110they raised corn, beans, pumpkins, and melons by a crude form ofagriculture. The population in 1853 was estimated at 3,000, andin 1929 there were 870 Indians under the school superintendency atFort Yuma.Wlien visited by the writer in 1922, the Yuma were living in housesscattered over the reservation which had not been allotted in sever-alty. (PI. 4, b.) Their dwellings in 1930 were still constructedchiefly of adobe and cottonwood poles, with thatched roofs. (PI. 4,a.) A gathering of leading men of the tribe at an earlier date isshown in Plate 4, c. The land is the silt of the former river bed andoccasionally has been overflowed.The older men wear their hair long, often extending below thewaist and matted in strands with bits of gum. (PI. 5, a.) Whendesired, this is wound around the head like a turban. (PI. 27, a.)Many of the younger men arrange their hair on top of the head in ahigh twist and cover it with a handkerchief. If they are travelingin a dust storm they tie a handkerchief across the lower part of theface to avoid breathing the dust. (PI. 5, c.) Yuma women cut thehair slightly below the shoulders and wear it loose (pi. 5, 5), cleaningit by means of wet clay placed on the hair at night and removed inthe morning. (See p. 8.) The older men wear sandals in placeof shoes, but carry them if the ground is muddy. Both menand women wear gay cotton mantels made by sewing together sixor eight large red or blue handkerchiefs, all of the same pattern.This is shown in Plate 5, a, and in the portrait of Mrs. Wilson.(PI. 31, h.) The foregoing applies to members of the tribe who havenot fully adopted the white man's customs. On this, as on otherreservations, there is a considerable number of young people attiredin the manner of civilization and showing the results of education.Two legends of the origin of the tribe were related. The oldestlegend states that they came from a mountain farther up the GilaRiver, on the top of which is " a square place like a map," and themarks of little feet in the rock. All the tribes of Indians were sentfrom thence to various parts of the country, each being given whatit would require in the place where it was to live.?The Yuma were given the arrow weed with which to make theirhouses, and to use for manj'' other purposes. They were givena place where they could fish and where there were many wild deer.A legend said to be more recent in origin is that the Yuma traveledfrom a body of water and at every place they camped they madea fire. Traces of these fires can still be seen. It was said " theearly Yuma were giants and the people have been gradually growing 8 " The origin of mankind was attributed, as by all the Shoshoneans of southern Cali-fornia, to the north, whence a f:reat divinity who still exists led the people to theirpresent seats." (Kroeber, op. clt., p. 624.) BUREAU OF AMERICAN ETHNOUOGY BULLETIN no PLATE 3 Bridge across Colorado River at Yuma 6. Site of Fort Yuma Indian School BUREAU OF AMERICAN ETHNOLOGY BULUETIN 110 PLATE 4 Yuma Dwelling, 1930 h. Yuma Dwelling. 1922 c. Gathering of Leading Men of Yuma Tribe UKNSMORB] YUMAN AND YAQUI MUSIC 5 smaller. They fought with giants, and there is a certain mountainwhere they are said to have hung their enemies. On the face ofthis mountain, at about evening, if one stands at a little distanceand looks at a certain angle it is possible to see picture writing andat night one can hear low humming talk at that place."The Yuma called the water " mother " and the sun " father," say-ing the sun called the earth up from below the water. They met andkissed, and the sun drew back to the sky but the earth stayed whereit was. Mountains were left where the earth and sky drew apart.They were the highest points of the submerged earth and remained,becoming hard rock. Concerning this legend Kroeber says : " TheShoshonean creation has been designated as a myth of emergence,in the sense that mankind and all things in the world are born fromMother Earth, with Sky or Night as father." This authority statesfurther that the Yuman tribes " add the fact that two brothers, thecreator and his death-instituting opponent, are born at the bottom ofthe sea, and that the younger emerges blinded by the salt water. Inmost Yuman accounts this concept of water origin is somewhat hesi-tatingly blended with earth-sky parentage." ?The region near the site of Yuma is called Ni'mkwitiva'v, thename said to have been given by a water animal called Bony-tail.This mythical creature is said to still reside in the Colorado Riverat a point where it flows between high cliffs and is now spanned byan "ocean to ocean highway" bridge. (PI. 3, a.) The current atthis point is very swift and the river deep, with many eddies. Bony-tail stays there all the time and speaks for all fish. Thus when amedicine man on his travels (in dreams) talks with Bony-tail, thatmythical creature becomes a human being and speaks for all theliving things in the water.All the Yuman tribes cremate the dead and observe a strict tabooconcerning any mention of the dead after the Karok or memorialceremony (p. 76). An interesting example of this occurred duringthe writer's work among the Cocopa. The building occupied as aGovernment day school chanced to be vacant and was made availablefor use, while at the same time a clerk from the Fort Yuma Agencyobtained certain data from the Indians. A goodly number weregathered in the schoolroom, and routine questions were being readin English by the agency clerk and interpreted to the assembledIndians. Care had been taken in the form of these inquiries, butinadvertently the interpreter mentioned the name of a dead man.With one accord the Indians fled from the building. Motherswrapped their babies in shawls and fled, dragging small children by ? Kroeber, A. L. Handbook of the Indians of California, Bull. 78, Bur. Amer. Ethn.,pp. 788, 789. 6 BUREAU OF AMERICAN ETHNOLOGY [bull. 110the hand. The men hastened to the door as rapidly as possible.Looking from the window, we saw the bright shawls disappearing inall directions toward the Cocopa dwellings. Not understandingeither the Yuma or Cocopa language, the writer was at a loss toexplain this sudden change of mood on the part of the Indians, butthe man who translated English into Yuma said (of the otherinterpreter), "He has done a terrible thing. He spoke the nameof the dead. The Indians will not come back again to record anysongs." The effort necessary to regain their confidence is apartfrom present consideration. The services of two interpreters werealso required when the songs were recorded, one translating Cocopainto Yuma and the other translating Yuma into English.The importance attached to dreams by the Yuman tribes has al-ready been mentioned. Only one instance of a dream is containedin the present work, Wilson saying that in his treatment of thesick he used songs which his father had received in a dream (p. 101).Thus the Yuman tribes present a contrast to tribes previouslystudied in which many songs were received, actions prescribed, and apower said to be received in dreams by individuals. The dreaming ofthe Yuman tribes does not consist of visions in which spirits appear.The men, on the other hand, claim that they dreamed when uncon-scious infants and even prior to birth. " Singers sometimes saythey first learned a song cycle in part and then dreamed the whole." ^"This is probably the meaning of a statement by Mike Barley, aCocopa singer, that he " inherited these songs and could sing themwithout being taught." (See p. 186.)The Mohave songs here presented were recorded by members ofthat tribe who live on the Yuma Reservation.The Cocopa family group shown in Plate 6 is in the UnitedStates National Museum. This group was designed and installedby W. H. Holmes and the figures were modeled by U. S. J. Dunbarfrom photographs made in 1900 by DeLancy Gill. The label of thiscase, written by W. H. Holmes, contains a remarkably concisedescription of the tribe, stating that ? The Cocopa are limited agriculturists, raising corn on the flood plains of theColorado River and securing much food from the grasses, mesquite, agave,screw bean, and cactus. They also fish in the Colorado River and the sinksformed by the overflows of the river and hunt rabbits and other small animals.Their manufactures are the few articles required for their simple needs, suchas water-cooling jars of porous pottery, cooking pots, etc., simple cord workand weaving for nets and clothing, ornaments in shell, feathers, etc., for thehead and neck. i? Kroeber, op. clt., p. 755. DBNSMORH] YUMAN" AND YAQUI MUSIC 7Important household occupations are illustrated by the two women, onecleaning seeds with a basket and the other pounding grain in a wooden mortar.Water for drinking is cooled in a porous pottery jar set in the crotch of atree where the air circulates freely, and the returning fisherman has his cupfilled by the boy.The pastimes of uncivilized peoples tend to some useful end, like the instruc-tion of the boy in archery, which also furnishes amusement for the family. Thesun shelter at the back serves also for the safe-keeping of the wicker storagebasket, jars for seeds, digging sticks, and other implements of husbandry.In the autumn of 1900 an extended exploratory trip for the Bureauof American Ethnology was led by Dr. W J McGee, then Ethnol-ogist in Charge of the Bureau. Mr. DeLancey Gill accompanied theexpedition as its photographer. This expedition was undertaken " for the purpose of completing researches relating to the aboriginesof the Serian stock and at the same time carrying forward studies ofneighboring tribes." ^?* Crossing the Gila Kiver at Gila Bend, theparty proceeded southward about 150 miles, passing the Ajo Moun-tains on their left, then traveled about 200 miles in a northwesterlydirection to Colonia Lerdo, where they camped for a considerabletime. (Fig. 1.) Many phases of Cocopa life observed and photo-graphed in that vicinity have disappeared or been greatly modifiedsince that time. (Pis. 6-18, a.) The arrow weed was so tall that itformed a jungle, through which Doctor McGee rode on horseback,following a narrow trail. (PI. 7.) The men wore long hair, anold man of the tribe being show^n in Plate 8, and a group of menwith Doctor McGee appearing in Plate 9. The fourth man fromthe right is Frank Tehanna, mentioned in a subsequent paragraph.Three types of dwellings were seen in 1900. The most primitiveof these habitations was constructed chiefly of brush. (Pis. 10, 11.)Beside these dwellings may be seen storage bins for grain upon ele-vated platforms. A portion of the houses were made of earth andwattle, one dwelling being sealed because of the absence of its owner.A storage bin elevated only slightly above the ground is near thisdwelling. (PI. 12.) The larger dwellings were built of cottonwoodpoles, with roof of straw and clay, and an open shelter in front.(PI. 13.) The largest house in the village was that of Chief PabloColorado, where a conference was held. (PI. 14.)Corn Avas cultivated in fields, harvested in a crude manner (pi.15), and ground on a metate by the women (pi. 16). This con-stituted the principal article of food. The dead were cremated intheir dwellings, together with all their personal belongings, theground showing little trace of what had taken place. (PL 17.)Frank Tehanna, a full-blood Cocopa, acted as guide for DoctorMcGee's expedition and also assisted the writer in 1922. (PI. 18,?, h.) He was about 30 years of age in 1900, and 6 feet 2^^ inchesloo Twenty-second Ann. Rept. Bur. Amer, Ethn., pt. I, pp. xi, xn. 8 BUREAU PF AMERICAN ETHNOLOGY [bull. 110 ^in height. Mr. Gill designates him as " a trustworthy guide anda man of great physical strength." During the writer's study ofCocopa music he selected the singers and traveled many miles onhorseback to explain the work to them and persuade them to recordtheir songs. He returned, bringing the singer with him. (See p.169.)The writer's work was done in the Cocopa Day School, a neatbuilding near an irrigation ditch. (PL 19, a, h.) The location isshown as " Cocopa Ind. Res." in Figure 1.YUMAN CUSTOMSCare of infants.?A " charm " for a baby consisted of a chainmade from the four longest hairs in a horse's tail. This was hungaround the child's neck and said to stop excessive drooling; it wasalso believed to cause the child to grow rapidly and be strong. Aspecimen of such a charm was obtained.Education of children.?The Yuma began the instruction of theirchildren before they were able to talk or understand what was saidto them. The understanding of the child came gradually, and whenit was 7 or 8 years old it had the teachings firmly in mind. Theseinstructions were general in character, the expectation being thatwhen the child was old enough he would use his own judgment inthe application of the teachings to his manner of life.Customs 'pertaining to food.?Rats were baked in hot ashes. Rab-bits were sometimes skinned, cleaned, and stewed or roasted on hotcoals. A refreshing drink used in summer was made as follows:A strip of bark about 12 inches wide was removed from a standinggreen willow tree. From this bark the inner layer was taken anda decoction made which was pink in color. It was sweetened anddrunk either hot or cold.TrecdTnent of the sick.?Medicine men held a round white stonelike a marble in their mouth when treating the sick. This wasbelieved to bring success in their treatment.There were household remedies in general use, but no magic wasconnected with them. For instance, the leaves of the greasewoodwere made into tea to break up a cold. The same decoction wasused as a physic.A remedy to prevent grayness and to keep the hair clean was madeas follows : Mesquite gum and mistletoe were boiled and strained.To this liquid was added thick mud from the bottom of a certainlake. This was plastered on the hair at night and washed out inthe morning. At about 10 o'clock one morning a Yuma woman wasseen sitting in the sun washing this clay out of her hair.Pictographs.?Wlien a man reached a certain age he " put hismark on a rock for future generations." All the men in a family BUREAU OF AMERICAN ETHNOLOGY BULLETIN no PLATE? Trail Thkouoh jlinc^le of arrow Weed i1900) BUREAU OF AMERICAN ETHNOLOGY BULLETIN no PLATE Old Man of Cocopa Tribe (1900) pvWn:S:h iff ,/f '' ^ '/.V > '\ i'^ BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 16 CocoPA Woman Grinding Corn on Metate (1900) V .1 -;-;:,5.';^-^.;m|]\ I BUREAU OF AMERICAN ETHNOLOGY BULLETIN no PLATE 19 rj. Irrigation Ditch near Cocopa Day School Where Songs WereRecorded //. Stockade for Cattle and Sun Shelter near Cocopa Day School DBNSMOBB] YUMAN AND YAQUI MUSIC 9 were said to have the same " animal mark." It was also said thata " kind of record " was kept on rocks, some of which remain nearLaguna.Hieroglyphics.?The Yuma formerly had a system of communi-cation by means of drawings. For example, a certain sign was saidto mean that an invitation to a certain sort of feast had been receivedand accepted. This consisted of parallel vertical lines, each crossedand recrossed by a curved line.Paint.?For the decoration of pottery a paint was made of mes-quite juice that hardens on the tree, mixed with mineral earth. Inold times the Yumans daubed mineral paint on their clothing, resem-bling a dye in patterns and splotches. The young Cocopa womendecorated their faces in elaborate designs. This custom was seenwhile the Cocopa songs were being recorded, the =?????pattern on the face of one young girl being sketched. , ,^ .^^ ~(Fig. 2.) The pattern on the cheeks was in blue, lA A J A A '^yS^ orange, and red; the pattern on the chin was en-tirely in red, and a butterfly was painted on theforehead. The decoration on the face was changedevery day and sometimes during the day.Tattoo.?^When a girl is about 15 years of ageshe is tattooed with straight lines on her chin.(PL 5, 5.) If thus tattooed she will "go straightto the S2:>irit land when she dies," but without the II 1 1 tattoo " her spirit will wander around." figure 2.?Decora-Courting custoins.?The playing of the flute by face of cocopayoung men is noted in the description of that in-strument. Katcora said the girls used to play the jews-harp toattract the attention of the young men. One girl might play thejews-harp alone or two or three might play it together. He said, " If you are going along and hear this in some dark place you arebound to go there."Preparation for mm^age.?A girl was formerly taught householdtasks when she was young, and it was required that she be proficientbefore she married. She must be able to prepare food, takinggrain and grinding it on a stone. She then winnowed it in a basket,which must be held in a certain way so the chaff fell forward. Othertasks must be skillfully performed. The girls usually married when16 or 17 years of age.A 3"Oung man must be a good farmer and have in storage a suffi-cient supply of watermelons, beans, pumpkins, and other vegetablesto last almost a year.At the present time parents occasionally " recommend " a youngman, whom the girl afterwards marries. It was said the arrange- 10 BUREAU OF AMERICAN ETHNOLOGY [boll. 110ment by the girl's parents is made only " for young girls who havenot been out to dances." This indicates a general supervision by theparents, without any compulsion.Old language.?The old songs of the Yuma Tribe are in an obso-lete language, the words being repeated by rote. Mrs. CharlesWilson said that she remembered the numbers in this language,though she could not recall any words. The numbers counting upto 38 were phonographically recorded by this singer.Dreams.?The Yuman belief in dreams differs materially fromthat of other tribes. (See p. 6.) Importance is attached to reticenceon the subject, and it is said " if a man tells his dream it passes withthe day," meaning that its power will depart. Joe Homer once hada dream in w^hich he saw a mountain as white as snow, and at thetop there was something circling and throwing out sparks. A voicecommanded him to go to the top of the mountain. He went to thetop of the mountain and came down and the voice said, "Well done."Homer told this dream to a medicine man, who said, " You have lostthe power of your dream by telling it. Everyone knows it now.The power of that dream will never come back to you."Hunting custotns.?The Yuma sometimes held what was called a " burning hunt." They found a thick brush, burned it, and waitedwith bows and arrows to shoot whatever small animals ran from thefire. For this hunt they wore sandals with soles of heavy hide.Belief concerning the dead.?It is said that four days after deaththe spirit takes a road toward the west until it comes to a place whereits relatives who have previously died are waiting. They take itinto a house and keep it four days. In that place it is early morningwhen the sun is setting here, and every day, early in the morning,the spirit is taken to a place where water is sprinkled on it, afterwhich procedure it is bathed and incensed. The spirit is then freeto go among its friends, who speak a different language, but live inabout the same manner as people on the earth. (See Cremation andKarok.)War customs.?The principal enemies of the Yuma were the Mari-copa, who lived toward the north. They seem to have had no war-fare with the Papago, their neighbors to the east. Their weaponwas a very heavy club about 15 inches long, made of wood. (PI. 20)The circumference of the head of the club was a little more than thegrasp of a man's hand, and the thickness of the head was the widthof a man's fingers. The stroke of the club was upward, directedtoward the chin, and the weapon could be used with deadly effect,whether grasped by the handle, or, in closer conflict, held by theend.The following information was given b}'^ Charles Wilson, whosaid that no songs were sung by a war party before its departure. DbjNSMOBB] YUMAN" AND YAQUI MUSIC 11The warriors left the village quietly, all demonstration beingreserved for their return. The medicine men who went with thewarriors, however, had songs which they sang when treating thewounded. Many of the arrows were marked with messages. Suchan arrow could be shot over the heads of the enemy and its messagewould summon help to a war party that was hard pressed. Withthe warriors were men who could " sing and bring on a sand storm."Such a song was preceded by a speech known only to the man makingit and was immediately followed by the coming of the storm. Thesewere "Lightning songs." (See p. 111.) When near the enemy theYuma warriors disguised themselves by rolling in mud and then insand. This caused their bodies to resemble the ground so closely thatthey could either work themselves forward without being seen orcould lie motionless without attracting attention. It was said thaton one occasion two scouts started from the vicinity of Yuma andwent toward Ottman flat. One of them saw a cloud of dust anuknew that the Maricopa were approaching. He disguised himselfand lay down next the brush beside the trail. The enemy passedwithout seeing him. Their leader was talking and the scout heard allhe said. After the Maricopa had passed the scout carried the newsback to his war party.When an enemy had been killed it was the custom for four or fivemen to go with the medicine man who was to remove the scalp. Thiswas a difficult task, as the skin of the entire head was removed. Theinformant said, "Anyone can see that if an ordinary person wereto remove the skin it would not keep its shape." On reaching thebody of the slain enemy the warriors circled around it and sang.Unfortunately all the songs of war were said to be lost, as it is manyyears since the Yuma went to war. The warriors stopped on thenorth side of the body, then on the west, south, and east sides, return-ing to the north side. The medicine man shook both legs of thecorpse and rubbed them downward, then took the corpse by the legsand swung it around with the feet toward the north, west, south,and east. He dragged the body about a yard toward the east, stoopeddown, and put his face against that of the corpse as he sang certainsongs. Then he began to " massage " the face of the corpse to loosenthe skin. He dragged the body three times toward the east, thusmaking four stops, then he thrust his hand down into the ground,got some fine white sand and rubbed it on his face and hands, afterwhich he seated himself beside the corpse and began his work. Thefirst cut was from the inner corners of the eyes down to the chin,then around the neck. He removed the skin of the entire head withthe ears attached. The warriors crowded around him as he swungthe scalp to the height of his chest and dropped it on the ground,then he swung it a little higher and dropped it again. This was 12 BUREAU OF AMERICAN ETHNOLOGY [boll. 110done four times, the medicine man finally lifting it as high as hecould reach, while the crowd yelled at each elevation. The journeyfrom the enemy's country usually required two days and a night.Some work on the scalp was done while the war party was returningand the work was continued after their return. Sand was rubbedon the inside of the hairy part of the scalp and the skin was treatedlike buckskin to soften it.By the time they reached home the soft part of the ears haddecayed and the medicine man "smashed" them in such a mannerthat they became dry; then he took a certain sort of willow barkand made a wrapping for the hair, leaving the rest of the headexposed. The warrior who killed the enemy put the scalp on thewall of his house and slept directly under it. In the course of twoor three days the warrior found that the spirit of the slain enemywas going about, and he whispered to the spirit in the dark, tellinghim that the people around him were his friends and relatives, livingclose by, admiring him, and thinking of him every day and night.It was said this procedure usually " quieted down the spirit."Preparations were then begun for " feasting the scalp " and for thevictory dance. The warrior had a certain kind of pole made, about4 feet high, for mounting the scalp. He took the scalp out duringthe night, washed it and combed the hair, and put " white chalkpaint " on the face and hair, applying it with the palm of his hand.The manner of cutting the skin left an opening from the chin to theeyes, where the nose and mouth had been located. This slit wasdrawn together, the scalp was put on the pole, and the skin of theneck tied around the pole. In two or three days the warrior gatheredall the people at his house and " feasted the scalp," or the " spiritof the enemy," and as long as the scalp was exposed to view thepeople came and feasted. The warrior repeated this every few daysfor a time. After this feasting was concluded the scalp was wrappedand again placed on the wall. Sometimes eagle feathers or otherimportant feathers were placed with it. In the meantime the war-riors who had killed enemies were subject to strict regulations. Onthe way home they were not allowed to touch their bodies with theirhands but must use "scratch sticks" for that purpose. On arrivalthey must not go near their families for more than four days, thoughthey might stay in the same house.^'^ Every morning the warriorwent early and jumped in the river; then he ate thin cornmeal gruel,vomited it, and drank water " to wash out his stomach." He atenothing more during the day.The victory dance was started by from one to three speciallydistinguished warriors who set the day for the dance, cleared a " Cf. Papago Music, Bull. 90, Bur. Amer. Ethn., pp. 187-190. DBNSMORB] YUMAN AND YAQUI MUSIC 13 space of ground, and made the arrangements. They " had a manthere to sing songs in their honor," but it is said there is no one nowliving who knows these songs. The narrator (Charles Wilson) saidhe saw the dance and heard the songs when he was a young man.The owner of the scalp took it to the place where the victory dancewas in progress and stuck the pole in the ground. This was a signalthat all the old men and women must join the dance, and at certainsongs one of the dancers would take up the pole and carry it in thedance and return it to its place, after which another would do thesame. Men, women, and young girls could carry the pole. Thescalp was thus carried in the dance all night and the owner tookit back to his home in the morning.It was said to be a remarkable fact that no one could carry thescalp to or from the dance except the warrior to whom it belonged.It was said that frequently an " ordinary person " was sent to geta certain scalp and take it to a dance that was in progress. He triedto enter the house Avhere the scalp was hung and if he succeeded inentering (which few were able to do) he wrapped the hair of thescalp tightly around his hand and started for the dance. But he hadtraveled only a short distance when he discovered that the scalp wasno longer in his hand. He returned to find it, and to his surprisethe scalp rose from the ground and stood upright, causing the manto scream with terror. While the scalp was in that position no onecould touch it except the man to whom it belonged. The owner ofthe scalp could hold feasts for it whenever he desired, and take itto victory dances. When he died or was killed in war the scalp was " drowned " by throwing it into the river. If the warrior who tooka scalp was killed before the party reached home the scalp he hadtaken was similarly "drowned."Legerids and song cycles.?The characteristic musical form amongthe Yuman tribes consists of cycles or series of songs which are inter-polated in legends. (Cocopa, sayo', song; Yuma, scava'rr, song;scava'rrhuhai, singer.) Some of these legends can be related in aboutnine hours, while others are longer. The story is told in the com-mon language of the present time and the songs, which are sung atintervals, are in the old language which is not understood by any-one, the words of the songs being learned with the melody and sungby rote. A general knowledge of their meaning is received bytradition. The words are said to embody a part of the narrativebut they are not descriptive. The legend is usually concerning ajourney and the songs appear to contain the choice bits and delight-ful little episodes, while the details of the journey are carried by thenarrative. The songs appear to represent the poetry and the nar-rative the prose in a varied performance which gives great pleasureto these Indians. 14 BUREAU OF AMERICAN ETHNOLOGY [bdll. 110It was said that a good story-teller would tell these stories when-ever requested to do so. Thus at a gathering anyone might take upa collection, provide the basket and sticks, tobacco and some food,and get him toi tell one of the stories. On such occasions the story-teller leads the singing and pounds on the basket, and those whoknow the songs " help him " by singing with him.According to Kroeber, the journey described in these stories isalmost invariably that of a single person or a pair of brothers, withor without a following. The journey is described as occupying twoor three days, but is really a timeless life history of the hero orheroes, beginning with their coming into existence and ending withtheir transformation into an animal or landmark. The same au-thority states that " The plot is evidently a framework on whichepisodes . . . can be hung. We are thus face to face with a styleof literature which is as frankly decorative as a patterned textile." " The same cj^cle is often sung quite differently by men not in anyway connected Avith one another and the story appears to vary toan almost equal degree." The variance is said to consist in theselection of different minor incidents "with frequent recourses toremembrances of other singers and even diverse series." ^^ For thesereasons it was difficult, if not impossible, to secure an exact renderingof a cycle similar to the legends and their songs recorded among thePapago. It will be noted that the story of Pokohan is a combi-nation of narratives by two men, and that the legend of the deathof the Superman was recorded among both the Cocopa and the Mo-have, the differences in the versions being noted. (See pp. 48-66, 85-100.)The Yuma legends with songs enumerated to the writer were asfollows : 1. Tcowi'ts (Bird) (songs 1-3).2. Sakwa'taxo'x (not recorded).3. Ata'xmaili' (songs 4-14).4. Hurau' (Lightning) (songs 44-56).5. Akwa'k (Deer) (songs 57-82).6. Hanyi' (Frog) (one song recorded but not transcribed).7. Anya' (Sun) (not recorded).Dancing took place only with the Deer songs.The legends that were studied are described in connection withtheir songs. Joe Largo, who recorded a song of the Frog story (nottranscribed), said it belonged to his father. In explanation he said, " The words represent the frog as starting on a journey toward theeast and saying ' I will go east. I will get to Omi'kuda.' " No at-tempt was made to record all the songs of any cycle and the singer " Kroeber, A. L. Handbook of the Indians of California, Bull. 78, Bur. Amer. Ethn.,pp. 755, 756, 757. DBNSMOKE] YUMAN AND YAQUI MUSIO 15was asked to choose a number from the portions sung at differentparts of the night. It was the custom to divide the night into twoparts (before and after midnight) and each half of the night hadits songs. There was an order of the songs within these parts, certainsongs being sung early in the evening, at about midnight, and " alongtoward morning."In his description of Mohave customs, Kroeber states that " TheMohave have 20 narrative song cycles which they claim as their own,besides at least 10 more sung by doctors. Seven of the 20 are sharedby one or more other tribes and are likely to be of foreign devising.The remainder, so far as known, are purely Mohave."The number of songs in a Mohave cycle is indicated by his state-ment that " One narrator sang 33 groups of from one to five songs,107 in all, in reference to the Nyohaive myth concerning war, whichwas sung without gourd rattle, the singer standing and leaning on hisstick. Another series contains 169 songs in 83 groups." ^^ Only oneMohave cycle received the attention of the present writer, this beingoutlined briefly in connection with song No. 39.Dances.?The Yuman tribes appear to have few dances for pleas-ure. (Yuma, etcima'k, dance.) Dancing formed part of the Memo-rial ceremony and it was said that several dances were held beforea cremation and a Memorial ceremony. The Deer dance and Corndance were the only dances described in which the dancers encircledthe musical instruments that accompanied the songs. In one dancethe motion was in an elliptical path in front of the singers (p. 73)and in another (pp. 185, 186) the dancers and singers were in twoparallel lines pushed backward and forward in the manner of theUte bear dance described in Bulletin 75, page 57.THE YAQUI TRIBEA linguistic family other than Yuman is represented by the Yaquiand Maj'o. These are the chief members of the Cahita, a groupof tribes belonging to the Piman family and living chiefly in Sonoraand Sinaloa, Mexico. It will be recalled that the Piman familyhas been represented in the present work by the Papago. (Bull.90.) The name Yaqui is said to mean " chief river," referring tothe Rio Yaqui.^* Until recently the tribe lived along both banksof this river in Mexico. The first notice of the tribe is probablycontained in the narrative of a Spanish expedition in 1531. TheYaqui defended themselves against attacks by the Spaniards duringsuccessive centuries. Perez de Ribas, a missionary among them " Op. cit, pp. 761, 763, 785. ^* The data concerning this tribe is condensed from the Handboolj of American Indians,Bull. 30, Bur. Amer. Ethn., pt. 1, pp. 184, 185 ; pt. 2, pp. 991, 992.67183?32 3 16 BUREAU OF AMERICAN ETHNOLOGY [bull. 110between 1624 and 1644, says they were then agriculturists, culti-vating not only maize but also cotton, which they made into cloth,especially into the mantles worn in that region. They buried thedead in graves. According to Dr. Ales Hrdlicka (Amer. Anthrop.,VI, p. 8, 1904), " There is no organization among the Yaqui except inthat part of the tribe which lives practically free . . . neither dothey appear to have any secret societies," At the present time manyYaqui live in southern Arizona and find employment on farms.Numerous Mayo songs were offered for recording, but only oneis presented. No. 96. The word Mayo means " terminus," becausethe Mayo River was the dividing line between this tribe and theirenemies. At an early time the Mayo occupied 10 towns and werethe most populous of all the tribes of Sinaloa. They cultivated thesoil, raised sheep and domestic birds, and made woolen shawls. TheMayo were peaceable people, in contrast to the warlike Yaqui, andtheir language differs only in dialect from the language of theYaqui. YUMAN AND YAQUI SONGSThe material under consideration comprises the following groups : Yuma, 80 songs; Cocopa, 30 songs; Mohave, 4 songs; Yaqui, 15songs ; Mayo, 1 song.The Yuman tribes are represented by a variety of songs, whilethe Yaqui and Mayo are represented only by songs of the Deerdance cj^cle and a few modern songs which show a Mexican influence.The musical customs of these tribes are peculiar, and for thatreason an observation of the singing at gatherings of Indians was ofunusual importance. Many Yuma songs, not recorded, were heardduring the cremation ceremony, the Cocopa songs were heard duringa gathering of the tribe near the Mexican border, and the Yaquisongs during a celebration of Good Friday, near Tucson, Ariz., m1920, and during the celebration of Thursday, Friday, and Satur-day of holy week at Guadalupe Village, near Phoenix, in 1922. Oneach visit to the Yaqui villages the writer remained for severalhours beside the singers. More than 160 Yuman and Yaqui songswere recorded, but the number presented is 130. The remainderwere studied and found to contain the same peculiarities.Yuman Songs ^*The principal Yuman songs are in cycles. There is dancing in afew but not all of these cycles, which require an entire night for per-formance, each part of the night, as already stated, having its proper " This subject Is considered in a difForent manner b.v George Herzoj? in The YuTnanMusical Style, Jour. Amer. Folk Lore, vol. 41, No. 160, pp. 183-231, April-June, 1928. DENSMORB] YUMAN AND YAQUI MUSIC 17 songs. In the Corn dance, Memorial ceremony (Karok), and prob-ably in other classes of songs, the songs are in pairs, the second havingno words. In a majority of the recorded songs the words are in anobsolete language, which occurs only in the songs, and the meaningof which is known only to the singers. The meaning of the Karoksongs is lost entirely. The only way for a man to learn the old songsis to be a " helper " when an old man who knows the songs is singingthem. As the singing usually continues all night for several consecu-tive nights it is possible for the " helpers " to learn the songs in thismanner. It is said that no songs are being composed or received indreams at the present time.The Yuma announced the subject of a song after it had been sung.The Sioux announced the subject before singing the song. TheChippewa made no announcement.Unusual difficulties surround the transcription and analysis ofYuman songs. The form of a melody is determined to some extentby the words of the song, and the present material contains manysongs connected with legends and embodying part of the narrative.The words of these songs, as already stated, are in a language whichis obsolete, the singer repeating the words by rote. The integrity ofthese words was proven by the rendition of No. 109 by a Cocopa anda Yuma, the words as well as the melody being the same on the twophonograph cylinders. It is not practical to undertake the placingof such words or syllables beneath the notes of a transcription.These melodies, although connected with narratives, differ from thelegend songs of the northern Ute which are classified as " rudimen-tary." (Cf. Bull. 75, Bur. Amer. Ethn., pp. 200-204.) The Ute In-dians stated that these songs were improvised, yet certain songs con-tain a characteristic of the animal mentioned in the story; for ex-ample, the slowness of the bear and the agility of the prairie dogs.An interesting and somewhat different sort of narrative song wasrecorded by the Tule Indians of Panama. (Cf. Music of the TuleIndians of Panama, p. 3.) The Tule songs were improvised, like theUte songs, but each had a distinctive rhythmic phrase repeated oftenand reflecting the character of the song.The Yuman songs appear to be in a form that is intermediate be-tween the Ute of northern Utah and the Tule Indians of Panama.Many of these songs consist of several divisions designated as "rhji;!!-mic periods " (see table 17, p. 209), and there are rules for the repe-tition of these periods. On studying the phonographic records wefind, however, that the opening phrases often were sung a larger num-ber of times than prescribed by rule. Eleven repetitions of the open-ing phrases were counted in some songs, but the transcription con-tains only the usual mark for repeat. Furthermore, a cylinder often 18 BUKEAU OF AMERICAN ETHNOLOGY [bull, llo contains a seemingly impromptu repetition of short phrases in irreg-ular order, after the rendition shown in the transcription. The " rules " for the form of these songs are interesting, but apparentlywere not considered binding upon good singers. A study of varia-tions from the rules was not undertaken, the present work beingconcerned with the more constant phases of the music.In many instances a long duration of singing was transcribed inaddition to the material presented, and no orderly sequence of phrasescould be discovered. This portion of the cylinder appears to containan impromptu use of the previous thematic material and is noted inthe descriptive analyses. It is said that the Karok songs, after beingsung four times, could be ended at any point in the melody, and inthose songs the ending of the transcription is at a measure satisfac-tory to the ear. This is believed to be the end of the song. Anarbitrary ending occurs also in the transcriptions of certain Yumasongs recorded by Wilson, and in one Mohave song. Four ofthese are Wilson's personal songs for the treatment of the sick, andthe Mohave song was used for the same purpose. In this connectionwe recall that in other tribes it is a frequent custom for doctors todisguise their songs as well as their remedies, making it difficult, ifnot impossible, for others to learn them. The medicine songs ofWilson bear a peculiar resemblance to the Tule songs already cited.In one of these songs (No. 42) the entire cylinder was transcribed.Wilson was singing when the end of the cylinder was reached, withno evidence of being near the end of his performance. The othersongs with this designation are legend songs recorded by Wilson.The singers realized that it was impossible to record a complete per-formance of each song, so they endeavored to condense the perform-ance into the space of a phonograph cylinder.The characteristic form of Yuman songs, as indicated, is a " periodformation " with one, two, or occasionally three long periods and ashort period containing the more pleasing part of the melody. Thispeculiar form was first noted in the songs of the Tule Indians ofPanama. It occurred with frequency in 130 Acoma, Isleta, andCochiti songs studied by the writer, and was also found in the songsof the Big Cypress Swamp Seminole in southern Florida. In eachtribe the songs having this form were said to be very old. In de-scribing the form of Yuman songs the interpreter said, " There isalways a chorus near the end of a song that goes up higher." Hesaid it is the custom that " the song shall be sung four times and thechorus twice," also that " if the chorus is sung a third time the endingis on a high note." The term " chorus " is derived from a knowledgeof the white man's songs and indicates a pleasing part of the songbut not a change in the number of singers. It usually contains about DENSMORH] YUMAK AND YAQUI MUSIC 19 eight measures and is not repeated. The other portions of the songare sung from 2 or 3 to 11 times and are accurately repeated. Em-phasis should be placed upon the fact that if a phrase in the tran-scription is repeated it is given with exactness, showing it is clear inthe mind of the singer, though other phrases in the song may bear aclose resemblance to it. The part of the melody designated as the " chorus " will be recognized in many transcriptions. It is the secondor third period and is higher in pitch and more pleasing in melodythan the preceding portion. In some instances the return to theearlier portions of the song is indicated as a " repeat."The melodic form of these songs is in sections or periods whichlare designated by the letters A, B, C, and D. Ehythmic units occurin many songs and are designated by brackets above the notes, as inthe songs previously transcribed.A peculiarity found in the songs of Yuman cycles and also in theYaqui cycle of the Deer dance is a pause of indefinite length, desig-nated as " pause ad lib." The duration of tliis pause did not con-form to the metric unit of the song but was usually about a measureand a half or two measures. This pause occurs about halfwaythrough the transcription, but is nearer the end of the performance,as the repeated portion in the first part was sung at least four times.A further peculiarity of these songs lies in the frequent occurrenceof rests, the tone before a rest being ended in a definite manner.The Indian tribes under observation differ in the use of a rest intheir songs, many singers being able to take breath in a mannerwhich is imperceptible to a listener. A rest occurred in 13 percent of 340 Chippewa songs, in less than one-half of 1 per centof 240 Sioux songs, in more than 11 per cent of 110 Ute songs, andin 19 per cent of 110 Mandan and Hidatsa songs. (Cf. Bull. 80,p. 4.) When rests occur in Indian songs they frequently are in themiddle of a phrase, not at the end of a phrase or a word, for thepurpose of taking breath.^" Songs recorded by younger Indiansoccasionally contain short rests which can be identified, as pausesfor breath, partly because the location of the rest differs slightlyin the several repetitions and also because the tone preceding the restis not ended with crispness. A rest in the old Indian song occursuniformly in all renditions and is given with careful clearness.No songs are being composed by the Cocopa at the present time.Probably this is also true of the Yuma. Mention has been madeof a resemblance between Yuman and Pueblo songs. A furtherresemblance consists in the gradual changing of the pitch during ^? The same peculiarity has been noted in the music of India. " Rests are seldomwritten ... in any of their songs, at any rate not, as we should, on account of thewords. . . . They appear to take breath when they want to take it, not at the end ofwords." (Fox Strangways, Music of Hindostan, pp. 192-193. j 20 BUREAU OF AMERICAN" ETHNOLOGY [bull. 110the singing of a song. This has occasionally been noted in othertribes but regarded as incidental, or a personal idiosyncrasy, sincean overwhelming majority of the phonograph records show a main-tenance of pitch on the principal melody tones which would becreditable to a singer of our own race. One singer of the YumaTribe (Charles Wilson) gradually lowered the pitch during therenditions of some of his songs. This lowering of the pitch cannot be shown graphically unless a pitch indication is placed beforepractically every note. In the belief that such signs would add tothe difficulty of observing more important characteristics this peculi-arity is mentioned in the descriptive analysis. The former customof keeping the transcription as simple as possible is continued inthe present work.A peculiarity of Chippewa music was the difference in tempo ofvoice and drum, a comparative table showing that the tempo of voiceand drum was the same in only 36 per cent of 214 songs recorded withaccompaniment. (See Bull. 53, Table 22, p. 33.) As an interestingcontrast we note that the tempo of voice and drum was the same in89 per cent of 65 Ute songs recorded with accompaniment. (SeeBull. 75, Table 22, p. 51.) In Yuman songs the tempo of voiceand drum or rattle is always uniform and the two are synchronous,but the rhythm of the accompanying instrument is not always thesame during the entire song. In a majority of instances tlie rattlewas shaken rapidly before the song was begun and during its openingmeasures. The change to a rhythmic shaking of rattle was not soabrupt as in the Pawnee songs (see Bull. 93, p. 29), but the rhythmin many songs was not clearly defined until measures 6 and 10.Several examples of interrupted rhythms in drum or rattle aretranscribed. The accompanying instrument was discernible through-out the entire performance.An important peculiarity of Yuman songs is the variety in therhythm of the accompaniment. The songs previously recorded havebeen accompanied by drum or rattle in a few simple rhythms or instrokes of equal force without rhythm. Thus 38 per cent of 475songs of various tribes were accompanied by rattle or drum in unac-cented quarter or half notes, the beat of the drum corresponding tothese note values in the melody. (Bull. 80, Table 18, pp. 25-26.)The Yuman songs show a remarkable variety in the form aswell as the rhythm of their accompaniment, the songs being accom-panied by percussion, by rattles, by a nasal grunting, and by pound-ing of the feet, each form of accompaniment being used with acertain sort of song, or with a certain cycle. The basket drum (seep. 24) may be beaten with the palm of the hand, with one or more DHNSMORB] YUMAN AND YAQUI MUSIC 21 willow sticks, or with one or two bundles of dry arrowweed. Therattles comprise a small gourd rattle, a large gourd rattle, a dew-claw rattle, and a rattle made from a spice box. The nasal gruntingis used with game songs. In this peculiar accompaniment thebreath is forced into the nose by a spasmodic contraction of the chest,producing a sound resembling " huh, huh," in exact time to the music.Songs connected with the cremation or the Karok are accented bystamping first one foot and then the other on the ground. Whatmay be termed a " foot accompaniment" is used also in the " Humanbeing dance."In the following list it will be seen that the basket is struck withthe palm of the hand in only two song cycles. The singer of thefrog songs held a willow stick in his right hand and struck thebasket simultaneously with the stick and with the palm of his lefthand. The accompaniment of the Deer dance songs is described onp. 131. Songs of all these cycles were recorded.Legend AccompanimentConcerning a bird Basket struck by bundle of arrowweeds.Concerning a coyote Basket struck by bundle of arrowweeds.Concerning a deer Basket struck by palm of hand and willowsticks.Concerning the lightning Basket struck by willow sticks.Concerning the frog Basket struck by palm of hand and willowsticks.Corn dance Large rattle.A social dance Large rattle.The large gourd rattle was used for all social dances and forthe songs called " Bird songs," which formed a class by themselves.It was said that the last man who knew all these songs died a few3^ears ago. The singing and dancing lasted all night, and it wassaid there were usually five or six divorces after this dance. " Birdsongs " were sung also by the Cocopa and the Mohave. A smallgourd rattle was used by a medicine man in his personal songs.The " spice-box rattle " was used in the Karok and Human Beingdance, and the dewclaw rattle was used only in the cremationceremony.In tribes studied prior to the Papago there did not appear to bea prescribed degree of loudness for the singing of certain songs.In a dance of the Cocopa there was a special mannerism for thesongs that were sung in the early evening (Nos. 100, 101, 102).These songs were always begun softly and then increased in volume.The songs of the Pokohan legend were always sung very softly.Other peculiarities of Yuman songs are discussed in connectionwith the comparative tables of analysis on pages 37-40. 22 BUREAU OF AMERICAN ETHNOLOGY [bull. 110Yaqui SongsThe Yaqui songs herewith presented were recorded in Guadahipevillage, near Tempe, Ariz. The Yaqui came from Mexico and tookup their abode at this place many j^ears ago, but are not under theGovernment of the United States. They are governed by a chiefwho has several captains under him and a policeman who appearsvery efficient. The village is set in the midst of the desert and isa compact little settlement, the houses being set in rows, along twoextremely wide streets. (PI. 21, a, h.) The Yaqui interpreter,Loretto Luna, and his child are shown in front of his house. (PI.21, c.) The village well, operated by a windmill, is in the middleof one of these streets. There are fences in front of most of thehouses and narrow alleys in the rear. The fences are made of theribs of the saguaro cactus, set upright and fastened together, usu-ally bound with wire. In some instances the fences are about 4 feethigh with a gate and the cactus stalks are placed so close togetherthat they form a stout paling. The streets and yards are of hardbare ground and reasonably clean. No attempt at cultivating theground was observed. The houses were varied in structure andusually consisted of two or more inclosed rooms and an " outdoorroom " with roof but with the sides only partly inclosed, leavingone side or parts of two sides open. The better class of houses wereof adobe with roofs of earth resting on cactus ribs; others were ofcactus ribs calked with adobe and others had sides formed of over-lapping pieces of tin or wood, these pieces having the appearance ofhaving been gathered from rubbish heaps.The population of the village may be estimated at about 150. Themen earn a scanty living by hauling wood or working for farmers inthe vicinity. They are evidently very poor, but the atmosphere ofthe village is that of content and good order. Father Lucius, aFranciscan missionary monk, has built an adobe church in the villageand established a day school. Near the church is a chapel, in frontof which the Deer dance was given in 1922. (PI. 21, d.) The schoolteacher is a woman who does not live in the village nor go amongthe houses to form the acquaintance of the people. She is, however,successful in maintaining the work among the children, as is shownl)y the enrollment of more than 50 pupils. Thus the thought of thefuture members of the tribe is being formed along proper lines, butthe customs of the older people are not under surveillance.The songs were recorded in a bakehouse adjoining the house of thtN>ipoliceman. (PI. 21, a.) A corner of the bakehouse is seen in theillustration which shows the house and one of the sides of the " out-door room." The bakehouse had one small window and an openinginto a huge adobe oven resembling a kiln, in which the bread was .E.NSMOBB] YUMAN AND YAQUI MUSIC 23)aked. The dome of the oven can be seen at the right. The roomvas furnished only with a long table on which the bread was mixed.The phonograph was placed near the door, and about 30 Indiansgathered outside to watch the process of recording and listen to the ?esults. This made it impossible to make an intensive study of theDeer dance and its history, but the condition was unavoidable. Thehree singers who made the records represented the two sorts ofiTaqui music, and the interpreter was Loretto Luna, an intelligentfaqui who spoke excellent English.Yaqui music is of two sorts, one of which appears to be native andhe other influenced by Mexican or Spanish. The former is accom-panied by native instruments and the latter accompanied by the 'uitar, violin, harp, or other stringed instruments. The peoplensist that the latter sort of music is also Yaqui and that " Mexican:ongs are different." The pleasure of the young men in their musicaljerformances was shown by the following incident: The writer, on>:oing to the village one morning, heard concerted music in one of;he houses. In reply to an inquiry a Yaqui said, " The young menire playing. They often play like that all day." The house was ofidobe with two rooms and the musical performance was in the second ?oom with the door closed. The young men consented to open theioor, revealing a room that was lighted only by a very small window.[n the semidarkness several young men were playing the violin, onedouble bass adding to the effect. They were playing one tune afteranother without printed notes and apparently improvising part ofthe time. The music was pleasing in style, somewhat plaintive, andresembled that heard at the " Mexican dances " in other parts ofsouthern Arizona. The musical instruments used at the Good Fri-day celebration at Tucson are mentioned on page 27.As already stated, two distinct types of songs are now used by theYaqui, the old songs which are said to be strictly native and the mod-ern songs which show a Mexican influence. The Deer dance songs(Nos. 83 to 95) are examples of the old songs and were accompaniedby a gourd rattle. A Mayo song of the same dance is presented (No.96). Two examples of the modern songs (Nos. 129, 130) were ac-companied by the guitar. Other modern songs were recorded, butthe resemblance between them was so marked that the songs here pre-sented were considered sufficient.Several Yaqui Deer dance songs contain the long pause whichcharacterizes the Yuman song cycles, but they do not have the sameperiod formation. The Mayo song was recorded by a Yaqui andcontains no striking peculiarities. Other Mayo songs were offeredbut not recorded.In the modern Yaqui songs we note a fluent melody and a glissandoin both ascending and descending progression. 24 BUIUCAU OF AMERICAN ETHNOLOGY [bull. Jlu riie transcription of Yuman and Yaqui songs is on the pitch ofthe phonograph record except that songs having F sharp as theirkeynote are transcribed in the key of F in order to simplify thenotation.A limited number of songs are classified as irregular in tonalityas they appear to be pure melody, without an apparent keynote.YUMAN MUSICAL INSTRUMENTS AND THEIR USEThe only drum used b}^ the Yuman tribes is a basket (kwenxo'),struck with implements or with the palm of the hand. As among thePapago, the sound of this accompaniment was not sharp enough forphonograph recording, so a pasteboard box was substituted andbeaten with a small stick during the recording of the songs. Thebasket is usually obtained from the Papago, as the Yuma are makersof pottery rather than of baskets. As stated in Papago Music (Bull.90, p. 3), this is an ordinary household basket, overturned on theground when in use as a drum. Such a basket obtained among thePapago was I6I/2 inches in diameter and 5i/^ inches in depth. Thebasket used in recording Yuma songs was 13 inches in diameter and 4inches in depth. The Papago struck the basket with the palms ofthe hands or stroked it with a short, flat stick. The Yuma beat uponthe basket with the palm of the hand and also with willow sticks andbundles of arrowweed. (PI. 22.)The willow sticks (nyima' Iwakwit plu.) used with the basket weresaid to be two " spreads " from the thumb to the end of the secondfinger in length and about an inch in diameter, and a singer held apair of the sticks in his right hand. The sticks were found to be 15inches long.The bundles of arrow weed (i'sav, arrow weed; isa'vaota'p, bundlesof arrow weed) were 25^4 inches in length, tied near the butt endwhere the bundle was 1^/^ inches in diameter. The bundles used byGolding were examined and found to contain 10 rods or stems of theweed in one bundle and 12 in the other. A singer who uses thesearrow weeds a great deal has a pair of bundles which he carries withhim wrapped in a cloth when he expects to sing. Golding followedthis custom when coming to record his songs. At present the princi-pal singer and his assistant each have one of these bundles. In for-mer times the principal singer had two assistants.The number of baskets depended upon the number of dancers. Ifthe circle were small and only one basket were in use, two, three, orfour men might beat upon the basket with willow sticks, but only twocould beat it with bundles of arrow weed, as they were so muchlarger. Three baskets were formerly used in the Deer dance (see BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 20 Yuma War Club BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 21mmm BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 23 CocoPA Gourd Rattle BUREAU OF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 24 Mohave Gourd Rattle I KN-SMORH] YUMAN" AND YAQUI MUSIC 25 p. 155), and four singers were seated at each basket, one of thembeing the leader and using the bundles of arrow weed.The Yuma, Cocopa, and Mohave used a gourd rattle (Yuma,axma'l; Cocopa, hulima'). The Cocopa songs were recorded with alarge gourd rattle painted red. (PL 23.) A smaller gourd rattlewas used by the Mohave when singing the Bird songs. (PI. 24.)The Mohave rattle was decorated with a pattern of diagonal lineswhich was said to have no meaning. Inside this rattle were aboutthirty tiny balls of pottery made especially for this purpose and bakedin the fire. The handle was of ironwood, fastened in place with gummade by mashing and cooking arrow weed stalks and adding redpaint. This rattle was also used with the Tamant songs.The " spice-box rattle " was made of a small tin box pierced by astick which formed the handle. In the box were BB shot. Theserattles were used in the Human Being dance and were shaken by 8 or10 men who sat in a row on a bench. The leading singer sat in themiddle and used a rattle with more shot in it, giving it a loudertone. This is similar to the rattles made of thin wood or birchbarkand used by the Chippewa in the Midewiwin, or Grand MedicineLodge.The dewclaw rattle used at cremations is described in connectionwith that ceremony (p. 42).A rattle consisting of a string of cocoons containing small pebbleswas wrapped around the knee of the leading Deer dancer. (Seepp. 155, 156.) Flutes and Their MusicThe legendary origin of the flute among the Yuma is described inthe chapter concerning the origin of the cremation (pp. 48-66).The Yuma have two sorts of flute made of cane, commonly calledbamboo. (PI. 25.) These are the transverse (wilwiraxtii') and thevertical or end-blown flute (wilwirtelhuku'p). In making the for-mer flute the natural divisions of the cane are removed in the entirelength of the tube and the " mouthpiece " is formed by the player'slips, the instrument being held horizontally toward the right, andthe sound directed across the edge of the tube. Such a flute wasplayed for the writer. The performance was not recorded phono-graphically, but the tones were those of a major third with its inter-mediate tone. The phrases appeared to be repeated in irregularorder as in the usual playing on primitive flutes, and the rhythmwas that of double time. It was said that additional tones couldbe played on other flutes of the same sort. The native names ofboth flutes are based upon " wilwil," which is the name of a smallbird. It was possible to obtain the instrument, which is about 27^/4 26 BUREAU OF AMERICAN ETHNOLOGY [DULL. 110inches long and has four finger holes, placed slightly nearer one endthan the other. These are respectively 11, 12%, Ui/g, and 15 inchesfrom the end to which they are nearest, and the holes are slightlysmaller than in the vertical flute. It was said this fiute could beblown at either end. The player, George Escalanti, stopped theholes with the first and second fingers of each hand.In making a vertical or end-blown flute the natural divisions ofthe cane are not all removed. One of these is left midway thelength of the cane for use in making a " whistle head." Two speci-mens of this flute were obtained and the music of one was phono-graphically recorded. George Escalanti (pi. 26, a), who made theseflutes, is commonly known as Captain George and is a man ofhigh character, respected by both Indians and white people. Histitle is derived from long service as captain of Indian police on the J 120 Flute Melody No.l '7fhH--rf^f^f^fYi--^^ 4^f4^^ 63 Flute Melody No. 2ly^ferf i-^-^* \ 1 fh^m E f-jP a -;?-7Yuma Reservation. The flute on which he played was withoutdecoration. The two which he made for the writer were decoratedwith small brown dots. He said that the length of the end-blownflute was " three spreads of the hand from the thumb to the tip of thesecond finger and about two-thirds more." The length of the speci-men is 28 inches. The sound hole is cut above the " partition " insidethe cane, midway its length. It is about 1^4 inches long and three-sixteenths of an inch wide, and across the upper end is wrapped apiece of brown paper secured by a string. This covers about one-fourth of an inch of the opening. The tone may also be controlled bythe player's finger, partially covering the hole. Captain George saidthat after cutting the sound hole he drew a line from the sound holeto one end of the cane, placed the other end in his mouth as if to blowit, and marked places for three finger holes where his fingers restedmost conveniently. These finger holes are 4%, 5%, and 7 inches,respectively, from the " speaking end " of the flute.In old times the Yuma had no love songs, but two or three youngmen played these flutes in unison to attract the attention of the I i ' '-.r^- -^1^1*^ 'I r^^^^V>' ll C i DBNSMOHB] YUMAX AND YAQUI MUSIC 27young girls. It was said " the girls sat and listened, and marriageshad been known to result."Two consecutive records were made by George Escalanti, playingthe vertical flute. (PI. 26, a.) In both instances the intonation wasgenerally what would be called " good " if produced by a manufac-tured instrument. It is difficult to play a cane nute, and the phraseswere at times disconnected but the tones were the same in all. Thefirst record shows a tone with the major second and major thirdabove it, played in various sequences; the second shows the sametone with the minor second and minor third below it, played invarious orders. The records closely resemble those of the Papagoflute (Bull. 90, pi. 1, pp. 212, 218). Similar instruments are usedby the Kamia."^YAQUI MUSICAL INSTRUMENTS AND THEIR USETwo types of musical instruments were heard in the Yaqui vil-lage of Guadalupe, corresponding to the old and modern types ofmusic. The Deer dance was accompanied by instruments of bothclasses. On the right side of the line of dancers were several violins,while on the left were the old, native instruments consisting of half-gourds placed on the surface of a pan of water and struck with astick, also placed on the ground and struck with a stick, and usedas a resonator for rasping sticks. (PI. 28.) The leading dancerscarried rattles made of flat pieces of wood between which circulardisks were set in such a manner that they jingled. (PL 29, a.)In a Yaqui house the writer saw a small harp of native manufac-ture and heard it played. The instrument was said to be about 25years old. It was 3 feet high, had about 30 strings, and was heldin a horizontal position when played, the lower end resting on abrace which formed part of the instrument. The player was seatedand held the instrument between his knees, the position making thestrings almost horizontal. The instrument was well tuned and themusic resembled that of the " Mexican dances." These small harpswere said to be a characteristic instrument of the Yaqui.Small drums and short reed instruments like " shepherds' pipes "were used in the celebration of Good Friday at Tucson, Ariz., in 1920.In the yard of a Yaqui house a man named Manuel Ayala wasseen playing a flute and drum at the same time. (PI. 26, b.) Theflute consisted of two separable sections and was 14 inches long. Ithad only two sound holes and the distance from the second (lower)sound hole to the end of the flute was about 7 inches. "a GiEford, E. W. The Kamia of Imperial Valley, Bull. 97, Bur. Amer. Ethn., pp. 43, 44,Washington, 1931. 28 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110Tabulated Analysis of 1,343 Chippewa, Sioux, Ute, Mandan,HiDATSA, Papago, Pawnee, Menominee, Yuman, and Yaqui Songsmelodic analysisTable 1.?TONALITY Major tonalityMinor tonalityBoth major and minorThird lackingIrregular 'Total Chippewa, Sioux,XTte, Mandan,nidatsa, Papapo,Pawnee, and Me-nomineeNumber Per cent64648784923 5340 1,213 Yuman and Yaqui Number Per cent6255157130 4952 Total Number Per cent708542954301,343 5340 1 Songs thus classified are "pure melody without tonality." In such songs the tones appear to bearranged with reference to intervals rather than with reference to a keynote.Table 2.?FIRST NOTE OF SONG?ITS RELATION TO KEYNOTE DENSMOHB] YUMAN AND YAQUI MUSIC 29Table 3.?LAST NOTE OF SONQ?ITS RELATION TO KEYNOTE 30 BUEEAU OF AMEEICAN ETHNOLOGY [bull. 110Table 5.?NUMBER OF TONES COMPRISED IN COMPASS OF SONG DBNSMOEH] YUMAN AND YAQUI MUSICTahle 6.?tone material?Contiuued 31 32 BUREAU OF AMERICAN ETHNOLOGYTable 8?STRUCTURE [BOLL. 110 DENSMORE] YUMAN AND YAQUI MUSIC 33Table 11.?INTERVALS IN DOWNWARD PROGRESSION 34 BUREAU OF AMERICAN ETHNOLOGY [bull. 110Table 13?AVERAGE NUMBER OF SEMITONES IN AN INTERVAL Number of songsNumber of intervalsNumber of semitonesAverage number of semitonesin an interval Chippewa, Sioux,Ute, Mandan,Hidatsa, Papago,Pawnee, and Me-nomineeNumber Per cent 1,21332, 15198, 8633.07 Yuman and Yaqui Number Per cent 1306,09217, 697 2. 9 Total Number Per cent 1,34338, 243116,5603.03RHYTHMIC ANALYSISTable 14.?PART OF MEASURE ON WHICH SONQ BEGINS DBNSMORK] YUMAN AIQ-D YAQUI MUSICTable 15?RHYTHM (METER) OF FIRST MEASURE 35 36 BUREAU OF AMERICAN ETHNOLOGYTable 17?RHYTHMIC UNIT [BDLL. 110 DBNSMOBB] YUMAN AND YAQUI MUSIC 37The analysis of 710 songs according to key showed the highestpercentages occurring between F and B, the highest within the grouphaving 8 per cent in the key of G major, and the next having6 per cent in the key of F major. In determining this pitch thephonograph was played at the same speed as when the record wasmade and compared with a piano tuned to standard pitch (A, 440vibrations). The table was then discontinued.The classification of the accompaniment rhythm was continuedduring the study of Mandan and Hidatsa music, the total numberof songs then under analysis being 820. (Bull. 80, Table 18 on pp.25, 26.) In 61 per cent of the songs recorded with accomj)animentthe drum, rattle, or morache was in strokes of equal force, eachapproximately equivalent to an eighth, quarter, or half note of themelody. In 33 per cent the stroke was either preceded or followedby a short unaccented stroke and in 5 per cent the accompanimentwas in strokes that were equally spaced, with an accent on alternatestrokes. This group is classified as " eighth notes accented in groupsof two." From these analyses it appears evident that an even pulseof the accompaniment was preferred by the Indians under observa-tion, though the tempo might not correspond to that of the voice.This basis of cumulative analysis was then discontinued. ThePapago sing with rattle and basket drum, and their songs were notanalyzed in this respect. The accompaniment rhythms of thePawnee were analyzed, and confirm the findings in 820 songs pre-viously analyzed. (Bull. 93, Table 18, p. 125.) A general observa-tion of the Menominee songs showed the same characteristic. Thepresent group, however, contains a wide variety in accompanimentrhythms. This is shown in the group analysis (Table 18, p. 207),but the comparative table is not resumed.The foregoing data are presented in order that the student maycarry forward the comparison, if desired, by observing these pecu-liarities in the present group of songs. These tables are intendedto assist the understanding of Indian songs by simple standardsapplicable to large series. They should not be understood as anattempt at exhaustive analyses. Familiar terminology and bases ofclassification are adopted as conducive to the purpose of the system.Attention is here directed to comparisons made in the considerationof Yuman and Yaqui songs which supplement the present com-parative analysis. (See pp. 19-23.)Table 1.?The Yuman and Yaqui resemble the Papago in havingless than half their songs in major tonality and a considerable per-centage in somewhat irregular groups.This suggests that " key " in the musician's use of that termis found to a lesser degree in recorded Papago, Yuman, and Yaqui 38 BUREAU OF AMERICAN ETHNOLOGY [bull. 110songs than in the songs of tribes previously analyzed. In this con-nection it is interesting to note that the Yuman and Yaqui tribesare distinct from the Papago in general culture, and that theresemblance here noted would be difficult to detect in listening tothe songs.Several factors are taken into consideration in designating thekeynote of a song for the purpose of analysis. No theory is advancedthat the keynote is part of a musical system, consciously followedby the singer. It is simply a " point of repose " in the melodicprogressions. The tone is decided upon by the test of the ear, andby the relations of the tones in melodic sequence. Thus if a songcontained only the tones C, E, and G, the tone C would be regardedas the keynote if it were the most prominent, accented tone. If Coccurred only as an unaccented, passing tone, and E were the mostprominent tone the song might conceivably be analyzed in the keyof E minor, or possibly as irregular in tonality. In a majority otinstances the keynote is not difficult to determine if one admits thetest of a musician's ear; in some instances it is debatable by anystandard, and in others it is so uncertain that the songs are classifiedfor the present as " irregular in tonality."A small number of songs are sung four times and then ended atany desired point (see pp. 18, 42).Table 2.?The foregoing resemblance to the Papago and differencefrom tribes previously analyzed is shown in the classification of thefirst and last notes. In the Yuman and Yaqui songs 33 per centbegin on the keynote, 30 per cent on its third, and 21 per cent onits fifth, none of the songs having a compass of an octave. In thePapago songs 24 per cent began on the keynote and 6 per cent onits octave, a few Papago songs haring this larger compass. In the1,213 songs previously analyzed only 9 per cent began on the key-note, but 19 per cent began on its octave, these songs having a muchlarger compass than the songs recorded on the Mexican border.Table 3.?A strange contrast to all tribes previously analyzed isshown in the relative proportion of songs ending on the third andfifth above the keynote, this being the only group with the largerpercentage on the third. The percentage ending on the keynote issmaller than in the total number of songs previously analyzed.This is a peculiarity of this group of Indians and no explanation issuggested.Table 4.?A large number of Yuman and Yaqui songs lie partlyabove and partly below the keynote. It will be noted that the finaltone is the lowest in only 30 per cent of these songs, in contrast to76 per cent in the songs previously analyzed. The trend of themelody is shown by the fact that in 34 per cent of the songs the DHNSMOBB] YUMAN" AND YAQUI MUSIC 39final tone is immediately preceded by a minor third lower, and inS per cent it is preceded by a major third lower.Table 5.?Only two songs of this group have a compass of morethan eight tones, while in the songs previousl}'^ analyzed 52 per centhad a compass of more than an octave. The largest group of Yumanand Yaqui songs has a compass of seven tones and comprises 32 percent of the entire number, the next in size being the songs with acompass of five tones comprising 27 per cent. In songs previouslyanalyzed these groups have comprised respectively 6 and 5 per centof the total.Table 6.?The percentage of songs on the familiar major andminor pentatonic scales is considerably less in this than in the totalnumber of songs previously analyzed, comprising 22 per cent in thisand 33 per cent in the former songs. Higher percentages appear inthe songs containing the minor triad and one other tone, and theoctave complete except for the seventh and one lower tone. Thesongs based on the major triad and one other tone are less than inthe songs previously analyzed, though there is a higher percentageof songs containing only the major triad.Table 7.?Accidentals, or tones diatonically altered, appear in alarger percentage of Yuman and Yaqui than of songs previouslyanalyzed, an especially interesting group being the four songs withseventh lowered a semitone, three of which are major in tonality.Table 8.?In structure the Yuman and Yaqui songs are morefreely melodic than any songs previously analyzed. This is inaccord with the results shown in the other tables of analysis.Tables 9 and 10.?A distinctive peculiarity of these songs appearsin these tables, the percentage of songs beginning with an upwardprogression being larger than in any other tribe under analj^sis andthe percentage of upward progressions being larger than in theother tribes.Tables 11 and 12.?The percentages of various intervals in down-ward progression resemble those of other analyzed tribes, these per-centages being more nearly alike than in a majority of the tables,but the ascending progressions show interesting differences. Theminor third, which has occurred in other tribes so frequently as toconstitute 24 per cent of the total intervals, is found to compriseonly 3 per cent of the intervals in Yuman and Yaqui songs, whilethe whole tone, constituting 34 per cent of the preceding group,comprises 40 per cent in the Yuman and Yaqui songs. The semi-tone is also more frequent in occurrence. The vigorous interval ofan ascending fourth shows about half its percentages in the songspreviously analyzed. Thus we see that the Yuman and Yaqui songsprogress upward by smaller and different intervals and a larger 40 BUREAU OF AMERICAN ETHNOLOGY [bull. 110 variety of intervals than songs of other tribes, but progress down-ward by practically the same intervals.Table 13.?The average number of semitones in an interval issmaller than in any former group except the old Sioux songs in whichthe average was 2.89. In the comparatively modern Sioux songsthe average was 2.97. By this analysis it appears that the generaltrend of Yuman and Yaqui melody is by smaller intervals than inany other recorded tribe except the Sioux.Table 14.?Songs of directness and action have been found tobegin generally with an accented tone. In the Yuman and Yaquionly 49 per cent have this beginning, 51 per cent beginning on theunaccented portion of the measure. In songs previously analyzed58 per cent begin on the accented and 38 on the unaccented parts ofa measure, the remaining 4 per cent being transcribed in outline orwithout measure accents.Table 15.?The gentle smoothness of Yuman and Yaqui songsappears also in the rhythm of their opening measures, 71 per centbeginning in double time, contrasted with 56 per cent in songs pre-viously analyzed. The percentage of songs beginning in 3-4, 3-8,and 5-8 time is smaller than in other recorded tribes.Table 16.?The smooth flow of Yuman and Yaqui songs is furthershown in this table, 26 per cent of these songs containing no changeof measure length while only 15 per cent of songs previously analyzedwere without this irregularity of rhythm.Table 17.?The percentages in this table are consistent with thosein previous tables, 34 per cent of these songs containing no rhythmicunit, in contrast to 28 per cent in the songs previously analyzed.The songs containing one rhythmic unit are proportionately less thanin other songs but the songs containing two rhythmic units are morethan in the other tribes, comprising 16 per cent instead of 10 per cent.Reference to the tribal analysis on page 207 and a comparison of theserial numbers with the list of songs shows that six of the songs withtwo rhythmic units are concerning birds and animals, one is concern-ing the hunt, two are modern Yaqui songs, and the remainder aresongs of dances, apparently held for pleasure. These are the sourcesof the most rhythmic songs of the tribes under observation, thesmaller percentages reflecting the characteristics of the long cycles ofsongs.The rhythmic element of Yuman and Yaqui music is contained inthe accompaniment rather than in the songs. These rhythms areshown in Table 18, page 207, which is not carried forward in the totalanalysis. Six different rhythms occurred in the accompaniment ofmore than one song, and various interrupted rhythms are transcribedwith the melodies. DENSMORE] YUMAN AND YAQUI MUSIC 41CREMATIONIt is the belief of the Yuma, Cocopa, and Mohave that if a man'sbody is not cremated his spirit will " wander around and talk to itsrelatives in their dreams." The origin of this ancient custom is con-tained in traditions and series of songs which are similar in thesetribes.^" Cremation usually takes place less than 24 hours afterdeath. In former times a body was cremated in or near the dwellingof the family, but in 1912 the superintendent of the Yuma Reserva-tion, Mr. L. L. Odle, persuaded the people to have all the cremationsin one place, setting aside a tract of ground not far from the agency.After about 300 bodies had been cremated at this place it becameadvisable to select another, and a similar plat was assigned to thepurpose a little nearer the agency. Both places were visited by thewriter, and in neither place was there any evidence that the surfaceof the ground had been disturbed. The present plat (1922) is abouta quarter of a mile from the foot of the hill on which the agency islocated, and comprises about 2 or 3 acres. At one end of this tract ofland the bodies are cremated and at the other end is a space for theteams and horses of those who attend the cremations. In the middleof the space is a log house and near it is a " desert shelter," consistingof the usual thatched roof supported by logs. Under this is an oldspring bed, raised from the ground by corner posts about a foothigh. On this bed the body is laid before its cremation, beingbrought thither immediately after death occurs. The Yuma believethat the spirit remains in the body until cremation, when it departs.All the personal belongings of the deceased are burned, except thegarments needed for clothing the image if he is to be " honored " inthe Karok or Memorial ceremony. Animals were formerly sacrificedand money is still thrown into the fire, but the articles burned at thepresent time consist chiefly of clothing. Persons who have sufferedthe loss of friends throw articles of clothing or other valuables intothe flames, believing that the spirit in its departure will carry thesearticles to the spirits of their friends. An informant said : " We canreplace the clothing. It is a greater honor to give to the dead than tohang on to our personal belongings."The Yuma do not believe, however, that the spirit of the deadgoes at once to the spirit land. It is said to be too inexperienced andunaccustomed to its changed condition to travel at once, so it lingersfour days near the place where it has lived. Then it can " see itsway " and it goes to the wind quarters and then to the abode ofthe spirits. " Cf. Putnam, A Yuma Cremation, Amer. Auth., Vol. VIII, pp. 264-267. 42 BUREAU OF AMERICAN ETHNOLOGY [bull. llOThere is a difference in the form of cremation for chiefs and forunimportant members of the tribe. At the cremation of chiefs orprominent persons there is a certain ceremonial procedure, the songsof the origin legend are sung, and a very old rattle is used by theman in charge of the event. Frank Pasquale was a leader of thecremation and Karok in the early days, and Charles Wilson andChief Miguel sang with him as helpers, learning the songs in thatmanner. Miguel is dead and Wilson no longer takes an active partin the ceremonies, the songs being sung by his son, Joe Homer, whois blind, and his nephew. Bill Wilson. The songs, however, areunderstood to be the property of Charles Wilson.A set of cremation songs may contain only two or three songs,though the usual number is four. There are four sets of songs toeach half of the night, and four verses to each song. A peculiarityof the Karok songs is that they are sung through four times andthen ended at any point in the melody. A further peculiarity isthat the singing ends on a low tone which is prolonged in a nasal,humming sound.The rattle used at a cremation ceremony consists of a string ofdewclaws forming a loop which is held in the hand. Formerly itwas kept by George Chino, a prominent member of the tribe, whoreceived it from his grandfather. At present Joe Homer keeps thisrattle and used it in the ceremony witnessed by the writer. Thetradition concerning this rattle is as follows : In old times the Yumacame down from the north. On the journey they were hungry and adeer rushed out of the wilderness. The chief gathered his bravestogether and said, "Anyone who can get the deer will be honored."He sent out four men, one after another. The fourth man overtookthe deer on the run. He came alongside the deer and had a sharpinstrument with which he " hamstrung " the animal so that it fell.This saved the tribe from starvation.^^ A rattle was made of thefour dewclaws from this deer and they are supposed to be in therattle used at the present time. As long as the people could get dew-claws, they added one for each cremation. This continued untilthere were about 200. In recent years it has been impossible to getthese dewclaws, except that a few were brought from the north andadded in honor of Frank Pasquale, a chief who died a few years ago.The rattle is now so old that some of the claws are loose.The duration of a cremation ceremony depends upon circum-stances as well as upon the prominence of the person for whom itis held. An interesting example of this took place in 1921 in con-nection with the cremation of a young man named Lee Eainbow,who enlisted in the United States Army during the World War, ^ This Darratlve is given as nearly as possible in the words of the interpreter. UENSMORBJ YUMAN AND YAQUI MUSIC 43went to France, and is said to have been the first Indian who diedoverseas.^^ He was buried in France, but his body was later broughtto America and cremated on the reservation. There was ample timefor preparation, and the people sang every Saturday and Sundayfor several weeks and almost continuously for a week before thecremation. The informant said he remembered that the songs ofthe Human Being dance, the Mohave bird songs, and the Yumanbird songs were sung before Rainbow's cremation; also the cyclesof the Sun, the Frog, and the Raven, as well as Rainbow's personalsongs. Games were played at night. Sometimes three or fourgroups were singing at the same time, in the same house, each sing-ing a different song. Tlie latter was not done in the old days.The Cremation of Bernard FlameAn opportunity for witnessing this rite of the Yuma occurredon February 13, 1922, the writer being present at the cremationof Bernard Flame. The ceremony was given as it would have beengiven for a chief, because Bernard Flame had been a singer at cre-mations, singing with Joe Homer, Bill Wilson, and Miguel, whowere leaders of the ceremony. He had an understanding withHomer that whichever survived, the other should sing at his crema-tion a certain song beginning with the words, " The tomahawk says."These words are in the " old language " and a translation could notbe obtained. The promise w^as fulfilled at the cremation. A furtherclaim to honor was the man's Yuma name and the manner in whichhe received it. His Yuma name was Atcpa'mkivam, meaning " cap-tured ball." This name was given him when he won in a game resem-bling shinny except that the ball was buried in the ground about11/2 inches before the game began. This was a difficult game andthe victor was accorded high honors. The name was explained asfollows: The stick used in playing the game was called tcata's; thehall, about 1 inch in diameter, was called i'tcatas, and after theball had been brought out of the hole it was called a'tcapam, mean-ing " out of the hole." Four men played the game, two playingas partners. At first the four men stood around the hole in whichthe ball had been placed and tried to raise it with their sticks.When the ball had been brought to the surface of the ground thesuccessful man and his partner were obliged to defend it againsttheir opponents, all using their sticks. Retaining the ball con-stituted a victory and the captured (retained) ball was calledacpa'mkivam. i? The father of this young man, Nelson Rainbow by name, acted as one of the inter-preters during the writer's work among the Cocopa, translating that language imto Yuma,while Luke Homer, the Yuman interpreter, translated it into English. Rainbow alsorecorded two songs of the peon game (Nos. 124, 125). 44 BUREAU OF AMERICAN ETHNOLOGY [boll. 110Bernard Flame died in a sanatorium for the insane, where he hadbeen confined for seven years. When he began to act strangelythere was an effort to trace his condition to the action of somemedicine man, and " it made a great deal of trouble among thepeople." Later he was sent to the sanatorium. His condition wasnot believed to change his personality any more than an ordinaryillness would have done.The body arrived at Yuma by train on the evening of February12, and the wailing began at once. It was not unusual for wailing tobegin before death actually occurred. This wailing comprises everyaudible expression of passionate grief and is heart-rending to hear.That evening it was decided that they would sing four times duringthe night and four times w^iile the body lay in state the next morn-ing. The father of the dead man made four speeches, one w^hen thebody arrived, another before and another after midnight, and afourth at sunrise. In the first he talked of the infancy and child-hood of the deceased, in the second and third he told of his boyhoodand early manhood, and in the fourth speech he told of his son'smature life. It is the custom, when making these speeches for a manabout 40 years old, to divide his life into periods of about 10 yearseach, the speeches summarizing the events of his life according tothose periods. On the day of the cremation four ceremonial speechesw^ere made by the leaders of the ceremony, chief of whom was JoeHomer. (See p. 46.) One speech was made while the body lay instate, the second and third were in praise of his life and expressedsympathy for his family, and the fourth was made at the place ofcremation after the fire was lighted. This speech completed the man'shistory, told what he did to benefit the tribe, and was said to " takethe man on his Avay to the spirit land." These speeches were in the " old language." The following sentences were said to be part of thefinal speech, but their connection is uncertain: "If you happen totake the right road as I have done, you may at my age talk the lan-guage I have received from the old men." "Open the way for himso that he can travel right and enter the happy hunting ground."Joe Homer allowed a Cocopa to make this speech.The writer went to the cremation ground February 13 at about 11o'clock in the morning. The body was lying on the spring cot underthe shelter or shack, closely surrounded by relatives and friends.They sat on the cot close to the body and frequently took up thehands and fondled them as they wept. Others sat on the ground,often resting their head and arms on the body and wailing. Behindthem the people stood in a compact crowd. The father of the deadman sat on the ground at the foot of the cot in extreme grief. Thecrowd separated and allowed the writer to approach this primitivebier and see the body, which was dressed as usual except that a DBNSMORB] YUMAN AND YAQUI MUSIC 45handkerchief was tied over the face with a corner hanging looselyabove the chin. A handkerchief was tied over the hair and knottedabove the forehead, according to the Yuma custom. A pack of cardswas on the chest and a red blanket was under the body. Tears wereshed profusely by men and women, especially the men, both youngand old. There was much sobbing but not as much " artificial wail-ing " as in the afternoon, when shrill cries, high and penetrating,were heard. The writer shook hands with the people and distributedcigarettes. No preparations for the cremation could be seen at thattime. Figure 3.?Cremation crib (a) and pyre (&)At about 1 o'clock she returned and found a larger assemblagethan in the morning. One hundred persons were standing aroundthe body, facing toward it, and it seemed as though everyone weremaking a noise. On approaching the place it was seen that themourners were becoming exhausted, and during the next hour theshrill cries of the less personally interested men and women were themore in evidence.The place for the burning of the body had been prepared and waslocated perhaps 250 or 300 feet from the shelter. A shallow trenchhad been dug and the earth placed carefully at one side. Thisearth was about two bushels in quantity, showing that the trench 46 BUREAU OF AMERICAN ETHNOLOGY [bolc. 110was not deep. Above this a frame or crib was constructed ofCottonwood logs which had been concealed in the brush, so that themaking of the frame required only a short time. This frame wasmore than 10 feet long and consisted of a floor of logs slopingslightly toward the foot and to one side. Upright logs about 4feet high were at the head and horizontal logs to the same heightat the sides, secured by wire to upright posts. These were fartherapart at the top than next the floor of the structure. Outside weresmall branches of arrow weed, placed upright on the ground, slantingagainst the logs. (Fig. 4.) A short distance from this structurewere piled the additional logs that would be placed above the body.The ceremony began in the shelter where the body lay in state.Joe Homer and Bill Wilson took their places at the head of the body.Homer holding the dewclaw rattle. Chief Miguel, who formerlyshared this responsibility, had died a few years prior to this event.The manner of shaking the rattle at this time was " the highesthonor and done only for a chief or man of equal importance." Stand-ing back of the dead man, Homer lowered the rattle toward his facewith a trembling motion, raised it slowly with a gentle shaking, andthen brought it sharply downward with a motion like a blow. Thiswas done toward each point of the compass beginning with the north,though Homer did not change his position. (It will be recalledthat the spirit of the dead goes to the four windquarters beforegoing to the spirit land.) There was a pause between the repetitions,and one of the ceremonial speeches was made at this time. The bodywas then lifted on a blanket and the procession started toward thecrib, led by Homer and Bill Wilson. All the company followed inthis procession.Two stops or pauses were made on the way, one of these being cere-monial and the other for some arrangement of details. The body waslaid on the ground near the crib. Fully 200 persons were present,standing close together in the compact crowding which was noted inthe morning. Then followed an encircling of the crib, which was agreat honor and usually reserved for those who were to be honored inthe Karok or Memorial ceremony the next summer. This circlingbegan at the south, or foot of the crib, then moving to the east,north, and west, the group moving outside the body as it lay nearthe foot of the open crib. Four women walked backward, eachwaving a bundle of " presents " consisting of clothing, and four menwalked forward, one being Homer, who continued to shake the rattle.At this time they sang the second of two songs that had been sungunder the " shelter." A pause was made at each of the cardinalpoints where songs were sung that mentioned the wind quarters. Therhythm was marked by stamping the feet, and the action was the sameas in a dance at the Karok and in the Deer dance. When a dancer DBNSMOKE] YUMAF AND YAQUI MUSIC 47stamped his right foot he allowed his right hand to hang below hisknee, putting his left hand and arm behind him. This was reversedwhen he stamped the other foot.The wailing continued, one man sobbing as though physicallyexhausted. It was learned that they were waiting for a woman whowas expected from a distant village, and at last she appeared, walk-ing with a stout cane and repeating a high, shrill cry from time tolime as she crossed the cremation ground, her cotton mantle blownbackward by the motion of her walking. When she arrived the bodywas lifted on the blanket and laid on the log floor of the framework,the blanket being drawn smoothly over it and the man's personalbelongings placed beside him. The body was laid face downward,as it is the belief that if it is laid in any other position the spirit will " wander around." After it was in position the men in charge ofthis portion of the event brought the additional logs and laid themabove the body, extending the length of the structure. Many ofthese logs were slight!}' bent mid length, making a knee which wasplaced uppermost and protected the body from pressure. Songs weresung with the gourd rattle, one of these songs promising the deadman that he would be honored in the Karok, in the next summer.Cottonwood logs were piled higher than the top of the horizontalsides of the crib. The casket in which the body had been shippedwas taken from its box and placed on top of the logs and on it wereplaced gifts of clothing, handkerchiefs, and other articles. The ship-ping box was then placed on top of the pyre beside the coffin. A manwho carried a flaming bundle of branches then lit the arrow-weedstalks around the pyre, lighting them close to the ground in severalj:)laces. The flames rose quickly, the logs being ver}' dry. There wasmuch crackling but little smoke, the pyre being enveloped in a solidmass of flame. Women tore ofl' their dresses and threw them intothe fire. Some of these were silk dresses, having the full, long skirtworn by the Yuma women, with much trimming of white lace. Agood winter coat was among the garments thrown into the fire.During the first few minutes a young woman, waving her armsrhythmically, rushed near the flames as if in great grief.Within 10 minutes after the lighting of the fire the people werehitching up their teams to go away, and by the time the fire was outonly the mourners remained. This is the custom, leaving the familyalone as soon as possible. The ashes fell into the shallow trench,and the earth, which had been placed conveniently near, was quicldyreplaced, the ground was smoothed over, and all traces of the crema-tion obliterated. The writer visited the place about two hours aftera former cremation had taken place and the only persons to be seenwere three or four women, sitting with bowed heads. No trace of67183?32 5 48 BUREAU OF AMERICAN ETHNOLOGY [bull. 110the cremation was visible, but undoubtedly they were sitting aroundthe spot where the fire had burned.The mourners and singers must fast four days after a cremation,eating as little as possible and avoiding salt and lard. There is no " funeral feast " as among some tribes, either before or after the rite,and no food, tobacco, or cooking utensils are placed with the dead.The name of the dead is not spoken until the Karok, after which itis unspoken forever ; neither is the dead referred to in any manner.A Cremation IncidentThe following incident was related: A young woman sufferedfrom chronic dysentery and death was believed to occur. Prepara-tions were at once begun for her cremation, but she came to life andlater was able to tell her experiences. She was supposed to havedied late in the afternoon. All that night she believed herself in athicket of arrow weeds, without clothing. She could hear the crying,and distinguished the voice of her mother, and she could see her ownbody lying in the center of the open " shack." Whenever she lookedup she saw people passing her hiding place, and heard them refer toher by terms of relationship. They were on their way to her crema-tion. She stood there feeling sorry for her mother and not knowingwhat to do. Toward morning, after they had moved her body toanother shack, she ran over to another thicket and another until shecame close to the " crib " or cremation frame. The logs were greenand the place looked like a shelter from the sun. She went in andsat in the little space, looking toward the shack where her body lay.At last the time came when she knew they were going to movethe body and cremate it. Running as hard as she could run, shewent into the shack and lay down beside her own body, holding itso they could not move it. She held it close for a few momentsuntil it began to regain consciousness. When she revived she couldbarely hear the people crying. Her jaws were rigidly set, her upi^erlip was drawn back, showing her teeth, and her tongue was thrownback. She could hardly open her e3^es. She was stiff, but they helda mirror over her mouth and saw that life was returning, so theyhad the Indian doctors rub her body. They rubbed around hereyes and at last she opened her eyes and recognized people. Shecould scarcely speak at first, but by evening she could talk a little.She lived a normal life for some time and had no return of herillness.YUMAN LEGEND CONNECTED WITH CREMATIONCUSTOiAI AND MEMORIAL CEREMONYThe time required for a comjilcte narration of this legend, withthe singing of the songs, is about nine hours. Two versions of the DBNSMOBB] YUMAN AND YAQUI MUSIC 49 early portion of the story were recorded, one by Joe (Jose) Homer,the blind leader of the songs at cremations, and the other by PeterHammon, a recognized authority on old songs and customs. Bothversions Avere the subject of consultation with Charles Wilson (PL1 and pp. 100-129), the father of Joe Homer, who owns the songsused in the cremation and memorial ceremony. He explained somedetails and made slight additions to the narratives. Both inform-ants said the songs are always accompanied by beating on an invertedbasket with bundles of slender arrow weeds, Homer stating that twomen beat on the basket but only one sang the songs. The earlyportion of the story is presented in Homer's version.There were once two boys who were children of a bird calledwi'tsawits and also called tcowi'ts. It is a common bird with ayellow breast that comes in the spring. These boys were namedA'xtakwa'some' and Pu'kuhan (pronounced Po'kohan by the otherinformant). They went out to get material for making a flute. ^^One boy took the material in his hand and said, " The girls will loveme when I play this flute." This is expressed in the followingsong. No. 1. " I Will Make a Flute " (Catalogue No. 1238)Recorded by Job HomesJ = 93^S r lOT ii i> r^rr/r^ ^ Two other legends of the origin of the flute have been recorded by the writer, togetherwith their melodies. Among the Mandan the first flute was said to have been made froma sunflower stalls. It had magic power, but was not a courting instrument. (Bull. 80,pp. 80-84.) Among the Papago the first fiute was made of cane, and its maliing wasconnected with a story of two boys, similar to the legend here presented. (Bull. 90,pp. 54-77.) 50 BUREAU OF AMERICAN ETHNOLOGY [BOLL. 110Analysis.?This melody consists of three periods, the third beingu repetition of the first. On comparing it with the melodies playedon the flute, as transcribed from actual performances, we note asimilarity in the ascent to a sustained tone and in tlie ascent anddescent within two or three measures. The framework of this songconsists of the major third A flat-C, with G occurring only in thesecond period. No rhythmic unit occurs, although the melody isstrongly rhythmic in character.When the flute was finished he played on it, and the first melodyhe played is said to have been that of the following song. Thewords of the song, continuing the thread of the narrative, were asfollows: "I have the flute in my mouth. Anyone living far aw^aywill hear and come to listen."No. 2. " I Have Finished the Flute ' Recorded by Job Homeb lia^> t' V V ^^ (Catalogue No. 1239)#?(? ? ?0-m^ ^?5!X/r lli^^5=ffi^Analysis.?This is such a melody as a beginner might play on aninstrument. It contains many repetitions of a single tone and haslittle that is interesting in either melody or rhythm. The frame-work is the same as in the song next preceding except for theomission of B flat.These boys grew to manhood and each took two wives. Theyounger man died, and when the tribe Avas journeying toward theeast one of his wives bore a child. The life of this child was threat-ened by an old blind man, father of the younger man's Avives andan enemy of the flute players. This old man said that if the childwere a boy he would cook and eat him, but if it were a girl he wouldkeep her because she could help cook and bring water.'-^^ This por-tion of the narrative is contained in the words of the following song. --According to the later iuformant the child's life was similarly threatened by Itspatt-inal uncle, Coyote. OBNSMOBB] YUMAN AND YAQUI MUSICNo. 3. The Wonder-boy is Born Recorded by Joe Homek 51 (Catalogue No. 1240) J: 104Ml-i-^ F ? ?F I F 1 0._ ... (?mrm^rni0-^ 52 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110fourth and fifth measures and recurs occasionally during the melody.No accompaniment was recorded, but the rattle used with the songwas probably in the rhythm shown with No. 4, which conforms tothe rhythm in a phrase of the present melody.The mother of the child had as great medicine power as its enemy,so she caused the child's voice in crying to be that of a girl, thoughthe child was a boy. This saved its life.Both informants stated that the boy was named Mitpa'khumi ; that he desired to change this name ; and that he had a half brotherwhom he later met and recognized.At this point the work with Homer was discontined, and the re-mainder of the material, both story and song, was obtained from a manknown as Peter Haminon, whose Yuman name is Misahai'kwakiu'.He is considered a particularly good singer of the old songs, andaccording to his custom he brought with him two bundles of arrowweed for pounding on the basket as accompaniment to the songs.He said that he inlierited this series of songs and they belong to him.It takes all night for him to sing the entire series, and the people whoask him to sing the songs provide food at about midnight. As insimilar instances, the singer experienced difficulty in condensing thematerial and selecting typical songs. The series is not complete, butthe number is sufficient for present purposes. The words of thesongs were summarized by the singer before the song was recorded.These songs were called Ata'xamaili' and " were not sung veryloud."The first song recorded by Hammon is concerning the Wonder-boyon his journey. He stops occasionally and thinks of the name(Mitpa'khumi) that was given him by his paternal uncle Coyote,who was called Hatpa'akwa's. He is not satisfied with his name anddecides that he will select one " fitted to himself."No. 4. The Wonder-boy Decides to Change His Name(Catalogue No. 1213)Recorded by PETEat HammonVoice J z 104Rattle J r 104See rattle -rhytlim belowA 0-0-^ rrCric/pHrcri^'v^P=jC attle rhythm Lfij wzmKatrrrrrr HENSMORB] YITMAN AND YAQUI MUSIC 53Analysis.?Attention is here directed to the correspondence be-tween the idea and the form of the song which is evident through-out this group recorded by Hammon. In this song the child isstarting on his travels and is considering a change in his name.The latter is more common among Indians than among personsof the white race. The idea of the song is simple and the structureof the song is both simple and interesting. The first period beginswith a 4-measure phrase and the second with a 2-measure phrase,but the closing phrase is the same. In the 5-8 measure we find thebreak in the time which is so often introduced midway through anIndian song, adding to its interest. The melody tones are thoseof the major triad and sixth, and the song has a range of six tones.In repetitions of the song each section was sometimes sung twice.The rhythm of the drum is simple and the drum and voice weresynchronous.The next song states that as he traveled along he was satisfiedwith a certain name and said, " This day I will be known throughoutthe world as Po'kohan." ^^ In explanation of this name it was saidthat Po came from his ancestors and is in some way connected withCoyote, while he himself added the termination.No. 5. The Wonder-boy Selects a New Name(Catalogue No. 1214)Recorded by Peter HammonVoice J = iiaRattle ?) r liaBattle-rhythm similar to No.4A _l^ilLLdl ?=0 '\^uri[j^i^^? LJ ?a -4MT^4^g-?^-> 00 0'?f0 \i\ ^ r^SK m m ^ 54 BUREAU OF AMERICAN ETHNOLOGY [bcll. 110They are characterized by an ascent of a minor third to an accentedtone. The second period (B) contains only the tones F sharp andG sharp with continuous progression between these tones. Restsoccur after four measures until the 2-measure phrase in period Bwhich ends somewhat abruptly. The tone E occurs only in the con-nective measure between repetitions of the song.As the Wonder-boy continued his journey he came to the placewhere he was born. He found the house deserted and nothing buttracks of birds and snakes around the place. He entered the shackand stood there with his eyes closed and his hands over his eyes.He stood there for a whole hour. Then he took his hands from hiseyes and saw the garments and paraphernalia of his ancestors hang-ing on the wall. There were war bonnets, garments decorated withfeathers, and many similar articles, and he put them on and wentoutdoors and admired himself. Then he changed his mind and tookthe things back and hung them where he had found them. He keptone small article which was made of bamboo and called axta'kasa.He said, " This was used by my ancestors to enable them to go with-out water for a long time. I will take it. as I shall need it on mytravels."' He took another article called ha'punor, saying, "I willneed this also on my wanderings. It will enable me to go withoutfood." This article was a belt to be worn around the waist. Hetook also a war bonnet, saying, "I will wear this to keep the sun offmy head in my travels." He also took a fourth article, which wasa bag. hung over his shoulder. He went out of the shack carryingthese four articles.As he traveled on and on he had in his mind only one desire, andthat was to see some of his ancestors. After going quite a distancehe stopped and made a fire, then he turned around and put wateron it, putting it out. He piled up the hot, wet ashes, ran his handthrough them, and brought up his father, who had died before theboy's birth. The features did not look like those of a human being,but the boy recognized his father. Then his father spoke and said. " I am glad to see you. my son, but you must remember that mybones, such as my shins, are being used by other people as shinnysticks, and that the man who killed me has caused me to inhalenothing but this dust so that I would become dry and could not bebrought to life again."The boy said, "All right, father. Although I have the power tobring you back to life again, I will not do it. This shall be anexample throughout all future years." ^* ?? If the boy had restored his father to life it would have been possible for every humanbeing to be restored to life by medicine power. DENSMOBB] YUMAN AND YAQUI MUSIC 55After the boy said this he put his father back into the asheswhence he had come. This is narrated in the following song : No. 6. The Wonder-boy and His Father (a)(Catalogue No. 1215)Recorded by Petbie HammonVoice J = 113Rattle J r 113Rattle -rhythm similar to No. 4Ay'- ?i i ^:? Lmtnm^^^^^^^n Analysis.?This song may be characterized as exclamatory. Itcontains many short phrases and short rests which were clearly given.The slower tempo of the third period is interesting, also the fact thatthe period, or section, is entirely on one tone. We note that thewords of the song relate the action of the boy in bringing up hisfather from the ashes and returning him thither. Ascending anddescending intervals are equal in number and almost half the inter-vals are fourths. Next in frequency is the minor third, and thesong contains only one progression of a whole tone. Thus the pro-gressions are larger than in a majority of songs of this group.The boy traveled on, but he was not satisfied. He said that if hecould only bring back his father once more and talk with him againhe would be entirely satisfied. So he brought back his father a sec-ond time, and they wept in each other's arms. After the boy hadbeen with his father a length of time he was satisfied. Then hisfather said, " During my life I stored a quantity of dried deer meatand other provisions. They are at a certain mountain (named).You are to go there, take everything that I stored, and use it asfood on your travels." 56 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110The boy replied, " No. What you did and what you wore andwhat you stored away I do not want to take. I have my own powerto go about and provide for myself." So he sent his father back,with dust and clouds and thunders roaring, going down into theearth forever.The next story is concerning the second restoration of the boy'sfather. Other songs of this part of the series were not recorded. J-. 138 No. 7. The Wonder-boy and His Father (b)(Catalogue No. 1216)Recorded by Petee Hammon ! '>%''!> ^? Of l |:CrvplC/vPlP^C;lL/vPlC/vg IIBattle J />777 i^7'77 i^vJ^V J^777 J'VVVn}> ?! h^t't ii ^r/rji^^cnrrr/E^^^J>777j J^7j)7i^7il7 7 i> 7 7 J^777j^7 Analysis.?The rhythm of the rattle is more irregular in this thanin the song next preceding, and the song opens in the same agitatedmanner, but the second period (B) is calm and restful, suggestingthe boy's resignation to the final departure of his father. Thisperiod contains only progressions of a whole tone. The rhythm ofthe rattle was uniform throughout the renditions of the song.After sending his father away the second time the boy traveled onwith no particular objective and finally arrived at the ColoradoRiver. He traveled southward to see if he would come to a narrowplace where he could cross the river. Finding none, he turnedtoward the north. He stopped and looked at the river with wonder.He saw a piece of petrified wood and wrapped up his few belongingsand started across the river on the wood. Finding this was not likeother wood but was sinking, he tried to hold it up, but just as hewas about to drown he was caught by a whirlpool and carried tothe other edge of the river. After getting out of the water andputting on his clothes he took one step and was on top of the moun-tain called Avi'makxe'k, which is between Pika'tco and the presenttown of Parker. After standing there quite a length of time he DENSMORE] YUMAN AND YAQUI MUSIC 57wondered whether his uncle Hatpa'akwa's (Coyote) meant whathe said when he told him, " In your travels through deserts andunknown lands if you should happen to swallow your saliva youwill become lost in your wanderings." While at this mountain thesaying of his uncle came repeatedly to his mind, though he knewwhere he was and knew the name of the mountain. He said it washis country and that the mountain belonged to him. (The songcontaining this was not transcribed.)Then he thought about another place similar to the place wherehe was. He thought of going there and staying a night, but hechanged his mind and thought of another place to the west. Hedecided to go to this place and started to run down the mountain.Immediately he was at that place, admiring the mountain calledCelai't. This narrative is contained in the following song:No. 8. The Wonder-boy on the Mountain i>=. (Catalogue No. 1217)84A Recorded by Peter HammonV'b wrrrai wjitrrrr irrrrrwnn rrmDrum J^ 7 i>7 7 h h y 7 7 J ' 7 7m^-i ^ wn^^-^^tmrrn-nrri^mm:^i ^ i -! i ^ V y hy ^^h 7 i>77 J)7J^B^=b,^rr7^ii-,!^4Tej'rii;^rr^P |!fHHH^-?f^J^77 J^77j)77 7j)77 J^77j^7j>l^iaxi^oiii/i-cj!rrv/ i crrrjj'i^77i^7 J>77j^77-J)7j^77j^ 1 ^ ^ ^ ^ 'rHUU-^mnntTTt ituxm.77j^777 J>77ii7ii 77j^7j)77i)7iiyhrrr^^iriT^wnnr^urr^^.wrn n77j>77 J^7 -^7 7 J^7j^77j) 7 J)7 7 ^H 58 BUREAU OF AMERICAN ETHNOLOGY [bull. 110Analysis.?The uneven rhythm of the drum was maintained inall renditions of this soii<;, indicatin<]j tliat the drum conformed to themelody instead of being an independent rhythm. This is noted inmany songs herewith presented and is contrasted to the songs ofmany tribes previously recorded in which the drum was an independ-ent expression, having its own tempo and rhythm. The peculiarmeasure lengths of this song were also found in all the renditions.This begins and ends on F, which is the middle tone of its compass.It contains only two intervals larger than a minor third, and about73 per cent of the intervals are whole tones.As he stood there he thought that if he started from there andw^ent toward Pika'tco, it would be a short cut for him to go throughthe present site of Yuma and to a certain lake. Then he thoughtof another place on the east side of the river and decided to go there.He started east toward this place. Finally he came to a place nowcalled Avi'apsiii. Then he said, addressing the place, " If I wereto call you by a word in my language I would call you Aw'i'apsi,but wdien the coming generations name you they will call youAvi'apsifi." (This song has the same melody as the preceding andwas not transcribed.)After naming this mountain the boy stood there and thought ofanother place Avhere he wanted to go, because he was not satisfiedwith any of these places. He traveled on until he came to a placecalled A'matiya', meaning Earth-mouth. DHNSMORB] YUMAN AND YAQUI MUSIC 59No. 9. The Wonder-boy on His Travels(Catalogue No. 1218)Kecordecl by Peter HammonVoice J = 108Rattle J = 108Rattle -rhythm similar to No.4A nu ^pir rrriL,rrjicjp?Mr^iJ ^ J J J J J J J ^fi" 13?' it'l. vl^ ftrrg^nr vptft^sJ J J J J J i J iAnalysis.?This song contains the exclamatory phrases similar tothose noted in Nos. 6 and 10. The song has a compass of five tones,the lowest of which is the keynote, but the song begins and ends onthe middle tone of the compass. The period B is entirely on onetone, and the melody progresses entirely by major and minor thirds.The drum is in continuous quarter notes except that the beat on thefinal count of a measure is sometimes omitted.He started again on his travels and came to a big " wash " and hetraveled in that until he came to a narrow place. There he heard alow sound that still was loud. He lay and watched until this soundcame up to him and he found it was made by a wild cat. He calledthe name of the wild cat, Naxme', and said that its body was stripedand its eyes shone. This was the first naming of the animal.67183?32 6 64 BUEEAU OF AMERICAN ETHNOLOGY [bull. 110No. 13. Song Concerning the Wild Cat(Catalogue No. 1222)Recorded by Peter HammonJ r 100A^ ^Lff \ni!Ui!n u: ^t n i\ ^- P^SDrum -S i>V J>7vi^7J> 7-^vJ)7 JlVvJ^vJ^M^?fiCirr urrrn iis^rrr ii^ r^^^J)^ i)7 J^ V 7 J' 7 V h :^ 7 7 ?^7 J^ 7J^7-^7 ?^7 7?^J^7 7^*7-^7 i?7 i^7 ^7^ /'me1}v-ff^7 ?pr ir L/ i rjc7V J)^ J>7J'7 1 i' V i> ilvJ>7 JlvvJ"i.^^-fMrr ir [/irrr/ir r./iii!fL;c:r[/:ii77 J^7i^7J^7 7i^*/V J^7-^7 J^77-^7^Analysis.?A song concerning a wild cat lias not previously beenrecorded and we look for some peculiarity of rhythm or melody.The drum was clearly audible, and its irregular rhythm is tran-scribed as it occurred in all the renditions. A 5-8 measure appearsfour times in the first period, always on the same tone. These fea-tures are somewhat unusual. The second period is different inrhj'thm and less active in its melody progressions. The melody tonesare of the minor triad and fourth and the song has a compass of fivetones.Farther on he met a little humming bird and it was making itsown sound. It sounded as though there were more than one. Whenthe sound came nearer he saw that it was nothing but a little hum-ming bird, so he stood there and gave it the name of Nakui'x. It isinteresting to note the humming, monotonous form of the next song. DEX SMORE] J.-, YUMAN" AND YAQUI MUSIC 65No. 14. Song Concerning the Humming Bird(Catalogue No. 1223)Recorded by Peter Hammon26 '>-\}--iir^ni \ nr:r\r r^[if\nrr\viri^Drum }^ i^n i>1 ^y^ y^ hii'V hi^^ m i win^ r7ii^r^i>7 i -^7 ^ ^u i>7 ^ J)' J:104VM>i;rv^s;Fr i rr??;c^frir7rr_f ii ^r ^^frffi>ti i'v .-i'H y^ JivJ ii^ hi hh ?H rSi r u [T JBZK 0-0- m4^g ^7 ^ J : 126 7 7 7 7 7 ^ J)'V'-^'-^CJ'v.-P^ir^rj i r ^pcy i r^rni ^7 ^ i)7^ J>7 J^7 ^ J'^ V i^7i^ i>7yT^7^i^gf]^tllil^ F-PF /r i r i i ii!r:rra^7 >v J J>7 J Jiv J; j\ J Ji5 .v-i.''?r^i iK7,-pp7 i rr?g![i:r ir^ ^ ;") J>,J J17 Jin J17 iivj; -^7 J"?? ' Analysis.?The peculiar sound made by a humming bird is sug-gested by this melody, the semitone, which is somewhat unusual inIndian songs, comprising about one-third of tlie progressions. Nointerval larger than a minor third occurs in the song. The change oftempo in the second period is interesting and was given in all therenditions. The drum beat is somewhat irregular. Cf . No. 76, whichis also concerning a humming bird. 66 BUREAU OF AMERICAN ETHNOLOGY [boll. 110He joiinicyed fartlier and lieard another sound. It came from aninsect (horsefly) which he named Huaii'. This little insect was in aplant called a mountain star and the boy did not see the insect, buthe heard a stran^je. loud sound comin p i^r^it CJ'CJ' i ?f^ l ^ffir r ILT # ? 0-^m D? )?? F '* ? ? ^ ^^ #? F v-?ijji [j:;ir_ii^-p> i r r i cjcrir ^ lEfp^iiRattle-rhytkntiJIJIJIAnalysis.?This melody is classified as irregular in tonality. Inorder to indicate the tones which were sung by the Indian the songis transcribed with a signature of five sharps. It will be noted thatthe tone B does not occur, the melody tones being D sharp, E, Fsharp, and G sharp. There is a plaintive effect in the frequencyof semitones which is somewhat unusual in these songs, comprising19 of the 26 intervals. The rests were given uniformly in all therenditions. The rhythm of the rattle was different from that in thepreceding song and was maintained with clearness.The interpreter said, "When he shakes the rattle down it is thesignal for the women singers to begin. The people dance moderatelywhile the men are singing, but at the change to the women singersthe leader says, 'Dance harder. Do your very best.' So they alldance harder." 70 BUREAU OF AMERICAN ETHNOLOGY [bull. 110No. 17. Corn Dance Song (c) (Catalogue No. 1233) Recorded by KatcobaVoice J : 93Rattle J : 93See rattle-rhythm belowAill(1} . (1) T rm. n rill^?it ^cj' i cJ^ir Mtirc^icj^'g'ir ^ ^ft 1 fill 1 rB(3)rtt [/ cjij^^ -y^ i f Mg:^^^^iHr?j I ^ I (3):iMk [Ij'Clf Iq/^ PIT' MrjtTIC/^PH^^ I |i3) ^ Rattle -rhythm Analysis.?This song contains the tones C sharp, D sharp, E, Fsharp, and G sharp, and progresses chiefly by minor thirds. Thesound of the rattle was synchronous with the voice and occurred onlyon the first of the measure. As in all songs of this group, the restswere given with much distinctness. Period B consists of fourphrases, the second of which is similar to phrases in A, while othersdiffer slightly in rhythm. Each period of the song was repeatedseveral times.The next song mentions the clouds of dust that arise as the peopledance. DBNSMORE] YTJMAN AND YAQUI MUSICNo. 18. Corn Dance Song (d) Recorded by Katcora 71 (Catalogue No. 1234) Voice J = 96Rattle J = 96Rattle -rhythm similar to No, 15A I 1 I ? 21tt B[j' \^-f WIM. m me* mzw nh Ef i fl r / i cr rT r "I Brt ? ! ?;? i i cr-E^ig/' r "ua mAnalysis.?The manner of singing this song was marked by pre-cision and a decided accent. The keynote is regarded as E, and thesong contains all the tones of the octave except the third and seventh.The period marked A was sung six times, followed by B sung once,after which A was sung four times, followed by B and C. The onlydifferences in the repetitions was that in the sixth repetition of Athe last two measures were omitted, which may have been due to thelength of the words. While the rattle could not be distinguished inevery measure, it appears to be in the rhythm indicated. Aboutthree-fourths of the progressions are whole tones.The words of the final song state that the people are dancing aroundin a circle. 72 BITBEAU OF AMERICAN ETHNOLOGY [bull. 110No. 19. Com Dance Song (e) (Catalogue No. 1235)Recorded by KatcoraVoice J = 100Rattle J = 100Rattle-rhythm similar to No. 15A 'nVt'fijWf^iJ iJir p Hn r n r^f^, 'f ' p -f?p-^ --pr"^ f f ^ p-'^-f* m ^ -'-f-^ UENSMORE] YUMAN AND YAQUI MUSIC 73 orated, in the Karok. Like the Akil, it ends four days before thebeginning of the Karok. The instrument used to accompany thesongs is the " spice-box rattle," consisting of a small tin box contain-ing BB shot and pierced with a stick which serves as a handle. Thisrattle is used with no other songs. The singers are usually 6 to 10 innumber and sit on a long bench. (Fig. 4, c.) The leading singerhas the loudest rattle?not the largest but the one containing the mostshot. He sits in the middle of the row and his two best assistantsare seated one on each side. The other singers are known as " help-ers." The dancers move in two ellipitical paths in front of the sing-ers. The men dance nearest to the singers and move face forward.The women move sidewise, facing the singers continuously. (Fig.4, a, h.) The number of women dancers is usually larger than the ^- T.lJ.T.I.t. .f_J.l J.l.t>' ,, * * * * * ^_ C m ? m ? * * ? ? ? ? CFigure 4.?Diagram of Human Being Dancenumber of men. The dance is so lively that the dancers are said tohave both feet off the ground at the same time, leaping into the air.When this dance precedes a Karok it is the present custom tobegin the dance about noon and continue for two or three hours.When the leading singer sees that all the people expected at thegathering have arrived he begins a certain song. This is the signalfor the dance to cease. The women then begin to wail and the wholecompany begins to cry. This is continued during the entire day,and at its close the speaker announces that the Karok will begin infour days.YUMA MEMORIAL CEREMONY (I^ROK)The annual observance of this ceremony is continued by the Yumaat the present time (1922). In some respects the ceremony resemblesthe Chippewa "restoration of the mourners" and the Sioux cere- 74 BUREAU OF AMERICAN ETHNOLOGY [bull. 110 moiiy of " releasing the spirit." -? It terminates the period of mourn-ing, and the preparations occupy the attention of the family andfriends of the deceased during the early months of their bereavement.The phase of the ceremony peculiar to the Yuma is the public burn-ing of "images" of the deceased persons, after which the dead arenever mentioned. There is considerable expense connected with themaking of the images and the gifts to the dead, which debars someof the poorer members of the tribe.The decision that the deceased shall be represented in the Karokis made at the time of a cremation. Relatives of the deceased thenreserve part of his clothing to be placed on the image that is to beburned. Some time before the Karok a meeting is held and eachperson brings a gift of clothing to be put on the image. They allwail and cry as at a cremation. One man is appointed to keep allthis clothing, which he takes home and locks in a trunk. The manassuming this responsibility must go without salt or lard for fourdays and bathe every morning, in order that the spirits of the deadmay not trouble him.Certain materials used in the Karok, such as native paint or eaglefeathers, must be obtained from the vicinity of Needles or Parker,and a messenger is sent to obtain them. This costs two or threehorses and a quantity of beadwork or other goods. The messengerannounces the Karok to persons living in that vicinity and tells thetime of the ceremony, so they can attend if they wish to do so.The images used in the Karok are made to look as much aspossible like the persons they represent, both men and women. Thework is done by men who are experts and are not paid for theirservices. One mourner usually provides several images. Thus if aman intends to take part in the Karok by providing the image of aparent, he is required to provide also the image of another adultrelative who has died recently, and if he can afford it he is expectedto provide many other images.In his preparation for making the image a man skilled in the artwill go to the relatives and ask how the deceased was accustomed topaint his or her face, and to make any other inquiries that willassist him in securing a likeness. The images are almost life-size.At the present time the framework for the body is made of a board,but in the old days the entire figure was made of cottonwood. Thefoundation for the head is made of a section of willow log which ismade smaller for the neck and attached to a thick board, of sucha length as to make the image approximately the height of the personwhen in life. Projecting crosspieces for the shoulders and hips are ?Cf. Bull. 53, pp. 153-162 and Bull. 61, pp. 81 to 84. CHNSMOKE] YUMAN AND YAQUI MUSIC 75 attached to the board (Fig. 5.) This much of the work of pre-paring the image is done before the time of the ceremony.The Human Being dance, ending four days before the Karok,is so timed that the Karok will begin on the day when the moonrises as the sun sets. As the Karok lasts four days, this will givethe light of the full moon for the dance and ceremony of the finalday. Thus if the Human Being dance ends on Monday, the Karokbegins on Thursday, terminating on Sunday night, the ceremonyincluding the dawn of Monday. With this sequence of days the rela-tives of the persons to be honored w^ould gather on Wednesday andthe shack for the lamentations would be built on Thursday. Thisshack was made of green willows and under it thecrying would continue for four days and nights.The entire company would have gathered by Fri-day night or early Saturday morning. The eventof Saturday was the building of the shack wherethe ceremony would be held. This was made ofvery dry arrow weed and dry poles. There wasa prescribed manner for gathering this material.The persons going to secure it W'Cnt together for acertain distance, then separated into two groups,one going one way and the other going another, butboth traveling toward the east. About noon theymet at the place where they had separated and re-turned together, bringing the material. Then theywent back to the green willow shack. Certain menbuilt the ceremonial shack in the afternoon. Thiswas oblong in shape, the length extending northand south. (Fig. 6.) They rested that night andwent into the ceremonial shack early Sunday morning.During Saturday night the preparation of the images was com-pleted, This was done in a very secluded place, perhaps a milefrom the place where the ceremony was to be held. The makingof the framework has been already described. The final work con-sisted in the modeling and painting of the face, the placing of thehair, and the clothing of the image. The round wooden ball whichformed the framework of the head was covered with a reddish gummade by boiling the root of arrow weed and mashing it. This wasmodeled while warm and made to represent as nearly as possiblethe features of the deceased person. It is said that a striking re-semblance was often attained. A hole was made in the top of thehead, the hair was inserted and brought down around the face,which was painted in accordance with the custom of the personwhen in life. Figure 5.?Framefor image iumemorial cere-mony 76 BUREAU OF AMERICAN ETHNOLOGY ibull. 110On Sunday morning the relatives of the persons to be honored andall the company are gathered in the green willow shack, and theimages are brought thither from the east, usually a distance of ?about 100 yards. Each image is brought by a " carrier," who holdsthe image in front of him, grasping it with both hands by the cross-bar at its hips. They " dance " the images up and down as theyadvance. In front of the images are the singers walking in a line,and the speaker is usually at the right of this line of singers. Thestrange procession pauses at four places on its way to the shack, andthe speaker makes a speech in the " secret language." This is aformal speech, repeated by rote, and mentions the " wind directions."After each speech the singing is resumed, the images are " danced,"and the procession moves forward.-^ During this time the relativesare facing the east, crying and lamenting.The images are brought into the shack, the carriers " stand themin a row " in the middle of the shack, cover them with a sheet, andgo away. The relatives then stand, each near the image of his orher dear one, and cry the rest of the day. For a little time theyhave looked upon familiar features and garments, now concealed bythe white cloth. In a few hours they will see all this consigned tothe flames, and forever after they will be forbidden to mention or toweep for the dead. All the memories of the cremation crowd uponthem. It is a drama of primitive intensity. During this day theretakes place an enactment of scenes associated with the warpath. Cer-tain persons have been asked to take charge of this and are selectedfrom among the older members of the tribe. They are divided intotwo parties, one representing the Yuma and the other the enemy.They enact the scouting and trailing of the enemy and a " shambattle."On Sunday evening, just after sunset, a ceremony is begun pre-liminary to the burning of the images, which takes place early thenext morning. The singers take their places in the shack, standingin three lines which extend north and south. The leader is at thecenter of the middle line with one helper at each side. (Fig. 6.)There are about 10 men in this line and they face the east. Anotherline of about the same length stands fronting them and thus facesthe west. Back of the line in which the leader stands are an indefi-nite number of singers also in a line facing east. These comprisethe younger singers. When the singers sit down they sit on theirheels, rising at a signal from the leader who holds the rattle. JoeHomer is in charge of the ceremony at the present time. Althoughhe is blind he has such a clear mental perception of the tempo of thesongs and the proper length of time between each song that, at a " Luke Homer, the writer's interpreter, has acted as a carrier of the images. DENS MORE] YUMAN AND YAQUI MUSIC 77 recent ceremony, he led the songs beginning at sunset and concludedthem within five minutes of 12 o'clock. He received these songs fromhis father, Charles Wilson (pi. 1), who recorded many for the pres-ent work (Nos. 20-26, 40-56). Wilson said that the Creator com-manded the Yuma to have this ceremony and gave them the songs,which they still use. The meaning of the words has been forgotten,but the order of the songs is preserved and the words are repeated byrote. As stated elsewhere, no group of these songs contains more thanfour and some contain only two or three songs. Each must be sungfour times, after which the leader may end the singing at any desiredtime. These are the only songs ended in this manner. A furtherpeculiarity of these songs is the prolonging of the final tone in anasal humming sound. These songs, like those of the Akil, are inpairs. The three songs next following were sung at about midnightand the next two songs constitute a pair.No. 20. Memorial Ceremony Song (a)(Catalogue No. 1189)Recorded by Chakles WilsonJ = 11Irregular in tonality 'y-ri \\ --r I'rr ii ^^ r- ii ^'r rr i iif ^^^yj' j- p i^r i ij Mi^cjr I ^ ^ur "?e ^^^^ f icr^N ricriJ^mc: 113 ^i f^Anahjsis.?This is the first of a series of seven songs whichappear to be based upon successive intervals rather than upon arelation of the tones to a keynote. This song is classified as irregularin tonality. The signature of two flats indicates the pitch of certaintones, but does not imply an established key. A descending fourthis used effectively in many of these songs. The tones of the presentmelody are D, E, F, suggesting the key of D minor ; a few measures 78 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110later, hoAvever, the melody descends to B flat and the remainder ofthe melody consists of the tones B flat and D. The change of tempois unusual and interesting, with the return to the original tempo at C.The final section of the song is characterized by quarter notes.Ascending and descending intervals are equal in number and consistchiefly of major thirds, this interval constituting 67 per cent of theentire number of intervals.No. 21. Memorial Ceremony Song (b)(Catalogue No. 1190)Recorded by Charles Wilson104 ^>^^i!" 1 r nfw^^^^^^^^ ^^^yrrr i irrfflfrf #? ^ ^^ ^M^tf-iM^=j=iri^pirfYn^ vi^f^^ !?fe_JJsm^^v l^J-4^^ fTfTf "^"nf^iATwlysis.?The principal intervals in this song are the minorthirds F sharp-A and C sharp-E. Tlie tone B in the seventh andfourteenth measures seems to have little relation to the rest of thesong. There is something strangelj^ impressive in the short, monot-onous phrases of the latter part of the song and the ascent to thefinal tone, which is prolonged to a length of four measures. DENSMORB] YUMAN AND YAQUI MUSIC 79No. 22. Memorial Ceremony Song (c)(Catalogue No. 1191)Recorded by Charles WilsonJ = 100 1 1 <1 r\,,?1?i ^ _ ? 1 &-! 1 1 in 80 BUREAU OF AMERICAN ETHNOLOGY [bdll. IKiNo. 23. Memorial Ceremony Song (d)(Catalogue No, 1192)Recorded by Chaeles Wilsonlis *l.|Ir v^ > ""^~7'~ k-K_B _?_? c ? m- ?-^-' ?. *-"-^-e? DBNSMORE] YUMAN" AND YAQUI MUSICNo. 24. Memorial Ceremony Song (e) 81(Catalogue No. 1:193)Recorded by Chaeles WilsonJ - 10?^M ' \ m ? f^ W \m ? \ 0- ^^ -to40h ? DENSMORB] YUMAN AND YAQUI MUSIC 85ing toward the east. The images are in the front row on either side,back of them are the relatives carrying the gifts to be burned withthe images, and the people are in the rear. The shack is then set onfire. Four songs are sung, which conclude the singing. Immedi-ately afterwards the archers shoot the four arrows into the shield,rush forward, snatch the shield from its place and throw it into theblazing shack. Then they run down the aisle of people toward abody of water and jump into it. These men wear no clothing exceptthe breechcloth and their faces are painted black and white, each in asolid color except that the men painted white have a black spot oneach eyelid. It is required that they go down four times beforecoming out of the water. The desert nights are cold and this featis undertaken only by men who have such " medicine power " thatneither heat nor cold can harm them.When this has been done a certain man directs the carriers to takethe images straight south to where a pile or " nest " of dry arrowweed has been prepared. The images are laid on the arrow weedface downward, as the body is laid for cremation, and the arrowweed is lighted by the same man who lights the fire at a cremation.The relatives circle around the fire, wailing and throwing gifts intothe flames, it being the belief that these gifts go to the dead.All the people go home directly after the Karok. The relativesof persons who have been honored (by the burning of their images),and also the leaders of the ceremony, eat very little food for fourdays and abstain from lard and salt. In describing the Karok itwas said, " This was an example to the world that it would be inimages that the dead would come back. It will not be the wholeperson that comes back. The first coming back will be at the timeof the cremation, the second will be in images at the Karok, but itcan be only twice that the dead come back. When they go awayafter the Karok it is forever."COCOPA CREMATION LEGENDThe translation of this legend and the words of the songs was madepossible by the cooperation of two interpreters. Nelson Rainbowtranslating the Cocopa into Yuma and Luke Homer translating theYuma into English. This series of songs is called Sa'wi (Cocopa),meaning buzzard, the Yuma term being Sa'wi. Only one Cocopaknows these songs, and he, after some persuasion, consented to singthem. This singer (pi. 27, &) is known by the English name Clam andis called Axlu'm by the Cocopa, this being a mispronunciation of theword " clam." He said that he received this name when he lived bythe sea in Mexico. The Cocopa songs were recorded near Somerton,in the extreme southwestern portion of Arizona, where a few Cocopa 86 BUREAU OF AMERICAN ETHNOLOGY [boll. 110from Mexico were living but were not 3'et enrolled as United StatesIndians. These songs were accompanied by the shaking of a gourdrattle and the words were in an obsolete language. The meaningwas known to the singer and the words are given in approximatelythe words of the interpreter.In explanation of the songs it was said that in the beginning therewere two beings who rose from the bottom of the earth. One causedlight and created human beings and the other was destructive. Thepresent series of songs relates to the death ^^ and cremation of thesecond, who will be referred to as Superman. The Cocopa term isMe'sipa, which is used in no other connection. The Yuma term isKoma'stamho. After his death some of the people changed intobirds and animals, but the next generation was composed entirely ofhuman beings.Each song in this group is preceded by the singer's description.This can scarcely be considered as a translation but indicates thecontent of the words.The next song states that although the Superman was in a seriouscondition he would not admit that he was sick. His children, whosurrounded him, said they would try again and ask him of hiscondition. *^ " This concept of the dying god and of the mourning for him is universal amongYumans and Shoshoneans and is probably the dominant and most poignantly felt motiveof every mythology in southern California. Its analogue in the Aztec Quetzalcoatl storyhas already been commented upon, but it is important that no parallel is known amongthe Pueblos or any true southwestern people. There may have been connections with thecentral and south Mexican ftory througli Sonora. But except for dim suggestions, thedevelopment of the idea is probably local. All the Californians make much of the originof death. . . . Certrun considerations indicate that the dying god concept developed insouthern California proper, where its ritualistic counterpart also has its seat, and inclinesthe balance toward a Shoshonean rather than a Yuman origin for the idea and its prin-cipal associations." (Kroeber, Handbook of Indians of California, Bull. 78, Bur. Amer.Ethn., p. 790.) UBNSMOKB] YUMAN AND YAQUI MUSICNo. 27. The Illness of the Superman 87(Catalogue No. 1256)Recorded by ClamVoice J : 80Rattle J = 80See rattle -rhytliin below .*n^rc; i rF?pi i:a?/ir g^p mm 0-p- #-)?rmrinri:3=5^ ax i c/L/ i r ;;?p i [LrcJi g^p?p ^g= 88 BUREAU OP AMERICAN ETHNOLOGY [bull. HuNo. 28. The Superman Sets an Example(Catalogue No. 1257)Recorded by ClamVoice J : 93Rattle J : 93Rattle-rhythm similar to No. 37v^i,ni:Lr^r | [.,rfe E? -I ry\ Li Li iu LJ i i is\u IV ^a3 ititt n rit IP Iff- \m I < ^ B* Aiialysis.?This song progresses chiefly by fourths and semitones,the former being 15 and the latter 14 in number. They occur withequal frequency in ascending and descending progression. Otherintervals are minor thirds and major seconds which also are aboutequal in ascending and descending order, yet the melody is far frombeing monotonous. Attention is directed to the peculiar phrasing inthe seventh to the tenth measures. The first portion of the song (10measures) was sung three times before the singer proceeded to theremainder of the song. The rattle occasionally omitted one strokeat the end of a measure, resuming with a sharp accent on the first ofthe succeeding measure.When it was evident that the Superman was growing rapidly worsehis children said, " You are passing away. Your eyes show that youare growing weaker and yet you do not seem to hear what we aresaying. We still ask and beg you to speak to us for the last time." DBNSMORE] YUMAN AND YAQUI MUSIC 89No. 29. The Superman Grows Weaker(Catalogue No. 1258)Recorded by ClamVoice J r 88Rattle J r b8Rattle - rhythm similar to No. a?lJMji^rJ^|l^^-r i trrrirrr.?r.irr^^S li \ h- I- i wltZLU Analysis.?This melody lies chiefly below the keynote, which is anunusual formation in the songs under analysis. The only tone higherthan the keynote occurs in the opening measures. The song is char-acterized by a gliding of the voice on descending intervals followedby a rest, the glissando extending below the transcribed tone andgradually trailing into silence. More than half the intervals arewhole tones.A song not transcribed stated that his children continued tobeseech him, saying that he seemed to like the ground on which helay (had no inclination to rise from the ground), and this was a signthat a person would soon pass away. Another song stated that abug tried to ease him by digging into the ground and bringing upcool sand which it placed on his breast, but this had no effect.Finally the Superman spoke and said, "I love you, my children,so much that I do not wish to speak, and at the same time I feel asthough I were sleepy and could never have any life in me again." 90 BUItEAU or AMERICAN ETHNOLOGYNo. 30. The Superman SpeaksRecorded by Clam [BULL 110 (Catalogue No. 1259)Voice J r 88Rattle J r 88Rattle-rhythm similar to No. S7 I?:z::ri _. i^ hm te-0?0 m 'f^Wmtr^ ^=m=^ m ^r^r?.LuuurJ itLr^yu*i ^ 11^^ygf fetAnalysis.?The rhythmic unit of this song is the same as in thenext preceding, and the general structure of the two melodies issimilar, but the highest tone of the compass occurs more frequentlyin the present melody. As a further difference between the two songswe note that the present melody contains no change of measurelength. Attention is directed to the descending sequence of tones inthe sixth measure, which is unusual in recorded Indian sonjrs. Therepeated portion was sung three times in each rendition.The Superman continued, saying, "As I have said before, and inaddition to what I have said, I have in my mind the four corners ofthe earth. Among these I may choose the place to which my spiritwill go, but I have not yet chosen."No. 31. The Four Corners of the Earth(Catalogue No. 1260)Recorded by ClamVoice J : 84Rattle J r 84Rattle-rhythm similar to No. 37*>wi' r --h?g-t DBNSMORE] YUMAN AND YAQUI MUSIC 91Atmlysis.?The steady rhythm of the rattle was interrupted twicein each rendition of this song, these interruptions being at the voicerest in the seventh measure (one stroke) and in the final measure(two strokes). The repeated portion, including the connectivephrase, was sung three times. The song is major in tonality, has acompass of an octave, and contains all the tones of the octave exceptthe fourth. More than half the intervals are minor thirds, and theinelody (after the third measure) is based upon two minor thirds ? F sharp-A and C sharp-E. The song closes with the ascendinginterval which characterizes many songs of the present series.Then the children took hold of his legs and laid him with his feettoward the east. He lay in that position but was not satisfied, sothey turned him with his feet toward the north. He said, " No ; Ido not choose this position." So they turned him toward the west,and after lying there he refused also to follow that direction. Sothe}'- laid him with his feet toward the south, and in that positionhe held himself until he passed away, a few moments afterwards.In taking such a position he set an example to coming generations,showing that when they die their spirits will go toward the south.No. 32. The Superman Dies Recorded by Clam (Catalogue No. 1261) r 88 ^>agi i-T erTrnirc/ i r rj g~y ^^Rattle i>Ji;i> |J>, Jl H^^ J>J>J>il iljliljl Jljll J>m any?? #-^ ^1^^ Analysis.?This song was sung with a quavering tone. (Cf. No.38.) It contains no interval larger than a major third, the othjerintervals comprising six minor thirds and eight semitones. Inrhythmic structure the song comprises three periods of fourmeasures each. "While the fire of the cremation burned brightly Coyote traveledtoward the place. It was said this coyote was " one of the verywild sort that no one ever sees." 92 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110No. 33. Coyote Comes to the Cremation of the Superman(Catalogue No. 1262)Recorded by ClamVoice J = 80Rattle J r 80Rattle - rhythm similar to No. 4^^ "1 rm i' VfU *l'. ??s?iff""*' i " ?a "T ? ^ i i? DENSMORK] YUMAN AND YAQUI MUSIC 93No. 34. Coyote Plans to Seize the Heart(Catalogue No. 1263)Recorded by ClamVoice J = 136Rattle J : 126Rattle -rhythm similar to No. 4^ (1) .I 1 (3) 1 r(3)^^#^TT^ ^? ? 3E(4) (1) 94 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110A song, not transcribed, stated that the female buzzard warnedthe animals, " Coyote is somewhere near, though we do not see him.AVe must prepare to prevent whatever he attempts to do."No. 35. Buzzard Tells the Animals What to Do(Catalogue No. 1264)Recorded by ClamVoice J z IdRattle J = 70Rattle-rhythin similar to No. 27^ (1) . (1)r :: \ I ? '>?? i M p M?m ^M.m ^^ # P /> ?'MJM is) (4)^ Id d S i#= /^ , Ji qg(4) 1 rV:ij||l l p V p Ip ^p* Ip ji^j' l^-^^lp ^ jb It.(2)^i^ M # . # M 0- M,0g ?m 0-sr0 ^^ y fy(3) (4)ii^jL^pW' l OjTi | J vr (4)(3) ?M" ccr r/?l^ Jlli r ^ I ^Cj- lfT^^A/uiIi/ah.?This melody is made especially pleasing by the acci-dental which was clearly given. The phrasing was distinct and themanner of rendition was conscientious. The song begins and endson the same tone and is based on the fourth 5-toned scale. Abouthalf the intervals are minor thirds, though the song is major intonality. The rattle was in even eighth-note values and occasionallyomitted the last stroke in measures similar to the second measure,the voice having a short rest before this coimt. The sharp, crispshaking of the rattle added to the effect of this lively melody. Thetirst measure of the tirst rhythmic unit varied somewhat in thisrepetition. DIONHM(jUlf:| YUM AN AND VA(i(;i M USIO 95Nu. 3G. Coyote MukoH u KequeNt ((JalnloKuc No. 12(jr>)Recorded hy IU.auVoice J r 76Rattle J : 70Rattle-rhythm similar to No. 27(1)mii,it r iLTm^ ufX ?w(a) (1)^ 1 r ^. i cjr ic/r-T i r H^^fiiJtn ^jfc^a ^(21 ^^11 r ^picjric;c;ir? irp i Analys'iH.?A (jii(!.stioii and iinsw(!r soern to be, su^j/cslcd by the. twojhytlmiic units of this mel(j(ly, ecjual in length and c(uriprising al-most the entire song. The second unit occurs three times on thesame tones, wliich is unusual in these songs and gives an effect ofemphasis. Attention is directed to the phrase beginriing in thefourth measure which contains a rather impatient sixteenth followedby a dotted eighth note, and therefore resembles tfje s(;cond rhythmicimit. The melody tones are those of the fourth 5-toned scale, butalmost half the progressions are minor thirds. These are almostequaled in numbci- l)y the majoi- s(;conds, the remaining intei'valsconsisting of eight fourths. The rattle is without interruption andcoincides with the voice throughout the song.The animals kept as close together as possible, but Coyote jumpedover the line and seized the heart of the Superman which the firehad not consumed. He jumped out at the same place where heentered the circle and ran as fast as he couhi toward the east. Thenthe buzzard said, " I knew something of this sort would happen.Now that Coyote has taken the heart of the Superman, I do notknow what to do."67183?32 8 96 BUREAU OP AMERICAN ETHNOLOGY [BULL. 110No. 37. Coyote Seizes the Heart Recorded by Clam (Catalogue No. 1266)Voice J = 88Rattle J : 88Rattle -rhythm similar to No. 37m ^- ? (? .. 0.^m m ^s m m m Tlj rnAnalysis.?This song is so short that the phonograph cylinder con-tains 11 renditions. These are uniform in every respect. The onlytones are those of the minor triad and the fourth which is sharpedin its only occurrence. The melody is well adapted to the words ofthe sons:.When Coyote had traveled a long distance he stopped on a moun-tain. He ate the heart and became unconscious with a powerful spellcast over him. Immediately he died. DBNSMOBB] YUMAN AND YAQUI MUSICNo. 38. Coyote Eats the Heart Recorded by Clam 97 (Catalogue No. 1267) Voice J : laORattle J : 130See rattle-rhythm belowIrregular in tonality^. ffimiM'irf rr f^^ 1 ?x 1 98 BUREAU OF AMERICAN ETHNOLOGY [bdll. 110 occurs seven times and was sung with a slurring of the voice. Theminor third constituted 12 of the 3i progressions. The rhythm ofthe rattle can be indicated only approximately.MOHAVE CREMATION LEGENDThis class of songs is called Tuma'nt or (according to Kroeber)Tumanpa. These were sung in the afternoon of a cremation by aclose friend of the deceased. A series of seven Tumant songs wasrecorded by Billie Poor, a Mohave who lived on the Yuma Reserva-tion. All the phonograph records were studied and two were tran-scribed, but the melodic trend and general rhythm were so similarthat only one is presented (No. 39).It is said these songs were received in a dream by an old womanwho used them in her treatment of the sick. An old man sang thesongs for her, but she dictated the order and told him which to singnext.-* The songs were in regular order and all were accompaniedby the shaking of a gourd rattle. When used in treatment of thesick, they could be sung two successive nights. At the present timethey are sung in the days that precede the Memorial ceremony andcan be sung at any general gathering. The words of the songs areconcerning the sickness, death, and cremation of a " deity " calledMa'tavir, and the legend is a Mohave version of the Cocopa legendimmediately preceding.As an introduction it was said that Matavil was sick and it wasevident that he could not live long, so the neighbors were called in.The words of the next song are those of the sick man, who realizedhis condition. =*This is in acrordance with the custom of Owl Woman, ,a Papago, who treats the sickwith songs received in dreams, the songs being sung at her direction by Sivariano Garcia.(See Bull. 90, p. 114.) DBNSMORE] YUMAN AND YAQUI MUSIC 99No. 39. " I am Going to Die " Recorded by Poor (Catalogue No. 1288)J = 152A "1^4 r r I ifjT Dni^ ^p^ ir r [[j'p mt rnj^ \vu :[^mc!\ t ^ \n \\u^^^^"^i i ^r rj ii4 1 rj r ii 4^ r I f t^ iHm g ^ IP ig^ ti r P r i II i??1^ ^S?=41* r rr i T r i f* f \ ^ f^ T" \ f r I'T'^' i*^ p I 1^^ ~l ' -I? I ~ I U^^ I ' ? ^^J? -^)h?^?>?f ? r-f^r?r? -f?r r r r r r ? 100 BUREAU OF AMERICAN ETHNOLOGY [bull. 110be of assistance. The man died and the people surrounded him, forthey had never seen anything like that before. (It appears this wasthe first time they had seen death.) It was said, " No one knew whatto do. They just stood and looked at him." Then came a very large " screw worm," who said, " I will get a light." He took some willowbark and an arrow-weed stalk, which he twisted. He made a sparkand the willow bark took fire, so they could see in the house. Thelight made by the screw-worm fly was reflected in the sl^ in the eastand looked like a star.When the sick man was dying he had made a wish. He said, " Iwish that Coyote would take after my heart and do what is right."Coyote thought this meant that he was to take the actual heart of theman who died. The people knew that Coyote had the wrong idea,and the old medicine woman tricked him. When the screw worm'slight was seen in the east she said to Coyote, " Go, flash your tail inthis light and get some fire for the cremation." Coyote went away.Wliile he was gone the people piled the logs, put the body on thepyre, and lighted it with the screw-worm's light. Thus the crema-tion was started while Coyote was absent. When he returned hefound the fire blazing and four tribes assembled to sympathize withthe friends of the dead.The friends stood so close together around the fire that Coyotecould not get in. He walked round and round the crowd and as hewalked he came to the place where stood Skunk, Coon, Badger, andGopher. These animals were so short that he leaped over them.The cremation was about half finished. He jumped in, snatched theheart of the body, and ran away with it to the top of a peak west ofthe present site of Tempe. He rested there and laid down the heart,which stained the peak, so it is known to this day as Vi'ikwahas,meaning Stained Peak, or Greasy Peak. From there he ran toanother peak which was on the shore of the ocean. From there hewent in to the middle of the ocean, where was a peak on an island,and there he ate the heart of Matavil. That island is still calledVi'niwa, from wa meaning heart, and vi meaning peak.The Mohave term for Coyote is Huksa'ra, and the Yuma word isHatelwe'. Both tribes have many legends concerning Coyote, and" it is known by them that the coyote is the slyest animal living.He is alwaj^s tricky and into some mischief." This animal isfamiliar in similar legends among other tribes.TREATMENT OF THE SICK BY THE YUMAThe Yuma informant selected for this subject was Charles Wilson(pi. 1), who has been mentioned in connection with the war cus-toms, cremation, and Karok. DBNSMOBE] YUMAN AND YAQUI MUSIC 101Charles Wilson is a man believed to have supernatural power, and,like men of his character in other tribes, his life is governed by strictdiscipline. He fasts four times a year, in the spring, at midsummer,in the autumn, and at midwinter, eating neither lard nor salt atthese times. On inquiry regarding him it was learned that he doesnot habitually associate with people. He follows his own life, isindustrious, and people seldom see him except when they chance tomeet him on the road, but if he chooses to go into a gathering " healways has something funny to say and keeps everyone sociablearound him." He is kind to his family and " does not say unkindthings about the Government nor about the Indians." His manneris that of a competent, conservative man who commands respectfrom those around him. In general character he resembles the Chip-pewa members of the Midewiwin, the Sioux who took part in theSun dance, and similar men with whom it has been the writer'sprivilege to confer.Charles Wilson is said to have such " medicine power " thatneither cold nor heat can harm him. Thus he could swim across theColorado River in winter without danger. It is said that he securesfish when the people are in great need of food. He takes one manfrom each family and they go down to the river in the early morning.He wades into the water chest deep and catches fish in a triangularscoop net, after which he gives one or two fish to each representativeof a family, that all may be fed. It is further said that he "canprevent a gun going off," an incident being related in which a loadedgun failed to go off when he said this would occur.The Yuma believe that the spirits of the dead are in a spirit landwhere they live and " have melons the year round." Wilson goesto the spirit land in his dreams. He comes and goes among thespirits, but they pay no attention to him. On his first visit heheard a man making a speech. He could not understand it, thoughhe could see that the spirits knew what was being said.The father of Charles Wilson had power to treat men who hadbeen) shot in the chest. Wilson received power to do the same,receiving this power from his father according to the custom of thetribe. If a father, grandfather, or other near relative wishes totransmit his medicine power to a young boy he causes the boy to havea long illness and cures him, after which the boy is believed to havethe medicine power of the older man and receives the songs thataccompany its use. Wilson's father had certain songs that he hadreceived in a dream and used in his treatment of the sick, the wordsof these songs being in a " secret language." These songs werelearned by Charles Wilson and are presented as Nos. 40, 41, 42,and 43. 102 BUREAU OF AMERICAN ETHNOLOGY [b0LL. 110The first use of " medicine power " by an Indian appears to beregarded somewhat as an experiment. (Cf. Bull. 86, p. 81.) Wil-son's first treatment of the sick was under the following circum-stances: An Indian went to town, entered a store, took a trunk onhis back, and started to walk away with it. The storekeeper shotthe man through the chest. Wilson's father was summoned andbegan to treat the man, then he turned to Wilson and said, " Tryyour power; this is a good case for you to begin on." AccordinglyCharles Wilson took the case and cured it, the man living for manyyears. Wilson also cured a young man who had been shot threetimes in the chest and once in the arm, and he has power over diseaseas well as accidents affecting the chest. He was said to have treateddouble pneumonia and an acute heart attack without singing, butwhen he treated a man who had chopped off part of his foot he sangthe same songs that he uses when treating a gunshot wound in thechest. Numerous other cures were related and it was said that hehad never " lost a case." On being questioned he said that he doesnot believe in what is commonly called " bad medicine " or " bewitch-ing people."When examining a patient for some uncertain ailment Wilsonplaces his hand on the person's flesh and holds it there until he " getsthe sensation in the palm of his hand." Then he moves his hand toanother place. Sometimes he says that he can cure the patient, andsometimes he advises the person to go to some one else, known to treatthe disease with which he seems to be afflicted. Sometimes he treatsheadache by sucking blood from the patient's forehead and spittingthe blood from his mouth.^^Wilson said that he does not " absolutely promise " to cure a sickperson when he undertakes a case, but he inspires full confidence inthat result, and it is interesting to note in the following descriptionthat he requires the sick person to say that he feels better. Thetreatment is limited to the singing of four songs and lasts abouthalf an hour. Wilson said he requests the spectators to move aboutin a natural manner during the treatment and especially requeststhat they appear cheerful. The relatives are forbidden to cry or tosmoke, and it is not customary for them to eat or to drink waterduring the treatment. Wilson said, " I also must go without waterand must not drink until the sick person says he feels better. ThenI and the patient are at liberty to drink water and have what wewant to eat." ? Kroeber states that among the Yuman tribes "there Is no theory of disease objectsprojected Into human bodies. Hence the physician sucks little If at all. The patient'ssoul, his ' shadow,' is afifected or taken away . . . and he counteracts this power withhis own, with song or breath or spittle, blowing or laying on of hands or other action."(Handbook of Indians of California, Bull. 78, Bur. Amer. Ethn., p. 775.) DENSMOHE] YUMAN AND YAQUI MUSIC 103The treatment of a patient unconscious from a gunshot Avound inthe chest was described as follows : In preparation for the treatmentthe patient is seated facing the east in the middle of an open spaceperhaps 8 or 9 feet in diameter. Wilson begins singing when about25 feet away. He stands facing the north, then the west, south, andeast, after which he rushes toward the patient. On reaching theopen space he moves slowly in a large circle, gradually diminishingthese circles until he stands in front of the patient. Then he goesaround to the back of the patient and sings in both his ears, one afterthe other, then blows in both eyes and both ears, and taps the topof his head. After a rest of perhaps five minutes he sings thesecond song and repeats the treatment. Before he has given thetreatment four times the patient has regained consciousness andvomited clotted blood.In describing the songs and their use, Wilson said, " When I rushtoward the patient my full intention is that he shall regain con-sciousness. That is my feeling when I sing the first song " (No. 40).This song mentions " an individual who has power." No informa-tion was obtained concerning this individual, but it was evidentlyexpected that he would exert his power in behalf of the patient.Wilson's " feeling " when he sings the second of his four songs(No. 41) is that the hemorrhage will cease. This song mentions asmall insect that lives in the water and has power over the fluidsof the body. It is believed this insect and the one named in thenext song resj^ond when they are called and exert their power toaid the sick man.His " feeling " when singing the third song is that the patientshall recover the power of motion. This song (No. 42) mentionsan insect that " perches anywhere and is very lively. It bobs upand down all the time and has a great deal of motion."His feeling when he sings the fourth song (No. 43) is that thepatient must recover the power of speech. At the end of this songhe asks the patient how he feels, and it is said that " he has alwaysanswered that he felt better." This song mentions a certain sortof buzzard that has white bars on its wings and flies so high that itis out of sight. This buzzard " sees all that goes on; he watches byday and rules by night." He has great power himself and he alsohas an influence over the insects named in the previous songs, increas-ing their power. It is said that " Each of the insects does his best,but it is the buzzard whose great power gives the final impetus andcures the sick man."Wilson said the patient invariably suffers a recurrence of hisdifficulty in about six months. If Wilson is notified and gives thepatient another treatment the cure will be permanent. No one except 104 BUREAU OF AMERICAN ETHNOLOGY [BOLL. 110himself can give this second treatment and without it the patientwill die. An incident was related in which a man belittled the resultof the first treatment. Wilson warned him of the recurrence, butthe man did not believe it would occur. When it came the man didnot send for Wilson and he died in a short time.No. 40. Song When Treating the Sick (a)(Catalogue No. 1196)Recorded by Charles WilsonJ : 80 'h t^ T} \n^^ li^ni* * tfi ^ ^^L J n iD s Jj J I J "Urjta-fYrtjSjb: 'Hirrr iJJ^ l ilJ I J J]iJlw' i i^J II | *):^f;J>JiJT] ||^p ^ I r p | J ji7|J J)7 | J>)hJ jj i rJii i w/^i i iitJ j^vJ^iia JJJ^i iv^ ,^ J J /T: ii,'i^^^ | :'jrf^ I J ^ l ilJ I I;^[i J 'Q-^4l?J J^ l/l ^^w-mV=kf!J'vJ'i]]||^p-^ P j j J] | J^J il f^J J]^ '>Mni2\i J IIFiJ S72\\i wn^rcjir ^ '^'L J jjiJljibJiJi i J J | .j .n^^ji/^ij n i.j^n^MZZK 'r-JJj |i hJ'J]^ iri I ^ l^j J^^ DBNSMOKE] YUMAN AND YAQUI MUSIC 105Analysis.-?The opening phrases of this song contain eight measureseach. The lengths of the phrases in the remainder of the song are notuniform. The rhythmic unit is that which occurs in all songs used byWilson when treating the sick. It is an interesting phrase and is bothsoothing and enlivening. In this song the first measure of the unitis sometimes in 5-8 and sometimes in 2-4 time, probably due todifferences in words. The song does not contain the " refrain " orshort portion, near the close, which characterizes many Yuma songs,but this may be due to the fact that the phonographic cylinder wasnot long enough to record an entire performance. The portion trans-cribed was two minutes in length, after which the phrases succeededone another in an irregular order. The song as transcribed is majorin tonality, contains all the tones of the octave except the seventh, andprogresses chiefly by whole tones. 106 BUREAU OF AMERICAN ETHNOLOGY [bull. 110No. 41. Song When Treating- the Sick (b)(Catalogue No. 11U7)Recorded by Chakles WilsonJ-. 88 ^I'igp J]|p J^ l Q^J^ I^^ I p I^ \^^*?^ |:Wl^. I p J] | ^J'] |^^|p r] | |^^^g^ii"vJ'[_fi7 ^ i ^r i f^p 19 0- i^-p- Q>>it||ti |"J]|p J^ivpi* i p r?tf iH l pyfl^^gg^^^ i?>?(? C?I-* qc ^V-V^jf Ip ^Ip /J I ^NHf iJl^fS ^^ ,??(( gnr #^:;=?q.^I[j7 i r [j i f ^i^pr T is ?j:jt i| ll |? ? r 1 ^ |? |?-|-iii?J^ r [J i iifr^ l r [j ^'h^[ ^ \ i f [[fCjir rfir rr If .jJ i f^y^i ihpJ 1 ^"^^^ "I C1? !? P-P- ^^ ^^^ii":^r r I f M?Ttf^[j^r i c;^^ .v'V i^^'fi^ ir cjvppfF i cn^ i ^r i r " DENSMoiiE] YUMAN AND YAQUI MUSIC 107 Analysis.?The interval of a minor third comprises 71 of the 102progressions in this song, contrasted with the song next precedingwhich progressed chiefly by whole tones. This is interesting, as itshows an individuality in songs which appear to be similar and havethe same rhythmic unit. The song has a compass of seven tones andis based on the fourth 5-toned scale. The third period (C) contains achange of melodic feeling and no occurrence of the rhythmic unit. 108 88 BUREAU OF AMERICAN ETHNOLOGY [bull. 110No. 42. Song When Treating the Sick (c)(Catalogue No. 1198)Recorded by Chables Wilson '>'hri r J^ i f ^ I r ^^t^f%4^^^^ijt^ ')'hh^n \ ^^ \ [j^ \ ip^u^Pi^^\f^[j^^ > (^ f'J | | i[^Tj/p[J' ^ |f J^V?^^S ^;:? irl'';-pJl | v>[ji]^pJI%f4i^ftCjMIBtFt .v'?5;f^v.-piff[^ir^Mpii3?f f i[/J'yp ^^'' ^"^[fJ^gp i f^fj^p i ^fJ^iJ^v.-p i ^rri^fJ^^ p : t f ^ ^ I I g=p=eV-i^l|llapJ^|J^r^ip[;;|ff ll /l ^'rrni'fJJ ii vrri'^crr^-pi '^r'^v#ii[?jii gjv?pir r iiisf r^'?^ I ' ^r r ' c/'^'p ^^=?fcfirri'>ir r^ ^T-#1?-# i ^rcf^pi *^iii"r^H i ;!r pl^ll^Jvffp * |B ! '^"'i i iu?Pf:/i!i;f [fv^pi i ^r^fif pviiii^ Il i^fJJv ;yp lijrf [j l p ^'^ pmi^p J^i'all ilp p l [^II^.J vp * a * ? I 'dbnsmore] YUMAlSr AND YAQUI MUSIC 109Analysis.?The same compass and tone material are found in thissong as in the song next preceding. The number of minor thirds isexactly the same, but the progression is reversed, the preceding songcontaining 34 ascending and 37 descending and this melody contain-ing 37 ascending and 34 descending minor thirds. The precedingsong contained 9 ascending and 5 descending fourths and this melodycontains 6 ascending and 9 descending fourths. The precedingsong contained 45 whole tones, chiefly in descending progression, andthis melody contains 36 whole tones, chiefly in ascending order. Theportion transcribed is that which arrives at a satisfactory ending, butthe performance continued to the end of the phonograph cylinderwith the phrases repeated in irregular order and in a monotonousmanner. Throughout the Indian songs which have an element ofmagic we note a monotony with slight unexpected change. Attentionis directed to period B, which introduces an emphatic rhythm onrepetitions of one tone. This suggests that the medicine man, havingbegun his Avork by soothing and cheering the patient, is now becomingsomewhat urgent. The rhythmic unit is the same as in other songsof the group and does not occur in the second period. no BUREAU OF AMERICAN ETHNOLOGY [bull. 110No. 43. Song When Treating the Sick (d)(Catalogue No. 1199)Recorded by Charles Wilson = 88a ^" \^ J ? I /9 p P=jK -^^ CJ" ^' " iF^F JzmqdJE a? 3g^^ '^"?tf r ^7 iA^ \ <^ [_f IJ^i ?;'?ii r "^^-p^* r/r i r wi^^-^^ -^^^if^t^ ^"??4 c/'l ^- pi tif CJ'H^-^ #-i^ fH^ ^ JElff rani? -I '-Lbo ^-M i?^iaa ^m a It ^^#^rf^ ^n?ifr ^^&g=^^^ ,^ , ,a. ?^y^it^a c/''^TTfir ^M? Jt . g.y^ (LTf I lLf Cj* 1*^ r '^ ^ pl8 p^ ? ? ?i:z ? ?an'^ii r crrnrrrrri' i r rrnii rr^s ?=^ rJi^,un''r,\^ifUr rWijttzria: 6Z 'jmn^ptTzT'^ '-fi ur l eL/^-p iCf CTH ^7 ii^Cr :r ?4 i ^r^ ^iii^rp r^ Er^a DKNSMORB] YUMAN AND YAQUI MUSIC 111Analysis.?In the final song of this series we find the same rhythmicunit as in preceding songs of the group and the same tone materialas in the two songs next preceding. The indeterminate ending alsocharacterizes the song, the portion transcribed being of a satisfactorylength, after which the performance seemed to be less coherent, con-tinuing to the end of the phonographic cylinder. The song is char-acterized by short phrases followed by rests, and we note that afterthis song the doctor asked the patient if he felt better. The melodyis somewhat monotonous and does not contain the repetition of asingle tone which marked the preceding song. The general effect ofthe song is cheerful and the proportion of fourths is less than in thepreceding song. The minor third constitutes more than half the pro-gressions, but this interval is not associated with sadness in theIndian songs which have been observed.YUMA LIGHTNING SONGSThe following group of songs was recorded by Charles Wilson,who also supplied the information concerning them. The name ofthe group is Hurau', meaning Lightning. Wilson said that he re-ceived the songs in a dream from White Cloud (Akwe'kwaxma'l),who controls the lightning, thunder, and storms, and for this reasonhe regarded them as sacred. He recorded the first two songs on hisfirst visit to the writer's office and the act caused him such anxietythat he could not sleep that night. The purpose of the work wascarefully explained and the remainder of the series was recordedwithout anxiety at a subsequent time.Wilson said that White Cloud appeared to certain medicine menin a dream and gave them power to bring rain or to cause a sandstorm. If a man with this power were with a war party he couldsummon a sand storm to conceal the warriors. A certain bug haspower over the storm. This bug may appear to a man in a dream,go through the following performance, and teach him the songs.In such a dream the bug drags his tail on the ground, wriggles it insome way, and causes the dust to rise. This increases as he speaksand gives commands until the dust raised by his own performancecovers the whole earth. Wilson said he had seen a dust storm pro-duced by men Avith this power, but added modestly, "As to myself, Ihave been shown only this much, to tell this story of White Cloud ata gathering on this earth."The narrative embodied in the Lightning songs is concerning thejourneys and demonstrations of power by White Cloud as a " wonder-child." Wilson said, " He has only one bow and one arrow. Heholds them in his hands, and whenever he swings his bow in any67183?32 9 112 BUEEAU OF AMEEICAN ETHNOLOGY [BOLL. 110direction it lightens and when he moves his body it thunders."^"The songs are in groups of three, each group having the same tunebut with different words. Only one of a group was generally re-corded, though in one instance an entire group of three with the samemelody were found on the phonographic cylinders. The words of thesongs are summarized in the titles and are frequently in the firstperson. No. 44. " I Have Arrived in the Sky "(Catalogue No. 1200)Recorded by Chablhs WilsonJ : 132A(l) L r(1) (a) (1) (1) (a)1 r Bf^^ (1)(l) (1) . (1) . (i) (1) (a)1 rvi,"i.;jjfi'^ i ii^r I f Mfr i f'T' i rrr t ? " Analysis.?The tone material of this song does not conform to anyestablished key, but the first and third measure in section B suggestthe key which is indicated in the signature. This is used for con- *> Another informant said that if a medicine man wished to bring on a sand storm hemade a speech known only to himself and then sang a song. Immediately the storm came.This informant said, " The Lightning story Is dangerous." His version was concerninga boy named Kwayawhumar, who says at the end of the story, that people will alwaysknow where he is but will never see him. This boy " lives up in the sky where it la allfrozen snow ; in the spring he goes hunting and every tim? he draws his bow it causeslightning and when his arrow strikes something it causes the thunder." DBNSMORB] YUMAN AND YAQUI MUSIC 113 venience in designating the pitch of the melody tones, with D flat asan accidental. The song is unique and worthy of special attention.The first period (A) consists of two phrases, each containing 10measures. These phrases comprise a repetition of a 3-measure rhyth-mic unit followed by the second rhythmic unit which contains fourmeasures. The next section (B) opens with four repetitions of thefirst rhythmic unit, followed by two repetitions of the last part ofthe second unit, after which the song closes with a recurrence of the10-measure opening phrase. The remainder of the phonograph cylin-der contains a repetition of the song with unimportant changes, suchas the substitution of a quarter for two eighth notes. Such changesmight be made necessary by the use of different words in repetitionsof the song. No. 45. " The Sky is in Darkness " (Catalogue No. 1201)Recorded by Chables WilsonVoice J : 66Drum J s 66See drum-rhythm belowA '^?^'' c.r'JlC-^P^p |^^P^ i??i^ ^m^ B#-(#M^"m WITCjirijir p LV'^' ^ p ?p i r r [xfi^rirP ^ p ' ^ n^'^prn^=s i [jcj i cj :j i r -;LL[f p^iur''Drum rhythm Analysis.?li will be noted that the time unit of this song is halfthat of the preceding song. As the melody contains the tones B flat,E flat, and A natural it is transcribed with the signature of two flats,but the tone B flat occurs only once in the song. The portion markedB was sung several times, the initial tone being given with clear 114 BUREAU OP AMERICAN ETHNOLOGY [bull. 110intonation. Like the preceding melody, this progresses chiefly bywhole tones.The melody of the three next recorded songs is the same. In oneof these songs White Cloud says that he has seen a certain mountain(near the present site of Indio) and is traveling toward it. In thenext three songs he named the mountain, calling it Avi'tinya'm,which means Dark Mountain. The melody was repeated accurately,and the transcription is from the second of the group.No. 46. " On Top of His Own Mountain(Catalogue No. 1202)Recorded by Charles Wilson ^: 144ff-A ]\ i- ^jJfJlfWr^f Hi! f! p^ l i t r p 7 ir [/vvu rr^ i i/u^ i imPH i jiJ'P cfi l Q f? a> ?E% fS m f \ \.i\ f>, p, fHn i 5 r r ' iMHvi [_r r t i -^^P ^' ^ ^i ^^a w?sm ir rt'^mm a F F-?^m B -^y \, # ?-, f Pf.^ \i\ jNft ,?. "^iij r r ft - V\ hp f " DBNSMORB] YUMAN AND YAQUI MUSIC 115In explanation of the following song it was said that, while theWonder-boy has traveled through the night Coyote has continuallyseen the daylight. Coyote danced and sang this song.No. 47. Song of Coyote Recorded by Chabt.es WrLSON (Catalogue No. 1203)J r 56 A.(1) (1) (1);^^#iTrpi[_r ^:ftg:^^^X^pi^'^(1) (2) (1) (1) (3) (1) ri (I)1 r ^''^" rr P - 1 e/ [/[/ \rt^^^ i rj* p ^ ^t[^^ l a (1) ^ 1^) (3) (1^ ?(!) Analysis.?This song is supposed to be sung by Coyote and wenote an entire change of melodic form and tempo. The phrases areshorter than in the preceding songs and the tempo is slower. Thephrase at the opening of section B, designated as the secondrhythmic unit, stands out clearly and is followed by repetitions ofthe first rhythmic unit. The sixth was flatted, except in its firstoccurrence. More than three-fourths of the intervals are wholetones.When White Cloud left Dark Mountain he went up into the air,making a path in the sky. At last he found a place in the airwhich pleased him so well that he called it his home. 116 BUREAU OF AMERICAN ETHNOLOGY [bull, lloNo. 48. "At the End of the Path in the Sky "(Catalogue No. 1204)Recorded by Chaeles WilsonJ r 66A^crr i r/F^ic/cr i crr^^^r i r c;v^^crrHdrcjir/pHcj^j- i LTr^icrp-^^^^^p^^^^^S^^^^^^^^^ms -^ts^tg-trtrrcj i rp^pii [j \^m '^'?^^ [j-ir Uj- ' r r^ir L?; i cJp-' i^srUTTP S [jp^p i ^[; i rUrS '^^ '^ r [i?r^c:#"-M=?ai^Eirirr^r^^'Analysis.?In this song we find a dignified, somewhat impressivecharacter befitting a song in which White Cloud announces the placehe will call his home. The phrases are short and the song con-tains no rhythmic unit, yet the rhythm is carried forward with asteadiness that is unusually interesting. As in a majority of othersongs of this series, the highest tone occurs in the third section (C).The manner of use of the tone D is interesting. The tone ma-terial is that of the key of E minor, but, as in several other songs bythis singer, the sequence of the tones is at times rather awkwardto our ears. About two-thirds of the intervals are whole tones and16 are fourths.The next four recorded songs were not transcribed but are sum-marized as follows : In the first songs Wliite Cloud says that he hasmade the path in the sky and found a place which he calls his home,but he wonders how he can make a living. This is a pretense, as he DBNSMOEB] YUMAN AND YAQUI MUSIC 117knows what he will do. The next song is concerning the bats. Thesinger said he has noticed the bats in the early night coming out anddancing as he sings this song. The third song states that as WhiteCloud stood in the same place he watched the circling clouds andthought they were smoke. The words of the fourth song state thatwhile standing there he saw a bird called Meru'si and asked the birdconcerning its wanderings. The bird answered and said he had justcome from the east.The remainder of the songs were sung in the latter part of thenight. In the song next following White Cloud expresses himselfas satisfied with all that he has seen and says that he will nowdemonstrate his own magic power which will be shown in the sky. 118 BUEEAU OF AMERICAN ETHNOLOGY [bull. 11 oNo. 49. White Cloud Declares His Power(Catalogue No. 1205)Recorded by Charles WilsonVoice J) r 184Rattle J = 92 1 rmirr-jp i r- ppititf Miarn i h i^Rattle J J J J J J J J Jvnyir pM^f^MHtr ^wiu^-^^^J J J J J J J J . B tH^r-ppii;!r pi i ^f^'^^-^' it^^^^-^^^t^J J J J J J J J J J v^Y'^rniJir- fpim- Mi^HWm^^J J J J J J J J J J J 1 '^i-iiir ri i '>'Trii,Vrjpii;ir pin^r^J J J J J J J J J ^^gi'ii'T np l llr-W=MiTffflllir p^^J J J J J J J J J J J Jjj J J J J J J J J J J J J J i J J J J J J J J DHNSMOEB] YUMAN AND YAQUI MUSIC 119Analysis.?In this song White Cloud is saying that he will demon-strate his power, and we note a particularly complicated relation ofvoice and drum. The latter is in steady quarter notes, but themelody is accented in eighth-note values at the beginning of eachphrase, the voice and drum being accented together on the lastmeasure of the phrase. The coincidence on this measure gives aneffect of emphasis. Section B is marked by the highest tone in thesong, and section C by the longest tone and by a change of rhythm.About half the intervals are whole tones, but the song contains agreater variety of intervals than any other of the series, the inter-vals comprising fifths, major thirds, minor thirds, and semitones,with one occurrence of a seventh and a fourth.White Cloud says that he will be known by the lightning, thunder,and rain in the sky, and that these will be continued, though hemay go away. During the next three songs he calls the clouds, thelightning, and the high winds. They come at his command and fillthe heavens. The third song of the group was not transcribed. 120 BUREAU OP AMERICAN ETHNOLOGY [BULL. 110 ^.. No. 50. White Cloud Demonstrates His Power (a)(Catalogue No. 1206)Recorded by Charles Wilson130W h r c; \dJ t^\ r ^^ n rus^^Drum indistinct Br (21 ^gf^rf=^rg^?i;iirirr^ 1 r(1) DrumJ) 7 i^ V i^J)J) 7 J) Ji J> 7^'v^ iLj p?p iLrcjir F^p KLTF ^p i r nr jJ'J> -hv -hJ'i'J* JiJ^J^v i^J)J^7 i^i^h hi(1) (a) 1 r(1) J^JiJiV >Jii>7 j^^^V J>J>ii7 ;'j^Ji7 J>J)i7(1) I (3) ^ ^ ,j^n:^ ;ij)j)7 j)j)j)7 j)i>;)7 i>;);^7 ;;;>7(3) (S) (1)I ? 1 1 ? 1 I 1 ? .I *. j-"'^ 1 ^"^ 1 '?? ^ Lj^J>i>7 j)ahj^7 Jij)ji7 J^ji;)7 Ji;i;)7 i>>i)7(a)( ? (1) -I r D '^?'^'u cTEcr i ci/p^ i rjEcr i ^ ^'-min'.^^^j)^ 7 J)J> i)7 J),h J) 7 <;iJ)J) 7 J) 7 J) ^^}i L;cr"t^l7 J)7 i>7 j^j^j^ 7 ii>i^7 i^Jli) 7 J^i^i>7(3)_ (1) ^"h^ cJ ^^ i c-Z p^ p icj^j:/ N ^^11^ ^ ^ 7 i>i)ii7 i^^i) 7 ;)^;)7 DBNSMORB] YTJMAN AND YAQUI MUSIC 121Analysis.?In this and the song next following White Cloud isexerting his tremendous power. In both these songs the minor third,which has been absent or infrequent in the preceding songs, appearswith almost as much prominence as the major second. The drum-beat in this melody is in interrupted eighths and is especially inter-esting at the beginning of section D. The song has a compass ofan octave and the difference in pitch between the tones transcribedas F natural and F flat was clearly given.No. 51. White Cloud Demonstrates His Power (b)(Catalogue No. 1207)Recorded by Charles WilsonVoice J = 88Drum J : 88Drum -rhythm similar to No. 4A I :=r > I :=r 1v-b'i I p V nrr^i [^[^ir c/ ic/rcr 'rj p ' "M\ rrc mim^?0- i^P- -\ r 'r.l,V [^Jilv | ^iv|^^|^J?p-, ||:^'^^gq^ *H'\. f;/ J^ v I [J* iv I [^:[jj 1^-i r PP aF -P PWZ.^^Jt mBrm s?=5 ? ^ >, I |BI. ^ ^ p j* I^ p> ^ .[| |. f^'j*^n. r t/ir: mp- B pp Z p c^ i r ^1p-p-p ? m1 rvA cr p ^ i cj" '^'^ic-T ^'^ i ci/c^ir r p ^ ic-r^^^ ^^'ic-rcrr i LrF^ i r rp-^irrpiiP P.ISIjgAnalysis.?This song is based on the second 5-toned scale andprogresses chiefly by whole tones, although more than half the inter-vals are minor thirds. No change of time occurs in the song, whichis unusual. The melody suggests little resourcefulness in either 122 BUREAU OF AMERICAN ETHNOLOGY [BOLL. 110rhythm or melodic progression, but the rhythm is interesting andcarried forward in a steady manner.In the song next following White Cloud has returned to his home.He stands there in the sky and sings this song.No. 52. " White Cloud is Singing in the Sky "(Catalogue No. 1208)J Recorded by Chakles Wilson, - 88Drum J r 88Drum-rhythm similar to No. 4(1)AT (1) .tlAl4-^\U:^l^^a^^i=M^=^ (1)T r (1)m ft'-^Afi g > ?l-iB *V-b'- i , r [j | [^J4^-E^jXJU 1?z(1) -| r111 "^'h r [j \m ig ..jg' ^la g ^ iw m-0urrrUrmT^m(1) 1 r(1) '>-\}'i. irQ i^i \^wtUt= 4^m-f^.(3) C r(3)s ^m a ft- ?\a m . i ap -giff i^ ^i^(3) (3) (3) i^^--i>i. r [j'lr pv^rHfii^^iMrLc/ i r mM. (3) (3) ^^?^''1. r cjir rHr./r.?rii M? ^^^(3) D (3) .'>'i.Ml:r pv l r p^ l vF'ciTir ^'vl-i^ g A(1) '^ '- '-1 I" l'f ||| 'l|-^-#fe^^^^fffl^Analysis.?This melody is based on the fourth 5-toned scale andcontains three rhythmic units which bear a close resemblance to oneanother. The first section of the song (A) contains 15 measures, DBNSMOEB] TUMAN AND YAQUI MUSIC 123the second (B) contains 13 measures, the third (C) contains 16measures, and the final section (D) contains 6 measures. Thesedivisions are not arbitrary, but intended to assist the observationof a monotonous melody. This song has a compass of only five tones.White Cloud has decided to travel again. He intends to gotoward the south, and in this song he tells of the proposed journey.No. 53. " I Will Go Toward the South(Catalogue No. 1209)Recorded by Chables WilsonVoice J : 126Drum J r 136See drum- rhythm belowy-i,Mii^A[jn:^^=fi^mi-^ ^ 1 ff IM? f^* "v":==2iCr:y^vvT I r 7 ptr i r r i r^frrr~irntH-^y v' \ . p? p I r I r ^^ I r i p? w^ i p? vT\nf^=i *r-\,\r irrip^f ii^TT/ i P? nr ^tvmf^ iy\\r i pn pip vpif r^ -&?

?(9 ? F?m?w ??-*?fs |i> t. *. ff--[g ? \-^?9^ 124 BUREAU OF AMERICAN ETHNOLOGY [Brix. 110Anali/sis.?A form of rhythmic speech is suggested by this melody.The phrases are not uniform in length and \vere ended crisply. Thetones indicated as a rhythmic unit are simply a recurrent phrase,without influence on the rest of the rhythm. More than four-fifthsof the progressions are whole tones. Except for the ascent at B, thesong contains only the tones E flat. F, and G.As he passed a certain place in the sky he saw a woodpecker andsaid, " Xow I know that creatures such as you live and roam in aplace like this." SDNSMOKE] YUMAN AND YAQUI MUSICNo. 54. Song to the Woodpecker Recorded by Chables Wilson 125 (Catalogue No. 1210)Voice J z 9ZDrum J r 92Drum-rhvthm similar to No. 4 .vi^{ vpir r>i?-^ ' ^" [pw ii?-^.-P- m M ,.41' - p gn ^ I piMm WTWm F F r* . 1[i;r'^i[rp^ i [ir^ I m m m WW-li^r^ ?^'Lrp^iLTp^ i cjrnrrpv iU'mTn^ jl?-M I^PP'l*IPl*ff ^1'^-?^rr \ u[''' \ U;, '>\[jp'' \ [j 126 BUREAU OF AMERICAN ETHNOLOGY [bull. 110Analysis.?A peculiarity of this song is the occurrence of therhythmic unit in all its periods and the occurrence of the highesttone in the second period, this being more frequently deferred untilthe final period. The tones are those of the fourth 5-toned scalewhicli is major in tonality, yet the interval of a major third does notoccur in the song.In the song next following he has gone still farther and comedown to the ocean, where he sees the great waves throwing masses ofmist into the air. He is now on the earth and he sings this song. DENSMORB] YUMAN AND YAQUI MUSICNo. 55. Song Concerning the Ocean 127(Catalogue No. 1211)Recorded by Chables WilsonVoice J r 138Irregular in tonalityA ??H\ir r ir Mr r1r -^i^ i r rr i f > ' (1)^ ^ p?* ? t=^ ~r W - W W mam (1) (1) . ,1 1 1 ? 1 V' 1 1^1 V-T?P ^TJI ? f F F ^ f f F F F 1? 128 BUREAU OF AMERICAN ETHNOLOGY [BDLL. 110 (1) No. 55 (Continued) ifi. .nhV r Mrrnrrirr i rvpjrriir vpir rJ * J J J M J J J J J J J J J(1) (1) J J J i J j; J ^ J J J ^ Repetitions dphrases inirregularorder Cfelt 1 rfe)p ^-}--|y i 1 r^3) -r i rr i rni^s pcrzBczii: 1J J M \\ \ i \ i \i J J J it J J J j;Arialysis.?In this song concerning the ocean we look for somecharacteristics diii'erent from those of the preceding songs, and finda rapid melody consisting chiefly of quarter notes and half notes.The rhythmic unit is very simple. The song has a compass of onlyfive notes and contains three rhythmic units, the second and thirdrhythmic units having a resemblance to one another. More than halfof the intervals are whole tones, next in frequency being the minorthird and the fourth. There is a slight swaying in the melody, withlittle effect of actual motion. Apparently it is the vastness of theocean that impresses White Cloud, though he mentions the massesof mist.In the final song he says, 'high winds, and the thunder. This is the beginning of the clouds, theI alone can command them to appear." DKNSMORB] YUMAN AND TAQXJI MUSICNo. 56. " My Power is in the Sky Recorded by Charles Wilson 129 (Catalogue No. 1212) Voice J 3 96Drum J : 96Drum-rhythm similar to No. 4A(1) (1)1 .(?'hSnirpir^im T r(1)^:^ tntfuiM.v-fc'i>rrp^ tt fi. (1)^ i^-i^-if-P^ I [JP(3)y^^^FTfTtrfgrrTpH nT TJ^(3)?y\\>rrtn\^^^-.^-^h\i^r(3)ITv= l'iI' ^ p ^ 1 01" J f^ j^^ I [jTpgPs )^-i^ (1). r- LCri l ' L/ILTP'^f?--i* p pijjjj(2) (1)^m 0' a 9^~P?- iM=

>rj-pi ir:rr i EJr iiij f^J J jjj J J J J J J J '>=?)t|t-ir rhprri i t>rr rnr;-rr i^J J J J J J J J J J JFBEE TBANSLATIONContinuing this motion, the water bug came to a mountain called Avi'herutft't.Standing on top of this mountain, he is gazing and he smells the breezefrom the western ocean.Analysw.?This and the three songs next following are concerningthe water bug and contain manj' interesting points of resemblance.These songs are minor in tonality and lack the fourth and seventhtones of the complete octave. These are the omitted tones in thefourth 5-toned scale, but their omission in songs of minor tonality is DENSMORE] YUMAN AND YAQUI MUSIC 135 unusual. All these songs progress chiefly by major thirds, end withan ascending progression, and have a compass of seven or eight tones.The pitch of the keynote (G sharp) was remarkably accurate throughthe series. It is the final tone in all the songs and the first and lasttone in this and No. 62. The present song is rhythmic in character,but the rhythmic unit is short and unimportant.No. 61. The Water Bug Sees a Fish(Catalogue No. 1167)Recorded by Alfred Goldinq ^r, 68mi^uhr P itrnrmrrF i r P\i\m^Drum ?/ h JlvJ) 7 j'^V J)7 J^ 7 i^ 7 ^7 ^ 7 J) 7 j)4?- - - rmAairrnif^rrr i HCrrrrir vr^7J^7 i^7jS J>7 J>^ J)7 J)7j)7 ^ J^ 7 J>^^ m u m I mryr r p ii ^c/Lriif;^^p7^j>7 J^7j)7J^7 J) 7 J) 7J^7j) 7^)7*^ 7^^^^ W K a JFTW [!un- n iii r ^ i^ m m m ?h7j)7 J)7J'7 hhh h i> 7^)7 J>7i^ .*;'??||rr7 i r p ii ft[^^fir ^r; ii^rrrm^^i7i^7J>7J^ 7j>7?^ 7J^7J^7 i^^ J^V ^ J^^J hiFREE TRANSLATIONWhile the water bug stands there the ocean seems to draw nearer and nearer,and in the water he sees a fish traveling up and down with the tide. (Thisfish was said to be shaped like a sunfish but larger.)Analysis.?The phonograph record of this song shows a remark-able combination of rhythms in voice and drum, the voice beingmeasurable by both eighth and quarter note values while the drum issteadily in quarter-note values. The drumbeat was clear, makingtranscription possible. No instance similar to this has been recordedby the writer. Attention is directed to the complex idea of the song. 136 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110in connection with the complexity of rhythms. The melody has acompass of eight tones and, like the other five songs concerning thewater bug, is minor in tonality. About half the intervals are minorthirds and the song contains 22 ascending and 21 descendingintervals. No. 62. The Water Bug Stands Upon the Fish(Catalogue No. 1168)Recorded by Alfre3> GoldingJ :108gfeg P^^ip iiit fp f^.,ff i rf ffiti \ U'ti''i-f! iJ J J J J J J J J J i: J J inkfi r r i^ p^tnor u r u r ^^m^J J J J J J M JJ^ J JM ^rtJT^T^S m ' f?J J J J J J J J J J^ J 'H\ irn.^:'\n[ w) r tJ J J J IJ J J J J JFREE TRANSLATIONStanding as iu a dream, he came to the ocean and stood on the top of thefish, thinking that he was standing on the ground. Then he found it wasmoving and said, " This is something alive."Analysis.?This song is characterized by its succession of quarternotes with the drumbeat coinciding with each note. In this connec-tion it is interesting to observe the words which state that the waterbug stood upon the great fish. This song has the same keynote andtone material as three other songs concerning the water bug. Therepetitions contain a few unimportant differences, affecting the melodymore than the rhythm. DBNSMOBB] YUMAN AND YAQUI MUSIC 137No. 63. The Water Bug Wanders Forever Beside the Sea(Catalogue No. 116?)Recorded by Alfred Goldinq ^-. .-^ J : 967a^^ i ^trirfrtrr i ffrrvirrrii^rrrr iiyr ?Drum indistinct J i ?^"?" it"" ! ! r cJ I Lrr I r c/^^ iiaoffvpirjaJ J J j: J J j J J J J J Jtnihgr rp i r taLrpv i r criirs^'-^-f'J J J J J J J J J J J v'-Mii ||K r i r [j^ i [jpHr [ir i^pJ J J J J J J J J J 'r-^ i ii?)ir[j'r r "^ ^ ^!-' "^ ? i ^ rJte^J J J Fine J ^ J J J J J JFREE TRANSLATIONThe water bug wanders forever beside the sea. After standing on top of thefish the water bug became black, tliis being caused by a disease that he tookfrom the fish. Therefore he wanders forever on the shore of the ocean.Aruilysis.?The opening phrase of this song occurs only once on thephonograph cylinder. Slight differences of melodic progressionoccur in the repetitions but the rhythm remains the same. This songcontains an unusual number of syncopations which were given withdistinctness and in exact time. More than half the progressions aremajor thirds. A connective phrase was sung between the renditionsof the song. Attention is directed to the note preceding the rest,which in every instance was clearly cut, ending in exact time. 138 BUREAU OF AMERICAN ETHNOLOGY [BOLL. 110No. 64. The Deer is Taking Away the Daylight(Catalogue No. 1170)J : 101 Recorded by Alfred Goldinq(1) (i)1 r^yv}.rIrnri>f^frn\'l^^.m '^^f^^D.um J J J J J J J J J J i J J J J Ji ^M^H'ii^rp^p i fEg^fMp i rrr^^JJJ J J J J J J J JJ J JJ u(1)r^^L|^-^^.^^fp1^^]^t|^^^jff^f^^J JJ JJ^ JJJ J J J J J Ju ? 0000 (3)rrHy^v II krrrrrr^ -If ^..^ if^i-m^^^^^jj J J} J jj jjj JJJ jj J jj(a)1 r"^r^^pi^rrPrp^T i ^rrrr i^^ ^MKJ J J JJJ J ^ J J J J J J JJJ(?) .^Mar^rrnrpp^pp:y ii -tpn^irrr i ,^pJ J J J J J J J JJJ J iT r(3) '^'''iii:rrrir*''p i ^rr ii^rp?(; i i^crrrir^^J JJ jjj JJJ j^ J JJ JJJ JJ J(3) ?y-n r^r/LY d ^? d p? ii j r < ^f^ i r-^^^^^J J J J J JJJ JJJ J Jts)T rv^^'*5l[^r^lr*^^' | ^^r ll ^'^p^^p1Tf]JT-^ l r^^^ l^c^^^^'J JJ JJJ JJJ J J J JJ jjj JJ J D?NSMOrU] YUMAN AND YAQUI MUSIC 139FBEE TBANSLATIONThe deer is taking away the daylight. After taking away the daj'llglit henamed it darkness.Analysis.?The interest in this melody is well sustained and thegeneral effect is particularly pleasing. Attention is directed to thebreak in the rhythm produced by the 5-4 measures. Two rhythmicunits occur which have no resemblance to each other. The minorthird and major second comprise all except eight of the progressions.The drum was synchronous with the voice, frequent rests occurringas indicated. Although the song has a compass of only seven tones,about two-thirds of the intervals are in descending progression.No. 65. All is DarknessRecorded by Alfeed GoldingVoice J : 110Drum J : II (iDrum-rhythm similar .to No. 13 (1) (Catalogue No. 1171) (3JI ? ^^^ ^tT-rt (iL? ? fHM?^ (B? g ? ^ ig m m^^ JC=W- (IIffi^ * \ f a m ~w~ a _ J * ftW(ij- (21.rt m a(1) (s) ')'?% ^[? i r-frir r^'^ u Mr ^j^-Tj^ IT" "Ts: m?~y m a^FEEE TRANSLATIONThe deer is alone in the darkness, grazing on a lonely plain, near the highmountain (A'vikwa'ame).Analysis.?The title of this song suggests no action or special inter-est, and we note that the melody contains no change of measurelengths, moving smoothly along a simple path. The song is majorin tonality, containing the tones of the fourth 5-toned scale. Pro-gression is chiefly by minor thirds and major seconds, which areabout equal in ascending and descending progression. The secondrhythmic unit is an extension of the first, which is an unusual the-matic treatment. 140 BUBEAU OF AMERICAN ETHNOLOGYNo. 66. The Spider Makes a Road [BDLL. 110(Catalogue No. 1172)Recorded by Alfred GoldingJ., 12i^^ i - '^f r!} \^m^=^i!n^ r u\ u^mDr"um J J J } J J J }i J, J J^^^^^^^ ^wmu^^MZJ^^ m.Jjf J J J J ^ J J JJ ji J J^^ mimxTM. ^-fMH^^^^^^^^^P?J J J J ^ J J J J j: U J J Jt^fefek^-=^a.mgmmM4^^ ^ ? .. , m fiJ J J J ^ J J J JJ J J J JA- ?' ^^ ; 'y[^Fa'Frriii?3t^?g3^^^ ? ? I ? &^J J J j# J J J jjj J J J J *n^rrrr [r-nv:r m^j^p ?, irrrf=f^J J J J ^ J J ^ . J ^ J Jv'bi'KTrrT ir vniaETre KtJ J J J J J J J J J J^ * ^ ' jg~nig ^ ri fv?f^ (9 n \ PjrqcttzjK i^-LC/nr PvimT^r^f-^ '' l> ? - j ^J J J J M J J J J J J JU J J i J M J J J J J J DBNSMORB] YUMAN AND YAQUI MUSIC 141FREE TBAN8LATI0NAfter the deer had been in the darkness a long time he asked the spider tohave a road made for him in the darkness. The spider made the road and thedeer is now traveling on it.Analysis.?In this song we find a short, crisp unit of rhythm, withinteresting interruptions at the ninth, twentieth, and thirtiethmeasures. The tone material consists of G, with its second, third,and sixth. Semitone progressions comprise about one-fourth of theintervals, the song containing no interval larger than a major third.Attention is directed to the ascending progressions followed by rests,and to the interesting progressions in the third measure from theclose of the song.The road made by the spider was a long thread of spider web>The deer traveled on this until he got out of the darkness. Herolled and shook himself after he reached the daylight. (The songconcerning this episode is not transcribed.)Then he asked various birds and animals to sing or do somethingcharacteristic for him, and after each had performed he said, " Thatis all right, that is all you can do." He requested the blackbird tosing a song for him. No. 67. Song of the Blackbird Recorded by Alfred GoldingJ : 11* (Catalogue No. 1173)^^ ' ? \ ?)*__ 1 I , __ _? . 'y-hiri'[ju^ nrfT:-nr;rp i rr/issj:nviUr^ W p # i Fauxoad lib. ^^vy-h\U\\i^" n^w^" HX';\r r^ \ u\^% -5t^Hirf rJii^^fffig W^-^m^i^ 'y-hWi^-i^^ Pir fTMftr:? ^?# ^FREE TRANSLATIONThe blackbird is singing and all the blackbirds are dancing on the gi-ound. 142 BUREAU OF AMERICAN ETHNOLOGY [BOLL. 110Analysis.?This is a fluent melody, containing 73 progressions in36 measures. The tone material resembles that of No. 44, the songbeing major in tonality with the seventh lowered in every occur-rence. The rhythm of the first measure appears frequently through-out the song. The interval of a fourth is prominent, but the minorthird is the most frequent interval, comprising more than half theprogressions. The descending fourth followed by an ascendingthird is interesting and suggests the swiftly sweeping motion of abird. (Cf. Nos. 72 and 73, which are also concerning blackbirds.)No. 68. Song of the Buzzards (Catalogue No. 1174)Recorded by Alfred Goldinq i IJ = 116^m 1? ? ? ? rP- ^=#^;^ ^^ i.^. I I -i? 1 p p P?rP?P \\ F, ] \ Pp P i P-PP\P?P n\> r ? TTi 1 p-p- 'f\\\> u I ^s^Finen^^ r Lfir r i r^^ ? P:^^ P?P p-p P-PPmiFREE TRANSLATIONThe buzzards are singing and dancing in tlie sky.Analysis.?This song is analyzed with D flat as the keynote, butthe third and fourth above that tone do not appear. The seventhis flatted in one occurrence. About one-fourth of the intervals arefourths, but in this song concerning the buzzards we do not find thedescending fourth followed by an ascending third which character-ized the song of the blackbird. The motion of the melody is heavierand there are frequent repetitions of a single tone. This song con-tains about one-third as many intervals as the song next preceding. DENS MORE) 1 J r 108 YUMAN AND YAQUI MUSICNo. 69. Song Concerning the RavenRecorded by Alfred Goldino 143(Catalogue No. 1175) 'r-hhii ^J^ir rir^F i '" i rrrirrr i r pir rDrum J J J i J J J J J J J J J Jy-m r r/irjcr 1 ^ r ^ vp ?g r r i r H'^^ii i i i h J J J ^ J J Ji .v-?it f,rr, jMf-p^pir r ir ^'^p itr ^ ii ^ r ^ ^^iJ J J f J J J J J J J My'hkir^ |J vc i rrrrirp?p i r/r/ir^'^riF^rJ J J J J J J { J J J i J J :JijA-r-i'^pi f7r u r ? >p iri r r ir ^^i^ C/if g?pJ i J J J M J J J J J J J Jy^?it r/cr i rpv i r \r rj\ruunif,urr\rt'J J J f jj J J J J jjj J J J J -> r 'f-^h ^^irp^ f! fe^ Plr^ rM^pl LTC/ lli^-m-i^J J J ^ J J J { J J J f J# .? ?? ,?^-m If npwirr \ r'^'\^ [/fi^^cirrr/ir p^iJ J J J J J J J J jj J J J J I\nhr ir ^r ir^i i^rMp i ^rr #-|?-i??Z^JJ J ^ J J J M J J J ^ J JV'W r ^^pic/Cfir Jy-p ip ri^ ^ri rrrr irHiJ ^ J J J ^ J J J ^ J J J ^67183?32 11 144 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110FREE TRANSLATIONWhile the buzzards were singing and dancing in the sky the raven tried todance, too, but he failed and dropped to the ground.Analysis.?The rhythmic unit of this song resembles the unit ofthe song of the buzzards but is shorter. The song opens with anascent of a seventh in two consecutive intervals, which is an unusualbeginning. After this opening the melody tones are chiefly a repe-tition of E, F sharp, G sharp in various sequences. Almost two-thirds of the intervals are whole tones. The song is minor in tonalityand is based on the second 5-toned scale.No. 70. Song Concerning the Deer (Catalogue No. 1176)Recorded by Alfred GoldinqVoice J : 116Drum ?l ; 116Drum-rhythm similar to No.ian^k^^h^ P-l^-P- h \ } ZIs ri'vlf i rfi l l^m i^p- mM- i^P- ^ i i;s ml^pF^T 0^0^-p ^?tL^ i cjr ir i^:^^Tni MJL PPmik r ( II p-p ?^?H=^ p^-p^ ^^ '>%i i:^im=m ti p' 00 ' ?i p^-pp SIlEEjEFREE TRANSLATIONThe deer turned and asked other animals to sing for him.Analysis.?This is a particularly free melody, and, as in severalothers recorded by this singer, the pitch of the lowest tone is suchas to make the melody difficult to classify. Thus if the lowest tonein the closing measures were F instead of E flat the melodic struc-ture would be much simpler. The singer seems to have attachedslight importance to these tones, or perhaps they were below thenatural compass of his voice, as the intonation is not so clear as on DBNSMORB] YUMAN AND YAQUI MUSIC 145the other tones. The seventh is flatted in all its occurrences. Thefourth is a prominent interval, but the melody progresses chiefly byminor thirds. The drum is in quarter notes with rests correspondingto rests in the voice. No. 71. The Howling Coyote Recorded by ALFEEa) Goldinq (Catalogue No. 1177)Voice J : 136Drum J = 1S6Drum-rhythm similar to No. 13 *>--n - v f^ i c^r 7pii:ir r wtut r^rir ti '^nr t^ic/P,^^^m a a m:^ ^^ ij~Br1 p * m ^^FineFEEE TEANSLATTON HeThe howling coyote took up common dirt and scattered it toward the sky.caused the dirt to become stars and the rainbow.Analysis.?This song concerning the coyote has a compass of onlyfive tones and contains only the tones of the major triad. Sixteenprogressions occur, 12 of which are major thirds. Rests are of fre-quent occurrence, but the rhythmic phrases are not clearly defined.We note that coyote did not sing, but ridiculed the performance ofthe other animals. 146 BUREAU OF AMERICAN ETHNOLOGYNo. 72. The Blackbirds are Dancing [BULL. 110(Catalogue No. 1178)Recorded by Alfebd Golding ? r.80Irregular in tonality^ 1 r Drum 7j> Vi^ vi^vJ* V i^ 7 i>7 J^ 7 i^ 7 J^7 J^ 7 -^ V J>7 i> 7i>7ji7i?7i^7J^7J> 7i^7i^vJ^7-h7Ji7J) 'ruitrrrr vrnrrrr^^rnr rprriL^^^7J^7J^7i^ 7 !> 7 J^7 i* 7 -^7 J^7J> 7 i^ 7 i'7 J^ ^^^itUTrwrrmcrg^ rrfir/r rr;7 J^7-^7J^ 7J^7j^7J^ 7J>7J^7-^ 7i^7J^7J^ 7-1^7-^7 J^ 7,J>7J^ 7J>7J>7J^ ^ ^yJ^V^ V J^y ^1 ^1 i^-i ^ y} 1 }^ -! } y ^ vJ^yJ^v^vi^yi^iFKEB TRANSLATIONThe little blackbirds are singing this song as they dance around the fourcorners of the sky.Analysis.?In this dance of the blackbirds we have a type ofmelody wholly different from that of the songs next preceding. Themelody progresses more widely and freelj^ and the rhythm is morecomplicated. The tones contained in the melody are those of thekey of D major with G omitted excej^t that C is sung C natural inevery occurrence. As C natural occurs so frequently, the song isclassified as irregular in tonality. About half the intervals areminor thirds. (Cf. No. 67.) DGNSMORB] YUMAN" AND YAQUI MUSIC 147No. 73. The Dance of the Blackbirds is Completed(Catalogue No. 1179) I Recorded by Alfred GoldinqVoice J : 110Drum J : IH".Drum-rhythm similar to No. 13Irregular in tojiality rmm-^^-^^i^nU 1-hi^ i^feS ^c/l r/r \\:iLu.-Hi^'''ft/f^m ^ ^m ^=ff 0'^^a r i rm\ \\ '^ir \u'i\\ riKn^%i fjf_f |tft; |f-f^^.,.%rHiAnalysis.?This melody contains the same tone material as thesong next preceding and is also classified as irregular in tonality.The melodic structure is based on the three descending minor thirdsD-B, C-A, and A-F sharp, ending with a repetition of A. Themelody then ascends to E and returns to the former sequence ofminor thirds. This " interval structure " usually characterizes songsin which the tones are not referable to a keynote. The rhythm ofthis song is simple and the rhythmic unit comprises only one measure.No. 74. The Redbird Speaks (a)Recorded by Alfred GoldinqVoice J : 69Drum J : 69Drum- rhythm similar to No. Si (Catalogue No. 1180) 148 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110FREE TEANSLATIONThe red bird was requested to sing, but instead he spoke of his own wiiy ofliving and said that he lived in the open, among the clouds and the winds. Hesaid that he dreamed of a certain sort of dance and that it was his dance.Analysis.?In this song we have the expression of a bird that hasnot been previously mentioned and a melodic structure that is un-usual. The song has a compass of seven tones, is based on the second5-toned scale, and lies entirely above the keynote. From the highestto the lowest tone the melody descends in the first three measures bymeans of two fourths (one with a passing tone) and a minor third.After a repetition of this interval, the melody ascends to the highesttone and descends in the same manner. A prominence of the fourthhas frequently been noted in songs concerning birds. The countdivisions in the song are short and the rhythmic unit comprises halfthe melody. No. 75. The Redbird Speaks (b) (Catalogue No. 1181)Recorded by Aletjed GoldingVoice J ; 100Drum J r 100Drum -rhythm similar to No. la ^fei^-'fi llK- li ^?0^S ^ esE pi-Mi-?Mtjlfi^-r^^ f^ i rr ii'i f rrf?r> [ r^ =t=tf^mx;^ \' i iimig^afFfcTrrtffirp i i'r-ii ^rr ii rv^i^i/^^pffi^ ii 'trr irnrryrr^FBEB TRANSLATIONSuch is my life in this wonderful air, and I long to have little children, a boyand a girl, to enjoy this free air. nBNSMORB] YUMAN AND YAQUI MUSIC 149Analysis.?This melody is a contrast to the song next preceding,although the subject is the same. A peculiarity common to both isthe descending minor third followed by the same interval in ascend-ing progression. There was some uncertainty in the pitch of the lowtones transcribed as D sharp and E. These tones were short andalways sung distinctly. The tonality is minor and the progressionsare very unusual. The most frequent interval is a semitone, compris-ing one-third of the progressions, and the next in frequency is themajor third. The interval of a fourth occurs chiefly between thephrases. No. 76. The Humming Bird Speaks (Catalogue No, 1182)Recorded by Alfred GoldingJ.-, 13m? ! ? t^ P ii^ lirM i ^r^ * I a ^ y~w r iwu Vnrm.\. ..... iJ .^r?I *'''^j 1 ? 1 -JmbmP Einui^zwmf g |g ^ I ft ^ ^ I p?^ f? jg;'^iiv-^'-r^rT i r Mirr ^ i ^^ i^^ i ^r/ir'pr^^'-rrJi r-rfr i iiruiii it^ ^^'TrriiKMiiKrif i r rifT'ip^ I '> i> r r I r V ' ir u r ?gat#f=Ptitff=i^^FREE TRANSLATIONWhen the humming bird met the redbird she said that she was nothing but asimple little humming bird.She said that she tried to enjoy things the same as the redbird, and thatshe also had been wishing to have some little children, so they could enjoy thefree air and the liberty of which the redbird had spoken.Analysis.?In this melody we find the simplicity mentioned in thewords but not the rapidity of the humming bird's motion. The songcontains both long and short phrases and has no rhythmic unit. Thefourth is raised a semitone in every occurrence but is not an impor-tant tone. Progression is chiefly by whole tones. (Cf. No. 14.) 150 BtTREAU OF AMERICAN ETHNOLOGY [bull. 110No. 77. The Owl Hooted (Catalogue No. 1183)Recorded by Alfred GoldinqVoice J r 108Drum J : 108Drum -rhythm similar to No. 4mr^^-^+AM^ 40 ft. P^MI^ I -T P V^%-HrrHftr IS r i [iztj r m'mu y h^ ^ er r p^rlifeFREE TRANSLATIONThe owl was requested to do as much as he knew how. He only hooted andtold of the morning star, and hooted again and told of the dawn.Analysis.?The song of the owl is brief and is characterized bysyncopations. It contains no rhythmic unit, and the melody tonesare the major triad and sixth. About three-fourths of the intervalsare major thirds, occurring about equally in ascending and descend-ing progression. / ^/ // // / ' // ; ^ \ y J^" OBNSMUBB] YUMAN AND YAQUI MUSICNo. 78. The Redbird and His Shadow 151 Recorded by Alfred GoldingVoice J : 96Drum J r 96Drum- rhythm similar to No. 12 (Catalogue No. 1184) V\K%' ^p i rrr iurrcf iK i rr[; i r-^p -\ r '''^'\'\n i c/f I f [f i rc/ i '^r^'T'^^ '^Vbf r If ^pir-rirtr i r ^^' i f ^^y-\>\Mt ^vPll^r p i r[;; i [;pvir^^ '^'^'i-h.r^ i rLF i r r n-^r ^ ^r n^r r iTcrss I 1 I I=^'i,Sr^pir r ir c;ir ^J'lrLr^r^^FREE TRANSLATIONThe redbird takes his shadow with him aud is standing at the farther end,well prepared to watch the dancing.Analysis.?A descending trend within a compass of two measuresis an interesting characteristic of this song, together with a large pro-portion of descending major thirds. The rhythmic unit is shortand unimportant. AVith the exception of two half notes the melodycontains only quarter and eighth notes. Although the song is analyzedwith D flat as its keynote, the framework of the melody consists ofthe minor triad and minor seventh in B flat. This is a frameworkoccasionally found in Indian songs and in other primitive music.(Cf. Bull. 45, p. 130, footnote; also Bull. 53, p. 258.)In the song next following in the series (not transcribed) the red-bird tells of his dreams and says, " This will be my kind of dancingand singing, and it shall so be danced." 152 BUREAU OF AMERICAN ETHNOLOGYNo. 79. Song of the Nighthawk (a) [BULL. IIU(Catalogue No. 1185)Recorded by Alfeed GoldingVoice ? r 96Drum J r 96Drum -rhythm similar to No. la \ '>--h'i- r A-A1 1 (11^tt^r^ ^^(II (II w ^mojrrr^-lj-^aj^i iTrJTvi^^(a)r ^7= *lt i f V fl i f p !ia f M ? J^l inJ^?5j:|^^^ lyttit J^Ji^'P v^piigfr IT ^m^FREE TBANSLATIONThe redbird requested the nighthawk to sing, and here he is singing andtelling of the morning. He did not dance.Analysis.?This is the first of a group of four songs of the night-hawk, all of which are minor in tonality. This is a darting melody,with alternate descent and ascent of intervals, and at the close, aflutter of whole-tone progressions. It is minor in tonality and lacksthe fourth and seventh tones of the complete octave. Two rhythmicunits occur and are entirely different in character. Almost half theintervals are whole tones and 20 per cent of the intervals are fourths.No. 80. Song of the Nighthawk (b) Recorded by Alfked GoldinqVoice J : 93Drum J : 93Drum-rhythm similar to No. 13 (Catalogue No. 1186) '^n-> rr n r [J \:uufflE M m ^m^^ jr-m4 o ^f^Hi' U^ i ^-f4^^l^f^^ DENSMORB] YUMAN AND YAQUI MUSIC 153FREE TRANSLATIONThe nighthawk is telling of his dreams and of the power that is given himfrom his manner of Kfe.Analysis.?In this song of the nighthawk we have one of themost pleasing melodies in the entire series. It is simple and grace-ful, and each phrase has a completeness which is unusual. All thephrases end with a descending progression except the last, whichends with an ascending whole tone. The song is minor in tonalityand is based on the second 5-toned scale.No. 81. Song of the Nighthawk (c) (Catalogue No. 1187)Recorded by At.fbed GoldingVoice J : 93Drum J = 93Drum-rhythm similar to No. 13 1 I ^'^ r ^ r irj'iu'r i Qtjr i r>c/r^i^^ ly-^ r p i f^'^ i r ^ i ^?^'^ i^^dcrr r 7 r gtfv-^MQj.[_f i ri^^ JMP |W \M- n m ^ FREE TRANSLATIONThe daylight is coming and I can distinguish objects around me.Analysis.?The rhythmic unit of this song is a quick, dartingphrase. Attention is directed to the fifth and sixth measures whichresemble the rhythmic unit but are more steady and emphatic. Theprogressions are divided with unusual evenness between major andminor tliirds and major and minor seconds, the only interval otherthan these being an ascending fifth. It is interesting to note thepersistence with which the sixth is raised a semitone in the latterportion of the song. 154 BUREAU OF AMERICAN ETHNOLOGY [bull. 110No. 82. Song of the Nighthawk (d)(Catalogue No. 1188)Recorded by At.fbed GoldingVoice J z 92Drum J : 9ZDrum-rhythm similar to No 12a- ^^ ^^ WWi^im f:4i^f-gj-iG^jJi7'rv7irr|^ 'i>rp -mP -m\^ P^^^^^^^g as ^vp irirr-T i V-^ \J\jlt f i V J ll a f [Jlf ^l[j[jlf-HlFREE TRANSLATIONNow the sun is up and the nighthawk Is enjoying the light and going fromone place to another.A7ialysis.?Ascending and descending intervals are about equalin this interesting melody. The phrases vary in length and a ma-jority end with an ascending progression, giving an unusual effect.The song contains no rhythmic unit and moves freely in its compassof seven tones. It begins and ends on the keynote, a portion ofthe melody lying above and a portion below the keynote.YAQUI DEEE DANCEThe Yaqui village of Guadalupe, near Phoenix, Ariz, (see p. 16),was visited almost daily during the week that preceded Easter, 1922,and the native celebration of holy week was witnessed. The form ofthe celebration differed from that seen by the writer in the Yaquivillage near Tucson the previous year. At that time the accompani-ment consisted of drums and reed instruments resembling " shep-herd's pipes." The musical instruments used at Guadalupe weremore varied and included violins. In both villages the performancewas a strange mixture of Koman Catholicism, paganism, and indi-vidual originality. The music in both was extremely rhythmic, andespecially at Tucson, where it was continued day and night, it showeda quality which might develop into a frenzy or fanatic abandonamong the people. DBNSMOEB] YUMAN AND YAQUI MUSIC 155On the day before Easter at Guadalupe a performance was enactedwhich may briefly be described as a religious procession or pageant,in which the Deer dance was an important feature. The processionstarted about 200 feet from the entrance of an outdoor chapel(ramada) in which an altar was placed. The Deer dancers werestationed about one-third the distance from the entrance, in the pathof the procession, and near them was a group of men with violins.The performances of these two groups of men were interpolatedwith the songs of the religious procession. The Deer dance wasdanced intermittently from noon until midnight. It was said that inold times it was danced at night only, and that in the morning twoor three men went out to hunt deer, but the dance does not appear tohave been held in order to insure success in this hunt. The nativename is Dacio, meaning deer, though it is sometimes called the Ante-lope dance. The dance usually began about 8 or 9 o'clock, each por-tion of the night having its proper songs and those preceding No. 89were sung before midnight. The entire number of dancers wasusually from four to six, with four singers playing on the instrumentsto be described. In the dance witnessed by the writer there were fourdancers and four singers.The musical instruments played by the singers comprised fourhalves of very large gourds, disposed as follows : One was invertedon the water in a tub and struck with a small stick, another wasinverted on the ground and similarly struck, and the other two wereused as resonators for small sets of rasping sticks, one stick beingnotched and resting on the gourd, while the other w^as moved per-pendicularly across the notches. The beat of the sticks on thegourds was steady and there was an even rhythm in the friction ofthe rasping sticks. One of the half gourds used at this dance wasobtained, together with a set of the rasping sticks. (PI. 28.) Twodancers carried rattles made of a flat piece of wood about 6 incheslong, within w^hich were set two pairs of tin disks. (PL 29, a.)The costumes of the four dancers were scanty, nothing being wornabove the waist. The leader, who danced alone much of the time,wore a pair of small deer horns fastened to the top of his head. Theother three dancers had no headgear except small, rather heavywooden masks w^hich were tied with cords in such a manner that thedancer could push the mask to the side of his head when not danc-ing. The masks were human faces painted grotesquely and hadstiff hair set in slits of the wood to represent eyebrows. A specialrattle was worn by the leading dancer. This consisted of cocoonssewn together side by side, forming a strip 6 or 8 feet long whichwas wound around the dancer's leg below the knee. Each cocooncontained a few small pebbles which gave forth a soft, jingling 156 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110sound with his motion. The rattle worn on this occasion was saidto be very old and above any valuation in mone3^ A similar orna-ment, collected in 1870 by Dr. Edward L. Palmer, is shown in Plate29, 5, and is recorded at the United States National Museum as" used in the Poscola dance." The cocoons were identified asRothschildia jorulla.A portion of the Deer dance songs was recorded by Juan Ariwares(pi. 30, a), who led the dance witnessed in 1922. The recording wasdone on the day after Easter. (See p. 22.) Ariwares said that heknew the entire series, which would require a whole night for itsperformance. It was with some difficulty that he selected the songshere presented, selecting some from those used during each part ofthe night.It was said that in the following song the people call upon thedeer while dancing. No. 83. Dancing Song Recorded by .Tuan Ariwaees r (Catalogue No. 1273) Analysis.?All the songs of the Deer dance were recorded withoutaccompaniment, the usual manner of accompaniment being notedin the description of the songs and dance. This song, which istypical of a portion of the series, contains many short notes and adescending trend in brief sections of the melody, followed by areturn to a higher note. The intonation was wavering, which maybe attributed to several causes. The intervals are small. The singerwas an old man, and it was difficult for him to sing alone, withoutaccompaniment. The rapid tones Avere given with distinctness, butthe words could not be transcribed. The language of all these songsis obsolete, but the meaning is known to singers at the Deer dance,who are the only persons having the right to sing the songs.The song next recorded was not transcribed, as it so closelyresembled the dancing song. The words were said to mean, " Thewind is moving the yellow flowers," referring to the flowers on cer-tain bushes in Mexico, the flowers being called ai'aiya. BUREAU CF AMERICAN ETHNOLOGY BULLETIN 110 PLATE 30 www^ ? ? # # ?wn^^&'^s^ ^^^^ &? fi.tL ^ f ' f ^^h?-|g*" n?^m ? * ** Pausead lib.Ff^ p m m {SU\[SlnX^L^ h^ yg~y gifft.,r r i r-i^^ >iB>ff 11 ;t rrri?^t*r i i ^r f'T! ff~T^iFBEE TEAN8LATI0NThe quail in the bush is making his sound (whirring).Analysis.?The intonation and time values in this song were excel-lent. A majority of the phrases consist of two or three measures,but the succession of seven measures at the close of the first portionof the song was sung without a breathing space. More than two-thirds of the progressions are whole tones. As in several otherYaqui songs of the Deer dance, there was a pause of about two anda half counts before the repeated portion and between the renditionsof the song. A longer rest, occurring after the repeated portion, isindicated as " pause ad lib." Other Yaqui songs with the samerange are Nos. 88, 89, 91, 93, and 95. 158 BUREAU OF AMERICAN ETHNOLOGYNo. 85. The Little Fly [BULL. 110Recorded by Juan Ariwakes (Catalogue No. 1275)J : 100^as t v.tirrr m m \iUnn \\C=fflfWW^ \iU\ Pvl l^CLg " * LJ LJ IlitU I y=Ml ad Hi. t#^==^grJUT l ^J^^^ J g g^ P=P ^FEEE TRANSLATIONBrother Little Fly flies around and looks at the sun.Analysis.?It is interesting to note that this song is concerning alittle fly and that 17 of the 20 progressions are whole tones. Thesong has a compass of five tones and contains all the tones withinthat compass. The manner of singing this song was especially clear-cut, each tone being given with distinctness. A downward trend isevident throughout the melody.No. 86. Voices of the PeopleRecorded by Juan Abiwares (Catalogue No. 1276)J = 96 ^j^g^^-P i r clrDnTT'f^iirtB^ ^^rrp^M^^^rr-nr rrrrii iT t^p?0- p r r I I >) ^~icm.^ ^ ^^ >l: , ti ^ i ^FEEB TRANSLATIONThe people are talking and calling to each other. DBNSMOBB] YUMAN AND YAQUI MUSIC 159Analysis.?Each phrase in this song has a descending trend. Thesong is harmonic in structure, which is somewhat unusual in the Deerdance songs. More than half the intervals are whole tones, theinterval next in frequency being a minor third, although the songis major in tonality. No. 87. The Deer Are At Play (Catalogue No. 1277)Recorded by Juan AsiwabesJ r 136 'y-%i \v^r- rUimi f r f t II m^m m^ 0-0- rm^i^^J4ef^^aj^rtB^0:jjJi>iJ --\^f^f.M ^ ^^ p i .1 -?-t-^^-g-Li-i- 160 BUREAU OF AMERICAN ETHNOLOGYNo. 88. The Deer and the Flower [BDLL. 110(Catalogue No. 1278) J z iSO Recorded by Juan Abiwares PEEE TEANSIATIONThe deer looks at a flower.Analysis.?The first performance of this song comprised threerenditions of the repeated portion with a break in the time betweeneach. The latter part of the song followed after a brief pause. Themelody contains little interest, and it is noted that the idea ex-pressed in the words is simple. The song has. a range of five tonesand contains the major triad and second. More than half the inter-vals are whole tones and occur only in descending pi'ogression. i DBNSMORB] YUMAN AND YAQUI MUSIC 161The following songs were sung after midnight:No. 89. The Summer Rains (Catalogue No. 1279)Recorded by Juan Artwakes ? z 12?mi"tf-iiiTrrr- rr7 i ^rjrJ' i rLr[,^pWrr-friin/cr p^ ii^r rcriurT^^if^^^M^^^ Pausead lib. ? m m?m ^rt * i?# ?: \ uv\- \ i^^ ypE^g?tr:p^mgr'''^i'^rrrrr i ik'r^^mhMf^^fm'^^^m ;^^ X^h^ ^iFREE TRANSLATIONIn summer the rains come and the grass comes up.That is the time that the deer has new horns.Analysis.?Although rhythmic in character this song contains norhythmic unit. The first portion was sung three times with a breakin the time between the repetitions. The intonation on the repeti-tions of a tone was not steadily held, the pitch being lower on thelast tones of the series. 162 BUREAU OF AMERICAN ETHNOLOGYNo. 90. The Rising Sun [BDLL.. 110(Catalogue No. 1280)Recorded by Juan AriwabesJ:. 20i-yt^ ii^rrrr nr r^ i lLTr ^ \i r pm 'h'^LIilU 2 o ? ? m2fc=t?=d Pausea-ilih. '>\ U ^^^^ W=P- i Pausead lib. ?EiriaSi tiad 'h\u \ uv' \ n ^^^m ^* # ? ?3=c:FREE TEANfiiliATTONThe sun is coming up.It is the time to go out and see the clouds.Analysis.?Two intervals give character to this rather monotonousmelody. These are the ascending fourth in the fourth measure fol-lowed by a descending interval and the descending minor third inthe fourth from the last measure followed by an ascending interval.The melody consists of short phrases each with a downward trendbut with no rhythmic unit. The melody tones are those of thefourth 5-toned scale.The word " singing " in the next song refers to the putting forthof magic power. No. 91. The Bush is Singing (Catalogue No. 1281)Recorded by Juan AbiwaresJ r 80 I zrivy-?rii vP m 9 9 ^ p (g^^ m^^ L^j ! 'y-%tirnrn\:i [^ ^ i.i^vr^f^\'^'-hhi[f^:^^\mj[^\^j^^l^\^ f IIFREE TRANSLATIONThe bush is sitting under the tree and singing. DENSMORB] YUMAN AND YAQUI MUSIC 163Analysis.?This song is slow in tempo and almost recitative instyle. Perhaps the repeated sixteenth notes were suggested by themotion of the leaves of the little bush. The song is in four periods,a unit of rhythm occurring in the first and third period. The tonematerial is the major triad and second, and 14 of the 19 progres-sions are whole tones. No. 92. The Hunt (a) Recorded by Juan Abiwaees (Catalogue No. 1282)J.- 93nhm ^[p^^iia r vm r mi^^ '^'ii"# ^ I lll.:; x^^p^ f9-f^ Pause^ ad lib.nh ihp eJir r rinrrmftnn^^7-hh r \ \ \ n=iE re:rir:/[jfir'ii#-(?FKEE TRANSLATIONThe man riding a horse is coming after the deer.Analysis.?The time was not strictly maintained in this song anda long recitative phrase in the final rendition is not transcribed.This took the place of the seven measures which begin the last halfof the song, and was followed by the quarter rest and final measuresas transcribed. The style of the entire melody suggests a narrativewhich is sung instead of spoken, and yet the accents were clearlygiven. The phrases are short and there is no rhythmic unit. Thesong contains 41 progressions, 28 of which are whole tones and 12are semitones. 164 BUBEAU OF AMERICAN ETHNOLOGYNo. 93. The Hunt (b) [BULL. 110(Catalogue No. 1283)Recorded by Juan AriwaresJ = 90 VH ^pc/r n^^""RT^-fitf^ '>'-v r i ll^Cj^p^ I [CfC/gi/^E^^ Pausead lib.^e #-(? r \ \:ssu\vi\[ifmy^-rir ? \U">^ ^^FBES: TRANSLATIONThe man is going to hunt the deer.They said the sun was coming out and this day they would have the deer.Analysis.?The small compass of this song is the same as in severalother songs of the series. (See No. 84.) It will be noted that theportion of this song between the two pauses is almost identical withthe portion preceding the first pause. The differences, however, weresteadily maintained in the several renditions. The 5-8 measure andthe recitative style in the latter portion are of unusual interest, therepeated sixteenth notes at the end of the song growing softer untilthey trail away into silence. More than half the progressions arewhole tones and the ascending and descending intervals are aboutequal in number. No. 94. The Hunt (c) (Catalogue No. 1284)Recorded by Juan Ariwares DENSMOBB] YUMAN AND YAQUI MUSIC 165FKEE TUANSLATIONA man said he would surely get the deer and hang it on a tree.Analysis.?The compass of this song is an octave and the twoopening phrases each contain a descent from the highest to the lowesttone. The repeated portion was sung three times without a break inthe time and the tone transcribed as E natural was clearly given inall the renditions. The tempo was slightly retarded in the two clos-ing measures. Progression is chiefly by small intervals, 16 of the 38intervals being whole tones and 7 being semitones.The next is the final song of the dance.No. 95. The Deer is Dancing (Catalogue No. 1285) J = 104 ^^ dr ~ '^' P- Recorded by Juan Akiwabes ^-0-i? ii^rv i r-jrrni^ *BIi ii f i?f?P-i^^isllmt^ ?3 ^ ' (?|P 4< I ^' i>^ ' i?H?-#(? #Bt Finemf r f f ir i H^a?BBi;cFBEX: TSANSLATIONThe deer is coming out (meaning that the deer is dancing in the middle ofthe circle).Analysis.?An effect of vigor and briskness is given to this melodyby the phrases with sixteenth notes occurring in the second andsixth measures. The song begins and ends on the same tone andhas the same compass and tone material as several others of thepresent series. (See No. 84.) The portion of the song precedingthe double bar was sung four times with a slight break in the timebetween the renditions. After a brief pause the connective phrasewas sung and followed by the repeated portion without a break inthe time. This appears to constitute a complete performance.MAYO DEER DANCEThe Deer dance is held by the Mayo as well as by the Yaqui andYuma. A Mayo song was sung by the singer of the Yaqui Deerdance songs, who said he considered it particularly good. It wassung in the latter part of the night. The meaning of the words ofthe song is not known. 166 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110 J.- 9. No. 96. Song of the Deer Dance (Catalogue No. 1292)Recorded by Juan Ariwaees vH'iC/Pvi^'Lr^ririrP^p i r czri^^y i> i LlT e =3 m Pausea^ lib.^M ? ? m- ^ffi Analysis.?The tone A occurs frequently in this song, being sungA natural in the first portion and A flat in the second portion ofthe melody. This change causes the song to be classified as bothmajor and minor in tonality. The song has a compass of five tonesand uses all the tones within that compass. There is no change ofmeasure lengths and the melody progresses chiefly by whole tones.YUMA CA'KOEAMU'S DANCEFive songs of this old dance were recorded by Katcora, but onlytwo were transcribed. They are part of a cycle which required onenight for its rendition and was said to be " about the stars in thesky." The words were in a language that is obsolete, but their mean-ing was known to the singer, who said the first song of the entireseries was about the evening. Another song mentioned " thePleiades and three stars in a row," and another was concerningCoyote, who laughed at the dancers. These songs were not tran-scribed. The subjects of the other songs are indicated by theirtitles. The song concerning the meadow lark and the diver " wouldbe sung along toward morning." The people could not under-stand the words of these songs, and it was customary for the singerafter completing a song to announce its subject. Thus after thissong he would say to the people, " I have sung about the meadowlark and the diver." The songs in the early part of the eveningwere always sung softly, the singing growing gradually louder asthe series progressed.From the songs and the description of the dance, as given byKatcora, this appears to have been a dance of the " Pleiades " DENSMORB] YUMAN AND YAQUI MUSIC 167type.^^ The dancers were described as wearing paint and feathers.They stood in their places and the dance motion consisted of " bend-ing the knees and stooping low." The singer faced the east,according to the custom in Yuma dances.No. 97. Song Concerning the Meadow Lark and the Diver(Catalogue No. 1236) I Recorded by KatcoraVoice J : 60 1 (2)_(3) '_ (3)"J 1 ? Rattle J n i J J J r] J -n J n n J -n J n J(1) I r(1)Hk i r C/mwiTLj^iclr^i^-^J n J Ji J Ji J n J -n (1) (1)i^M^^-f-^^^^m^^n i n J n ^ n ^ n(3 (1) (1)^Vb^r Cj'i[:C?fr ^^'Pir r^-f^;^J n J ri J n : n " Dances of the " Pleiades " type stand apart from nil others as being primarily dancesingings. They are connected with two long myths. " The Pleiades singer stands undera shade with his back to the sun. Behind him young men stand abreast, and behindthese their elders. They wear fe.ither-hung rabbit-skin ropes over their shoulders. Facingthe singer are a row of girls and one of older women. All sing with him for a time.Then he ceases, but they continue to dance. They bend and raise the body, make a longstride forward with the right knee elevated, bend again, and step back. As the men stepbackward, the women step forward, and vice versa." (Kroeber, Handbook of the Indiansof California, Bull. 78, Bur. Amer. Ethn., pp. 764-765.) 168 BUBEAU OF AMERICAN ETHNOLOGY [BULL. 110Analyst's.?This is a particularly fluent melody and contains 98progressions in 23 measures. The song is minor in tonality, but only10 progressions are minor thirds, the whole tone comprising about 60per cent and the major third about 23 per cent of the intervals. Thetempo is slow and the tones are those of the second 5-toned scale.No. 98. Song Concerning the Quail Recorded by KatcobaVoioe J r 168Raifle J: 168Rattle -rhythm similar to No. 37 I :=: 1S ? (Catalogue No. 1237) \ 'yi'i r HI miMizru^w&^m u^-Mi^^^=m?Frg-r p it-tJ I 'y-^i r m 0-0-0 niK-Pia^- a ^^^ -^^ - i^^^^SSI 1^-0-0- ^M II r mt w?^Analysis.?This song is characterized by a syncopation which oc-curs frequently, the rattle being approximately in eighth notes. Thesong contains the tones of the second 5-toned scale, beginning andending on the third above the keynote. Progression is chiefly bywhole tones, though the fourth is a prominent interval. The repeatedportion, as in many Yuma songs, was sung four times.COCOPA BIRD DANCEThe songs of this and the two dances next following afford aninteresting contrast in their general character. The Cocopa songsof the Bird dance were learned by the singer when he was a " helper,"but those of the Mohave Bird dance are common {property, beingknown to all the tribe. The songs of the second Cocopa dance(Tcumanpa'xwa) were regarded with respect by the singer, whosaid he inherited them from his grandfather, who probably received DBN3MOEB] YUMAN AND YAQUI MUSIC 169them in a dream. The Bird dance could be held before a cremationor a Memorial ceremony.Among the Cocopa, whose songs are here presented, this dance iscommonly known by the Yuma term " Elca'," meaning little bird.The Cocopa term, with the same meaning, is Esa'elmu's. The Yumaalso call the songs Atsiye'r (bird) Scava'rr (song). No explanationof the term was obtained. It was said " because a song mentions birdsit is not a regular bird song, as insects are also mentioned in the birdsongs. Herzog states that these songs are concerning " a kind of jaybird which lives on pinon nuts and comes to the Diegueno countryfrom the Mexican side." ^^These songs were recorded by Numa'wasoa't, a middle-aged mem-ber of the Cocopa Tribe. Frank Tehanna traveled many miles onhorseback to explain the writer's work to Numawasoat, who wasconsidered a particularly good singer. He speaks no English and atfirst he hesitated to record the songs, but his objections were over-come by Tehanna and he came to the Cocopa village to record thesongs. Numa'wasoa't learned the songs in the usual manner, bybeing one of the " helpers." He has acted as leader of the singers atthe dance, being seated and usually having two helpers at each side.He and each of his helpers had a gourd rattle. The dancers wereyoung women, from one to five in number. They stood in a rowfacing the singers, and when dancing they moved backward andforward a distance of about 15 feet. The Bird dance lasted allnight, and the songs were in regular sequence, certain songs beingsung before and after midnight. The singer selected a few from eachpart of the series and all the records were studied, though only aportion were transcribed. Several songs were almost monotones andothers consisted chiefly of ascending and descending minor thirds.The songs that were sung in the early portion of the night werealways begun softly and gradually increased in volume of tone. Thewords are in the " old language," which is not understood by anyoneat the present time. The songs were recorded with the rattle shownin Plate 23. "Herzog, Yuman Musical Style, Jour. Amer. Folk-Loie, vol. 41, footnote p. 187. 170 BUREAU OF AMERICAN ETHNOLOGY r^ '^?^l5L^_No. 99. Opening Song of the Dance (Catalogue No. 1243)Recorded by NumawasoatVoice J = 96Battle J : 96See rattle-rhythm below#^i?(? 1 ^. 01? ' P ll l\ P ' i?t?-i?v-^-^v?PCj- i rjT leg ^^ ECm 7-\, [/P^i i ^r/ Cj- r; II a r fc f* ! (>? (?i? ^g '^^ ii-[/r i^c/mmr-'^piia [j-^tfj^Vu "lis:> i: I ;t f Pf jiP P II ^ fl- ffT I f f \i'^ a-!f \\ Pause |> ^ *^fl ^ v. . ? ? ^ 1* I p- ^' p I P- ^ P' f i f*' ^ ?' f I I ;^ P' ^?^H^^ ptj I r* tff r ii '^ r* p p ' g p ~fld ^ I UjLd II 4 L^ [^ I II^rm cJ[T i ar r ^^p i ^Q F [ [jfT i f^rg^?^g;^H? ?F^ir-.rr i ^fnar:rr r^^pi i 'H^ rjf ifjrT i KTtjrnii' ^r.ri^Rattle-rhythm Analysis.?The only tones occurring in this song are D, F, and G,and the ascending' intervals are more in number than the descending.The intervals which impress the ear most strongly are the ascendingminor third and the descending fourth. The melody is particularlycheerful, with an interesting rhythmic unit, the third measure ofwhich appears in the portion of the song not containing the entireunit. The rhythm of the rattle could not be heard in all the ren-ditions, and the rattle was silent during the pause and the measuresimmediately following the pause. UENSMOEBJ YUMAN AND YAQUI MUSIC 171No. 100. Song in the Early Evening (a)(Catalogue No. 1244)Recorded by NumawAsoAtVoice J r 93Rattle J z 9aSee rattle -rhythm below r ?y-i,^' i[rrr\ \ m fl^ I m r f f \V ^ T TI=S .^^??1.1'irrrr g I ? wwwirrrfir^ rj ad lib. I ^ [ J Rattle when discernible Analysis.?An unusual number of semitones occurs in this songand is its chief characteristic. Almost half the intervals are semi-tones, 11 occurring in ascending and 12 in descending progression.A whole tone occurs only once. The song is minor in tonality andcontains all the tones of the octave except the sixth and seventh. Therhythm is not so simple as in the preceding song. It is interesting tonote the rhythm in the portion following the pause. In these meas-ures a triplet is accented and a sixteenth note followed by an eighthappears on the unaccented count, reversing the order in the earlierportion of the song. The coincidence of rattle and voice was exact incounts having the same division. 172 BUREAU OF AMERICAN ETHNOLOGY [BDLL. 110No. 101. Song in the Early Evening (b)(Catalogue No. 1245)Recorded by NumawAsoAtVoice J : 96Rattle J : 96Rattle-rhythm similar to No. 1^9n 1 ^^f^fm^^^ptrn-w wit-m m . m ^ m#==FS2^^^^^^mVPause\ ad lib. f^cfct ^n i^n inM^fthn [j^-^nrr^Aruilysis.?This song begins and ends on the same tone, a melodicformation not so common in Cocopa as in the analyzed Ymnasongs. Like the song next preceding, this begins with an ascendingfifth, followed by a descending whole tone, but the other characteris-tics of the song are different. This song is based on the fourth5-toned scale and has a compass of seven tones. The principal inter-val is the minor third which comprises about half the progressions.The phrase indicated as a rhythmic unit is five measures in lengthand its repetitions comprise almost the entire song. The rattle wasclearly discernible throughout the performance. DBNSMORB] YUMAN AND YAQUI MUSIC 173No. 102. Song in the Early Evening (c)(Catalogue No. 1246)Recorded by NumawasoAtVoice J : 96Rattle J : 96Rattle-rbythni^siniilar to No. 99m$fi^innu^m u{j^A\ :f'-?^'i cr it ir^^ r. r \\'i^''^> \\'i^m ,m mn\i\^^^mi^mi^^^.\^^m: m^ 'yM\ I tJr i cir rtttj iiMiiiu\^\^.y**A| i ^rr i ra^^g' li^crrr^'^ ii^^irmrr^^m p p>^^?p r [Jr \ \j^^^ ^^^^ ^Analysis.?It is interesting to note the " answering " of the suc-cessive phrases in this song, suggesting an advance and receding bythe dancers. The rhythmic unit is short and simple, beginning alter-nately with a descending and an ascending progression. The minorthird constitutes about half the progressions in the song, which ismajor in tonality and based on the fourth 5-toned scale. 174 BUREAU OF AMERICAN ETHNOLOGY [boll. 110No. 103. Song at About Midnight (a)(Catalogue No. 1247)Recorded by NumawAsoAt84m ^iLfC;irJcMi;^ftr- | crpR^.iiieJ5v Hi Hi Hi Hi Hi Hi Til J3v Hi r V M:r ^ ==:ei J^7 JSvJ^V J37 J^V Hv 1^1 JSv J3 Pausead lib.J57 /I7 J^V J1 -7 J37 JI7 ^ J1' JI7 J^7 J^V J57 J5v ^7 -F37 /37 J3' ^7 /57 J^7 /37 #1^7 /37 JI7 J57 J37 J^Analysis.?Three interesting peculiarities appear in this song, allbeing given with distinctness. The first is the syncopation, whichoccurs in the opening measure and several times during the song ; thesecond is the accidental, occurring only in a short, detached phrase ; and the third is the frequency of short rests, giving crispness to themelody. The most frequent intervals are fourths and minor thirds,the former comprising 20 and the latter 23 of the 70 progressions.The ascending intervals are more in number than the descendingintervals. This has been noted with some frequency in Yuma andCocopa songs, but occurs seldom in the songs previously analyzed. DBNSMORH] YUMAN AND YAQUI MUSIC 175No. 104. Song at About Midnight (b)(Catalogue No. 1248)Recorded by NttmawIsoIt Vo ice J ; 108t^itej i.TvrJ i r./r-; ir r^iumrmRattif n /' =/}, n ^- 9}\ n }-' y}< n ^ ^}\ ng^ 0-^ ^ Lt^^crcnr m i7.iselib.n i^^ihn i^=ihny'=ihn i^^j^n^m r.jF V i^.^r^ |t.r r_ji^^? n J^ T'-h n ;^' 7-K n -h -^^ -r-tt|i l/^LriUL^ ir r:\LiLJmn i^ih n ^i^n .^^ t^^^ n ^ ^i^n Analysis.?Like the preceding song, this has a compass of seventones, is based on the fourth 5-toned scale, and has the sixth lowereda semitone. Unlike the preceding, it contains no rhythmic unit,though the several phrases bear a close reisemblance to one another.The ascending and descending intervals are about equal in number.About 57 per cent of the intervals are minor thirds, although thesong is major in tonality.67183?32 13 176 BUREAU OF AMERICAN ETHNOLOGY [boll. 110No. 105. Song at About Midnight (c)(Catalogue No. 1249)Recorded by NumawAsoItJ 182y' \} t i =^ ? I ^=gg p ? >tRattle ?7J>J^J> 7 J^ J^ J) vJ^J)^ 7 J^ ?h J^ 7 J^ J^ ^ 7 J^ J) J^ ^ \> % ' ' "*aa? ^ " I ? ? ? I (? Mi l? r L^uMvi'i'Ji iJiJiii 7 JiJ)i)iivJ ^ J iiiiiiiii* -vHirLrif F i rrr ir ? li t? r rrr^^v.^i'i' riijij) 7 iijiii Jivj J J ^Jljliij'l^^rtf i r' rtrrr ir? =ii Pausead lib. ^ ^7j'i^;) 7i>j)^ 7 ;>i^j> j^7^ Rattle silent 1VH r v'^ i ^^'i^H&Lrr i ^^ i ^' nrrr i r mi7J>^^ 7^J^;> 7 J>i^J^ J>7^ ^ ^ 7 ji;^> > 7j^j>;) 7;^j^i) 7 i^jJ^ i^^\ Analysis.?Two measures transcribed in quadruple time occur inthis melody and are unusual in recorded Indian songs. There wereno secondary accents in these measures Avhicli appear to serve as anintroduction to the rhythmic unit. The rattle was somewhat irregu-lar in the quadruple measures and was continuous during the pauseof the voice. The song progresses chiefly by whole tones which com-prise about two-thirds of the intervals. DBNSMORB] J : 100 YUMAN AND YAQUI MUSIC 177No. 106. Song at About Midnight (d)(Catalogue No. 1250)Recorded by NumawAsoAt iil.^ . ?A: UL^^MtRattle i) n j^?^/] j^fAn i^T^-hJi ^^^n -\ r(3)^^i[ U^ r ^irJ-y^,^n }fi}n n ;^^An -h^An -hT'-hJi -^^A^(11 1 r(3) -^H'/r H i^ro^Cji i ^u-r^i c/r^ ' 1. irs: .^i-i'ii C'/LrM-AlT^ ^g-^- I ? i rHlL^h -h^iji /I ?^7'A^ (a) -^'^11 ^ t;ifj'[j^:/ioCf iLmfa^ .^7'A^ j>7'JiJ^ jii'jir] mn jit-Ah j>?.fi;^S #-? ii a G-r V pifj'Cf c jga^n J>?.W1 r3 iif.hr] .br-iir]^^m :u i"-rr j ^ji f.fin j> i'.fin /-] .h T'.hnAnalysis.?This song contains a particularly clear thematic form.Three rhythmic units occur, and the contrasts between them areinteresting. The first unit contains a descending minor third andthe second contains an ascending minor third, while the third unitcontains this interval in both ascending and descending progression. 178 BUREAU OF AMERICAN ETHNOLOGY [BOLL. IKtThe two measures following the pause contain a descending trend,followed by three measures which resemble all the rhythmic unitswithout duplicating any of them. About three-fourths of the inter-vals are minor thirds, this interval occurring 32 times in ascendingand 33 times in descejiding progression. The iiielod}' tones are thoseof the fourth 5-toned scale.No. 107. Song Concerning the Diver Recorded by NumawAsoat (Catalogue No. 1251) Voice J r 76Rattle J r 76See rattle-rhythm below '^??i."JS^^-p i f^T^r^?^ ^ Cr- I C/-?l/ l [^r in i [;jir ;ij \ni[i\p[!- \ [j&^w^ ? _ a'r-^'iUiLr[^m [7gL/ i P '> {j- ir^g-U^W^' [jT \i cj' IP-^nO'CT^^ ^y-^' [^r iM ^pirrr ^ i ^^" rj-L^^Czitrrr^ a- (>_?v ^1' I L/E[/^^ itr:;Fr^ip V [f- ir:/?[/ i [j;,rr nX- IRattle when discernableJIJIJIAnalysis.?In this and the four songs next following the fourth isa prominent interval. All these songs were sung in the early morn-ing. Three of the series are based on the fourth 5-toned scale. Thepresent song is major in tonality, but the interval of a major thirddoes not occur. More than half the 62 intervals are minor third?and 22 are fourths. Attention is directed to the note values inmeasures 14 to 16, which were given with distinctness. DBNSMOKB] YUMAN AND YAQUI MUSIC 179No. 108. Song Concerning the Pleiades(Catalogue No. 1252)Recorded by NumawAsoAtVoice J : 90Rattle J : 96Rattle-rhythm similar to No. 99 (1) Analysis.?Songs concerning a star appear to be unusual amongthe Indians. A Chippewa song for success in hunting contained thewords, " Like a star I shine, the animal, gazing, is fascinated by mylight." (Bull. 45, No. 69.) A song of the Midewiwin in the sametribe contained the words " Beautiful as a star hanging in the sky isour Mide lodge." (Bull. 45, No. 44.) Two Pawnee songs mentioneda star which spoke in a dream and gave assistance. (Bull. 93, Nos.57 and 80.) The present melody is characterized by an accented hightone, slightly prolonged and followed by a descending trend of sixor seven tones. The compass is seven tones, which occurs frequentlyin the present series. Progression is chiefly by minor thirds, but thedescending fourth is a frequent and prominent interval. 180 BUREAU OF AMERICAN ETHNOLOGY [bull. 110No. 109. Song in the Early Morning (a)(Catalogue No. 1253)Recorded by NumawAsoAtVoice J r 73Rattle J - -?aSee rattle -rhythm belowAvi> Rattle, when discernible SI Analysis.?In this song a semitone constitutes about one-third ofthe progressions. This interval appears to be difficult for an Indianto sing. It occurs infrequently in recorded Indian songs (see Tables11 and 12, pp. 33 and 205), and its transcription should be understoodas approximate in pitch. The intonation on the tone transcribed asE was also uncertain, this tone frequently being sung lower than theindicated pitch. Two rhythmic units occur, the second reversingthe principal count division of the first unit. The song is analyzed OBNSMOBB] YUAIAN AND YAQUI MUSIC 181with G sharp as its keynote, but the corresponding key is not estab-lished in the melody. This song was recorded also by Katcora, themelody being the same. J : 10^ No. 110. Song in the Early Morning (b)(Catalogue No. 1254)Recorded by NumawAsoAt v^i'L^Lrr i i ii^r/ iiK iip^^ #-#Rattle tremolo 'hK\in r-.r l K'^ I JirrT l^H=^ '^m ^ i tf u-i^ r-w \^-dM;;?il^,J>J ^. J J J J^^ 11 Li! M r r=^4=ljJ^Miit^j-v -f> J j^Ji ;>. J)]", i .f>7 j>W'i>|,i}r ^ r;ih^??rrrr)^-^^h^vJlil J^.ilJ i i ^^^^, J^Jl ^n''i>. -^ f-rrv iii>. ^tonxuzQ]^^ Analysis.?The phrases in this song are unusually short and therhythmic unit contains only four tones. The melody is based onthe fourth 5-toned scale, but the keynote of that series occurs only 182 BUREAU OF AMERICAN ETHNOLOGY [BOLL. 110twice and the principal interval is the minor third. The rhythmof the rattle was descernible throughout the performance and itsrhythm conforms to that of the melody except in the openingmeasures, during which it was shaken rapidly. The term " tremolo "is sometimes used to designate this rapid motion of the rattle.No. 111. Closing Song of the Dance(Catalogue No. 1255)Recorded by NumawAsoAt J* r 176 -hi\iyn]fr ^^\fr p'.yCj|T^^Rattle ili^v i* i^ y i)jV ^ ^y ililv ^ i)y ^^t^i^Ln:t-=^?irr-m^=pttxt^ Analysis.?No change of measure length occurs in this song whichis in 5-8 time. Both these peculiarities are unusual in recordedIndian songs. (See Tables 15 and 16, pp. 35 and 206.) A further pe-culiarity is the ending on the tone above the keynote. The songis based on the triad F, A, C. but G appears twice as an accentedtone and is also the closing tone. Attention is directed to the occur-rence of a sixteenth note as an accented tone and also as an unac-cented tone following instead of preceding a dotted eighth note.The accents were strongly given in all renditions.MOHAVE BIRD DANCEIt was said that the songs of this dance were particularly pleas-ing, but ordy four were recorded, as the Mohave songs were not asubject of special investigation. Three were transcribed and showa somewhat different structure than the Yuman and Cocopa. TheseMohave songs have a somewhat larger compass and are more livelyin general character than the songs of the other Yuman tribes underconsideration. Leonard Cleveland, who recorded the songs, is aneducated Mohave, living on the Yuma Reservation.Each portion of the night had its own songs in this as in othersong cycles and the songs here presented were sung about mid-night. The words of the first song were concerning the darknessand the words of the second song (not transcribed) were concerninga certain sort of birds " on their way traveling up north." DBKSMORB] YUMAN AND YAQUI MUSIC 183No. 112. Bird Dance Song (a) Recorded by Leonard Cle\ei.and ( Catalogue No. 1289) Analysis.?Two rhythmic units occur in this song, differing onlyin the di^dsions of one count. In the middle portion of the song thegroup of four sixteenth notes is transferred from the unaccentedcount to the accented count, giving variety and character to therhythm of the song as a whole. The compass is nine tones, the onlysongs in this work which have a compass of more than an octavebeing this and No. 124, which has a compass of 10 tones. The com-pass of this group of songs is smaller than any previously analyzed,90 per cent having a range of seven tones or less. (See Table 5, p. 30.)Among the Papago songs the highest percentage had a compass ofan octave, these comprising 40 per cent of the entire number. (Bull.89, Table 5, p. 6.) The highest percentage of songs with a largecompass were found among the Chippewa, 41 per cent having acompass of 12 or more tones, but the largest compass was foundamong the Sioux, three songs of that tribe having a compass of 17tones. (Bull. 61, Table 5a, p. 28.) About half the progressions inthis song are whole tones. The fourth is a prominent interval inascending progressions.In the next song the birds speak, saying, " Now we are gone." 184 BUREAU OF AMERICAN ETHNOLOGYNo. 113. Bird Dance Song (b) [BDLL. 110(Catalogue No. 1290)Recorded by Leonard Cle\'ei.and Analysis.?No other song recorded by the writer has contained thealternating phrases in different tempi which characterize this song.The phrases are indicated as the rhjrthmic units and one contains arest. These phrases or units are different in character as well as intempo, the first containing two triplets and the second containingtwo dotted eighth notes. Minor thirds and major seconds are aboutequal in number and together constitute 33 of the 39 intervals inthe song.Concerning the final song it was said : " The birds stop noAv to eatand see some cattle. They say this in the song." DBNSMORB] J r 60 (1) YUMAN AND YAQUI MUSICNo. 114. Bird Dance Song (c) Recorded by Leonard Cleveland (21 185 (Catalogue No. 1291) v=Lhn-rTrrmTTn rTr ;rrr i r:j7 , .. |rrrf^(3) (3) \ 'y-Mr c.y \ ri:m ^ms(XL (31 (3)v^Li'i>rTc..:frrirHrTrj;[j' i r r,vir-rrigir/^(3)^ (3) P-^ 0-P- ^m^ e Analysis.?Three rhythmic units occur in this song, each containingtwo measures and differing from the others in the count divisions ofthe second measure. The melody contains little variety except inthe portion which ascends to E flat and F, this being an unusuallyinteresting and pleasing phrase. The whole tone is the most fre-quent progression, comprising 24 of the 60 intervals. The song has acompass of eight tones and is based on the second 5-toned scale.COCOPA TCUMANPA'XWA DANCEThe meaning of the name of this dance was not ascertained. Itwas danced by unmarried girls and men, usually five to seven innumber. There were more singers than in the Bird dance, the leaderoften having three or four helpers on either side, each man having agourd rattle. At first they were all seated, the singers in a row andthe dancers facing them. When all was ready they sprang to theirfeet, the singers advancing and pushing the line of dancers back-ward. The distance thus traversed was according to the wish of the 186 BUREAU OF AMERICAN ETHNOLOGY [bull. 110 singers, perhaps a few feet or perhaps quite a distance. Sometimesthe lines were 3 feet apart and sometimes only about a foot apart.In its motion the dance resembles the Bear dance of the NorthernUte, as described in Bulletin 75, pages 57-58.The step of this dance was about 4 inches, or even less, in length,the foot which was moved backward being placed on the ground withthe toe scarcely halfwaj^ down the ball of the other foot. With eachstep the knees were bent and the head thrust slightly forward. ItAvas said that " they moved backward, then forward, then stoppedand danced standing still."The songs of this dance Avere recorded by a young man commonlyknown as Mike Barley (pi. 30, 6), who spoke no English and hesitatedto sing the songs in the daytime. He said that he inherited themfrom his grandfather and could sing them Avithout being taught, thisbeing in accord with the Yuman belief that a man may " dream " theknoAvledge of song cycles. The entire series of songs required anentire night for rendition, and there was said to be no narrative in it,the series being only for dancing. Each part of the night had its ownsongs, but the sinser selected a fcAv from those Avhich were sunc: " along toward morning." The Avords Avere in the " old language."The first songs of the dance were said to mention the evening andcertain animals and insects, but beyond this the meaning of the songswas not known.One of the records made by Mike Barley was played for Katcora,a Yuma singer and informant, Avho repeated the syllables (or Avords),but said he did not know the meaning. He also recorded the song,his rendition being practically a duplicate of the one here presented. DBNSMURE] d z H't YUMAN" AND YAQUI MUSICNo. 115. Dancing Song (a)liecorded by Mike Barley 187 (Catalogue No. 1268) 'f'^rUair'W^arr r y Lsui^RM.le |7'^J>7'.^ i'0^}l J>i'.hJ>i'ii .h ^!>}?}<:^^}li'^}) M^^ii Ji 7'i)J>i'ii j'l vAf'i'iiii 7'iiJ' fil }'lM J> fJlii v'iiJ' ^ilJi fJi^^gST^ipig'ias^ ^^^1?- jcrpE J> ?j^J> ?J JifA^fi J" fJiJ> ^ii Ji ?jii' i-i J) 4^ i-Ji Jidi* iJt ^?^^:jLtJ'-mii:/LflF::^ Peruseadlib. J^ fi'Jl T'i^ T'i^T'ii J^T'M J'^fi ifi-^^J^^ii^f,^ i^ f-fi^ ^^ ^fil^^-^ ^ T'j^i^ T'w^ > T'^J^ T',^ -^ T'^i^ ll ^^l^H)\ ^ "il^ "il ^ "l^^ T^i ^ "il^ 1^ ^1^1^^^ ^^^mjur ^\tnj^ Analysis.?This and the four songs next following are songs of adifferent dance than the Bird dance and the general character is dif-ferent. They are more spirited and the rhythm is more decided. Apersistent accent on a high tone followed by a descending and thenan ascending trend is a characteristic of the present song. Attentionis directed to the quadruple measures Avhich, with a slightly prolongedrest, serve to break the steady swing of the rhythm. After the pausewe find a reversal of a previous count division in which a sixteenthnote is accented, while the dotted eighth follows on the unaccented 188 BUREAU OF AMERICAN ETHNOLOGY [BUIX. 110part of the count. The rhythm of the rattle is continuous exceptduring the long pause. The only intervals are major and minorthirds and whole tones. The song, which is so energetic, has a com-pass of only five tones.No. 116. Dancing Song (b) (Catalogue No. 1269)J = Recorded by Mike Baklet84 (iL'mi' vPffi/cJ ii iCLPEMiR&ttle Ml^^}^i^^}\ ?^^?^T'ii J^f^.hT^^^T'i(3)')'^\>lLIL^UU^i V ^ 11 1 r(3) ( (1) (3)n^} I a^-rnijuuii ii[jvi ^^ mi^l^l}^ ^f^^-^A^f^ -^^A^7'^ M^^iyV^(3) ^?^^Hr7L.nfrrrff7 r pii^a^i^^^i^lh i^ T'^;^ T'^-h T'^ ^^^i^ ^^(1)^s rrL/ i ?Lrf'7 i K-;c;r.j'i i , B ^vHi'i> I uiiwi rrpfv r P ii a aim r^m J^^i'JlT'i) ^l^lh^lh ^^^M J'T'AhT'M DBNSMORB] YUMAN AND YAQUI MUSICNo. 116 (continued) 189 i^'ii^ii'M J^^A^vVi ^ 7-^^ 1^ M^!^^}^^}) i> (1)^Jb^H=y^^=FW?f^^ ^ f^^ T'-fi ^ -^ T'-^ ^ 7'-^^ t'^ i^ T'^.^ T'-^^ ^^ ^WTL/gi^gr^t?K -^^^M ^f-^J^yi^f-^ ^^j^i^^i ^^^^f^J^fi -n'i>K-/c^iiaLJ^j^ ^ii;> ?^ i> ^iii' ^^^ -^3 ;> T'^;^ t'.^ j^ ^^j^ ^}^(S)^''a r:..rr-jr p irir , r c-rtrfi^ff^^^ Analysis.?This song contains only the tones F, A flat, B flat, and Cflat, the latter being given with distinctness. This is an example of amelody which is not in accordance with an established system. Thesetones might be used in such a sequence as to suggest A flat as thekeynote, but F is so strongly emphasized and so closely associatedwith A flat that the song is analyzed as being in the key of F minorwith the fifth lowered a semitone. This should be recognized as oneof the instances in which ordinary musical notation and the presentsystem of analysis are used only to assist observation of the melody.Two rhythmic units occur, the difference between them being chieflyin the accent on the three dotted eighth notes, this group being-unaccented in the first unit and strongly accented in the second unit. 190 BUREAU OF AMEKICAN ETHNOLOGYNo. 117. Dancing Song (c) [BULL. 110(Catalogue No. 1270)Becorded by Mike Baeley88 ill. '>??,!,>? r-TL/ i LrL f i r r r -1 (2L Rattle i ^}i} t'^ J) 7iiJ^ T'Ji i> 7 -^ i^ ^ii .h T'i J^ ?.^A mm- m -^^^-c,:tLr i r '/r#i;[j'i[nT^^ ^^^;^f-fi H^;> 7 ?^T'i^T'-hi^^itJ^ 7 J^T'iilT'-h(1)7-^\> rJU iUL^^ ? ?? (* , ?^/' V-h;! ^ii ^ T'-^i^ T'i) i^ T'i-^ 7 ^ T'i^ t'^ -^ ?J^,^ 7(1)^ #-i?-^q^L/ I LdX/lCirP v|| Pausead lib. -h T'^-h T^J^ ^ T'^J^ t'^ J^ -^-fi^ ll ^ 7^-^J' 7 Rattif silent j> ?iii'7'ii J) fiii^ji j>i'Ari V i" i'ii.^T'.fi V-1,1 '1.1- r^LI \ U^'^^^ 00' ^^ -h t'.^^ 1}^ ;^ -^^^T^^ -h t'^^ 7 i^ t'^^ t'^ ;^ f -^i' 7(1)^ #-#-)? pm/iLJCj'mj^ ? ? ? ^ t'w^'^ t'-^ i^ t'^J^ t'^ ^ ?^-^J^t'-^ J^ T^^J^ 7 i^ ^i^^-?^ ^^^^7 i^7',^i^7 -h^^^-^-fi ^T'^J^^i J^7'i)-^7 DBNSMORi]] YUMAN AND YAQUI MUSIC 191A^ialysis.?This song has a compass of four tones, but uses onlythe first, third, and fourth of these tones. The difference between thetwo rhythmic units was slight but steadily maintained. The rattlewas particularly clear and its correlation with the voice on the trip-lets was not exact but the transcription is near enough for practicalpurposes. As in No. 105, the rattle was continuous during the pauseof the voice. The rendition closed with a repetition of the last twelvemeasures. No. 118. Dancing Song (d) Recorded by Mike Bakley (Catalogue No. 1271)J: 88mil. vP irTrj-rT ircCr i^t^rj-i^ Pausead lib. >>=Mr C-/Li..r [L-^4^^s#4^=^^ Analysis.?This song has a compass of six tones, using all thetones in the compass except the second. The tonality is minor, butthe major third comprises 18 of the 65 intervals. The intonation inthe latter part of the song was uncertain on the tone A, and thetranscription of the measures containing D sharp and A sharpshould be regarded as approximate. Attention is directed to thesyncopation, followed by a descending trend and an ascent to theoriginal tone, this melodic movement suggesting the forward andbackward motion of the dancers. The final interval is descending,in contrast to many songs of this series which close with an ascendingprogression.67183?32 14 192 BUREAU OF AMERICAN ETHNOLOGYNo. 119. Dancing Song (e) [BULL. 110(Catalogue No. 1272)Recorded by Mike Babj.eyVoice J r 96Rattle J : 96Rattle- rhythm similar to No. H5 1 ? 1 r^y-&i- r V \ \\ \ V\[A\ f-i M \ i\\^^ A 'h\ir U\i m m m-.'^, m-&nHnft'irJnclMUtO'ntm .^r-b i-gc/r^r-Tii^^s 0^^tF?^ ? 0' , 0-0 Pausead lib. >i| i..-.rrrr.,rr||i;r ^MUnJ\t^ i ^'ii-:^r/rr7rTii'^r Pi i iirrrrri i ii^r^ ^>H4r/r^cJnif pii ^ m^-0-0. ^^4t^^Analysis.?This song is somewhat monotonous in its melodic trendbut the rhythm is energetic and interesting. As in many of thesesongs, the highest tones occur in the measures immediately followingthe pause. A syncopation occurs, also several quadruple measures.The melodic tones are those of the major triad and second. Theintervals comprise only major and minor thirds and major seconds,the latter constituting two-thirds of the progressions. The generalrhythm and the rhythmic unit resemble those of other songs of thisdance. DBNSMORB] YUMAN AND YAQUI MUSIC 193YUMA TUNA'K DANCEIt was the early custom of the Yuma to hold a " maturity dance "(Tuna'k) for several girls at a time. A circular hole was dug about21/^ or 3 feet in depth and the girls lay face downward in this holewith their heads toward the south. The dancers were on the edgeof this cavity.The first song of the group is the beginning of the series sungin the evening and says the girls are being placed in the hole. Thedance continued all night. Mrs. Wilson (pi. 31, h), who recordedthe songs, is the wife of Charles Wilson. Her Yuma name isMave', said to be a clan name meaning " snake." In addition to thesongs she recorded a series of numbers in the " old language " from1 to 38, saying this was all she could remember of that language.No. 120. Song of Tunak Dance (a) (Catalogue No. 1224)Recorded by Mrs. Wn.soN Analysis.?With one exception the only tones in the melody areG sharp, A sharp, and B. A short rhythmic phrase is repeated,and the song as a whole has a rhythmic unity which is interestingand pleasing to the ear. More than half the intervals are semitones. No. 121. Song of Tunak Dance (b) (Catalogue No. 1225)Recorded by Mrs. WilsonJ : 63Irregular in tonality "7~" (?iKrrrrrrm i^r^ Analysis.?This song is classified as irregular in tonality. Withthe exception of three intervals the melody progresses by wholetones. The tempo is unusually slow. 194 76^ BUREAU OF AMERICAN" ETHNOLOGY Lbull. 110No. 122. Song of Tunak Dance (c) (Catalogue No. 1226)Recorded by Mrs. Wi/.son 1 r? i?^m ^f^^^^^ttiif-r^it^ i??("-^ -I r-r-fi ^- n^wfimBS ^i \'}-- ih}> ZJt^ fe ^-^-o?=siAnalyds.?The compass of this song is only three tones and theprogressions consist of 28 whole tones and one ascending majorthird. Instead of the monotony which might be expected from theprogressions we find a varied and pleasing melody due to the rhythm.Attention is directed to the difference in the length of measures 5 and10 which follow the rhythmic units, the latter of these measurescarrying the rhythm forward to the end of the song. r 54 No. 123. Song of Tunak Dance (d) (Catalogue No. 1227)Recorded by Mrs. Wilson Analysis.?The only tones in this melody are G sharp and B, theformer being considered the keynote. In rhythm the song is lesssimple than in its melodic progressions. The eighth note followedby two sixteenth notes can scarcely be considered a rhythmic unitas it occurs on both accented and unaccented counts and forms apart of longer phrases. YUMA GAMESThe three games played by the Yuma were Tcata's (shinny),Otu'r, a form of " hoop and stick " game, and Peo'n, which consistedin hiding a small object in the liund. The first of these games is DBNSMOBB] YUMAN^ AND YAQUI MUSIC 195described in connection with a man's name, on page 43. The imple-ments of Otur consisted of two poles about 15 feet long, the thicknessof a man's thumb, and a hoop 4 to 6 inches in diameter, wound withtwine or rags. One player rolled the hoop along the ground, andboth players ran after it, throwing their poles toward the hoop. Dr.H. F, C. ten Kate, jr., who witnessed this game among the Yuma,states that the men " hastily threw their poles at the ring so that itis stopped." He was not certain whether the sticks had to be thrownthrough the ring or whether the count depended upon the particularway in which the pole lay beside it."* No songs were used withthese games.The peon game is played only at night. In old times the articlehidden was a short piece of the leg bone of a crane.^?At the present time any small bone is used. Usually there are fourplayers on each side. They start the singing at the proper time.They kneel in two rows facing each other, and " dance " in that posi-tion, bending from side to side, rising up and sinking down again.Usually there is a referee appointed by the two sides who holds thewagers and watches the game. Before the play begins he makes aspeech, directing the players to hold up the little bones so everyonecan see them; then he gives the signal for the play to begin. Theplayer at one end of the row is first to conceal the bone. If the mandirectly opposite him guesses correctly in which hand he is holdingthe bone the play passes to the opposite side. If the first manguesses incorrectly, the man at his left hand may guess, and so onto the end of the line. When one point has been made the singingis started b}'^ the players on the winning side and taken up by thecrowd standing behind them. The referee sings with either side, ashe is supposed to be strictly impartial. The spectators, who wageron the game, usually have silver coins in a handkerchief, and jingleit like a rattle. Articles of value as well as coin are wagered, and arewaved in the air above the heads of the players. It is required thatthe referee shall remember the face of every man who makes a wagerand the amount of his bet. If a man makes a false claim and receivesmoney in payment of a bet the referee must replace the amount from "* Culin, Stewart, Games of tlie North American Indians, Twenty-fourth Ann. Rcpt. Bur.Amer. Ethn., p. 526. This game is also mentioned in a legend recorded among thePawnee, in BuH. 93, Bur. Amer. Etbn., p. 99.* A set of these bones was collected among the Mohave by Dr. Edward L. Palmer, thebones being 2% inches long and one-quarter inch in diameter. Doctor Palmer states : " These bones are made of the leg bone of the white crane. Six pieces constitute the set,there being two sides with three pieces on a side, of different lengths. The game is toguess the length of the pieces held in the hands of the players. A very small end pro-truded through the fingers. As the opposite sides guess, it is an animated game." Con-tinuing, he states that the same bones are used by the Yuma and Cocopa and that thegame is to guess in which hand the bones are held. The bones used by one side arewhite and those used by the other side are black. (Culin, Games of the North AmericanIndians, Twenty-fourth Ann. Kept. Bur. Amer. Ethn., p. 326.) 196 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110his personal funds, as ho forgot the man's face and paid money to thewrong person. Before the money is paid to the winners it is spreadout and counted in view of the company, to be sure that all the moneywhich was wagered is in the hands of the referee. The amount ofthe individual bets is also soi'ted out " dollar for dollar." The gamedoes not prcK'oed until this is fully settled.The Cooopa often challenged the Yuma to this game, namingthe place where the game was to be held.The songs of the peon game are accompanied by a nasal soundmade by forcing the breath through the nose by a spasmodic con-traction of the chest. No drum or rattle is used. The rhythm oftlie accompaniment is indicated in the transcription.Two songs were recorded. These are very old and the words arein an obsolete language. The singer. Nelson Rainbow, acted asone of the writer's interpreters among the Cocopa, and the crema-tion of his son is mentioned on page 43. He is employed as a car-penter and in other capacities at the agency. (No. 124. Game Song (a) (Catalogue No. 1241)Recorded by Nelson RainbowVoice J s 76Vocal accompaniment J : tqSee rhythm belo\Vn { J |j]]j ii j[ J J j'^.^ ii i js m??gg 3tf?dm J ii> J J }^}\\im#-# EaCK ') 77?i' i i?^j ?!^ J J ;?^ ii i trrr ^r [j \ >)-. tirr if m mm m m m m ^ --^^ f^cl3^ M\^n:^ II " J J }^j'\i 3t=:zit^3rm a m mAccompaniment rhythm|JJ HJJM ^^ DENSMORU] YUMAN AND YAQUI MUSIC 197Atialysis.?A vigorous rhj'thmic unit characterizes this song, itsrepetitions comprising or influencing the entire niolody. Attention isdirected to the opening measures, to the seventh and eighth meas-ures, and to a corresponding phrase near the close of the song; thesemeasures closely resembling the rhythmic unit. This has a com-pass of 10 tones, which is larger than any oilier song under presentanalysis. (Cf. No. 112.) The ascent of an octave, occurring mid-way the length of the song, carries the melody to the highest toneof the "compass. The lowest tone is reached in six measures andthe song ends on the lower tones of tlie com[)ass.No. 125. Game Song (b) Rocorded by Nelson Rainbow (CataloKuc No. 1242)J : 92Accompaniment similar to No. 134 \y4 1 - 7 g4^^^j,^^Jbba II i ^^|[jr Iw^ ^-^ll=iiCj-EfCJlgC/^?i{gp^m t1 L/LJIti/r IcjLT^" ^--T^? - y?JJUj \UU^Zl!U \ :lsZ?^^^ss crtT'Lj i r J^g^L/c:/icjgi Anahjsis.?This song is based on the second 5-toned scale and hasa compass of seven tones. The ascending and descending intervalsare equal in number and the minor thirds and major seconds arepractically equal in ascending and descending progression. Thissong is rhythmic in character but contains no unit of rhythm. Thereare phrases that closely resemble each other, and one is remindedthat the purpose of the song was to baffle the player's opponents,attempting to guess the location of a hidden object. Attention isdirected to the effect produced by the change to triple time in theseventh measure, and to the ascending whole tone in the thirteenthmeasure, with the interesting effects produced by these features ofthe melody. 198 BUHEAU of AMERICAN ETHNOLOGYYIBIA SOXGS FOR CHILDREN [BULL. 110The following simple melodies were recorded by Mrs. CharlesWilson (pi. 31, &), a woman of strong character and gentle manner.No. 126. Lullaby Recorded by Mrs. Wilson (Catalogue No. 1228)J.. 76 P-0-H i 1 nr :>P P ? ^JLmM #-^^-^^ 1^ P ? PP ? ^^^ TRANSLATIONSleep, sleep. It will carry you into the land of wonderful dreams, and inyour dreams you will see a future day and your future family.Analysis.?This is one of the most attractive melodies recordedamong the Ynma. It contains a larger variet}' of intervals thanis found in a majority of Indian songs, though about two-thirds ofthe intervals are major thirds. It is interesting to note the ascentand descent of a seventh in the closing phrase.No. 127. "Why Did You Cry? Recorded by Mrs. Wilson T r (Catalogue No. 1229) TRANSLATIONWhy did you crj' ; why did you cry?Have you stepped on a thorn; have you stepped on a thorn?Analysis.?The ascending and descending intervals in this songare about equal in number. The melody moves freely within itscompass of seven tones, as it contains 37 progressions in 10 meas- DBNSMORB] YUMAN AND YAQUI MUSIC 199 ures. In the opening phrases we seem to hear a question which isrepeated near the close of the song. About three-fourtlis of theintervals are whole tones which are used consecutively throughoutthe melody. The rapid sixteenth notes in the closing measures areprobably required by the words addressed to the child.No. 128. " Sleep, My Baby Recorded by Mrs. Wilson (Catalogue No. 1230)J : 80v^^a rJT r i rrr r u ^ rrir t n^r^^E^-Hi ^^i^\ix\u^''>\^^ur Mtrgft^^rtiTKANSLATIONSleep, my baby; sleep, my son (or my daughter)Analysis.?In this pleasing melody we find the ascending fourthfollowed by a descending whole tone which characterized the songsfor treating the sick (Nos, 40-43). This was mentioned in theanalyses of these songs as a particularly soothing phrase, and it isinteresting to find it in a song to induce sleep. The rhythmic unitcontains a different group of tones and is somewhat restless in char-acter. Minor thirds and whole tones are about equal in number;the other intervals comprising one semitone and three ascendingfourths. MISCELLANEOUS YAQUI SONGSThe two songs next following are examples of Yaqui songs withMexican influence. They were always sung with guitar accompani-ment and were recorded in that manner, the sound of the guitarbeing audible throughout the length of the phonograph cylinder.The words of the song are in the exact language of the interpreterand bear an interesting resemblance to a song of the Tule Indians ofPanama which is also given in the words of the interpreter. (Musicof the Tule Indians of Panama, No. 9, p. 34.)Tule Love SongMany pretty flowers, red, blue and yellow,We say to the girls, " Let us go and walk among the flowers."The wind comes and sways the flowers.The girls are like that when they dance.Some are wide-open, large flowers and some are tiny little flowers.The birds love the sunshine and the starlight.The flowers smell sweet.The girls are sweeter than the flowers. 200 BUREAU OF AMERICAN ETHNOLOGY [BULL. 110No. 129. Song of Admiration Recorded by Anka Alvarez (Catalogue No. 1287) = 160 vi)iiiiiii-r irrr |frrerr i s)r/r^^ .>;)iiiii?ff irr \^'_mr r ir? r ^(1) '>-'?tn^'Hihn\i^ i^ni i>^^^a(1)n^v^mr rjir.pirrii ijrrrii^illm Fine ^ii" ^' ^ i r ^ at^?^ I ! ^" p ?ii r ? r IITRANSLATIONIn Cocori (a town in Mexico) is a young girl whose name is Hesucita.She is a pretty girl.Her eyes look like stars.Her pretty eyes are like stars moving.Analysis.?The rhythm of this song is complex and of unusualinterest. Two rhythmic units occur, each having a series of fourquarter notes followed by a dotted quarter and a descent of the voice,but in the first unit the quarter notes are in triple time and in thesecond unit they are in double time. Variety is given by the eighthrest in the third occurrence of the first unit, taking the place of thedownward slur of the voice on the same interval. This is followed byan upward progression similar to that which follows the first occur-rence of the second unit and the song closes gracefully with twooccurrences of the first unit. The connective phrase resembles theopening of the song but the first measures are in double instead oftriple time.The next song could be sung at any time and was frequently sungby young men on horseback. odnsmorb] YUMAK AND YAQUI MUSICNo. 130. Yaqui Song 201 Recorded by Jose Mabib UmadaJ r 160 CD (Catalogue No. 1286) (1)nhji^^lf m^^=?=^ m^(a)Stt ?^^ II n ? m O- gsi m?m-(3) ^y-hh{i^\U^ \ \ ^^^^ mTBANSLATION I have no money to go to the ranch.Analysis.?This song comprises four periods of five measures each.The first two and the last two have rhythmic units which differ onlyin the first measure. This difference, with the additional quarter notein the fifth measure, gives character to the rhythm of the song as awhole. The song is minor in tonality, has a compass of six tones andcontains all the tones of the octave except the seventh. Half of theintervals are semitones. The melody suggests a Mexican influence,though the Indians insisted that it was a Yaqui song. A distinctslurring of the voice occurred between certain tones, as indicated.The other tones were sung with unusual precision of attack and therests were given their exact time. 202 BUREAU OF AMERICAN ETHNOLOGY [BULL. HOMELODIC AND RHYTHMIC ANALYSIS OF SONGS BYSERIAL NUMBERSMelodic AnalysisTable l?TONALITY Serial number of songs Num-ber Major tonality. Minor tonality. 1, 2, 4, 12, 15, 19, 21, 22, 23, 25, 27, 31, 33, 34, 35, 30, 39, 40, 41,42, 43, 44, 45, 46, 47, 48, 50, 52, 53, 54, 65, 67, 70, 71, 77, 78, 84,85, 86, 87, 88, 89, 90, 91, 92, 93, 95, 101, 102, 103, 104, 105, 106,107, 108, 110, 111, 112, 119, 122, 127, 129.6, 6, 7, 8, 9, 10, 11, 13, 14, 17, 24, 26, 28, 32, 37, 49, 51, 56, 57, 58,59, 60, 61, 62, 63, 64, 66, 69, 74, 75, 76, 79, 80, 81, 82, 83, 94, 97,98, 99, 100, 109, 113, 114, 115, 116, 117, 118, 120, 123, 124, 12.5,126, 128, 130. 62 Major and minor tonality (samekeynote). iTbird above keynote absent | 3,18,29,30,68.Irregular in tonality 16, 20, 38, 55, 72, 73, 1 21 . Total 130 Table 2.?FIRST NOTE OF SONG?ITS RELATION TO KEYNOTE Serial number of songs Num-ber Beginning on the-SixthFifthFourthThird Second..Keynote. Irregular in tonality... 3,18,21,33,544, 23, 29, 30, 32, 34, 35, 37, 40, 41, 42, 43, 44, 45. 47, 50, 64, 68, 70,89, 90, 91, 94, 100, 101, 103, 107, 110.24,51,96,97,111,1188, 9, 12, 17, 22, 25, 27, 28, 49, 52, 58, 59, 61, 63. 04, a, 74, 77, 84,85, 86, 87, 88, 98, 104, 106, 109, 113, 114, 115, 116, 117, 124,125, 126, 127, 128, 129, 130.26, 102, 1051, 2, 5, 6, 7, 10, 11, 13, 14, 15, 19, 31, 36, 39, 46, 48, 53, 56, 57, 60,62. 65, 66, 69, 71, 73, 75, 76, 78, 79, SO, 81, 82, 83, 92, 93, 99,108, 112, 119, 120, 122, 123.16,20,38,55,72,73,121 39 Total - ISO Table 3.?LAST NOTE OF SONG?ITS RELATION TO KEYNOTE DBNSMORB] YUMAN AND YAQUI MUSIC 203Table 4.?LAST NOTE OF SONG?ITS RELATION TO COMPASS OF SONO Songs In which final note is?Lowest in song - Immediately preceded by '-Fourth belowMajor third belowMinor third below Whole tone belowSemitone belowSongs containing notes lowerthan, but not immediatelypreceding, final note.Total. Serial number of songs Num-ber 1, 3, 4, 5, 15, 16, 17, 20, 24, 25, 27, 29, 30, 37, 38, 43, 49, 51, 52,53, 57, 71, S3, 84, 85, 88, 89, 91, 93, 95, 96, 97, 105, 112, 119,122, 123, 126, 128. 6, 28, 39, 48, 68, 70, 100, 10912, 22, 23, 59, 60, 61, 62, 63, 75, 77, 827, 8, 9, 11, 13, 14, 18, 21, 31, 32, 33, 34, 35, 36, 40, 41, 42, 58, 65,67, 69, 72, 73, 74, 76, 78, 81, 94, 98, 99, 101, 102, 103, 104, 106,107, 108, 110, 113, 114, 116, 117, 124, 125.44, 55, 64, 80, 111..2, 92, 121, 129, 130... -IS, 19, 26, 45, 46, 47, 50, 54, 56, 66, 79, 86, 87, 90, 115, 118, 120,127. 39 130 Percent .50 Si 1 A portion of these songs contain notes lower than the final note, as well as the lower tone which im-mediately precedes it.Tablk 5.?NUMBER OF TONES COMPRISED IN COMPASS OF SONG Serial number of songs Num- Perber cent Compass of-10 tones9 tones..8 tones..7 tones.. e tones- 5 tones. 4 tones.3 tones.Totai. 12478, 11231, 33, 39, 50, 54, 61, 65, 75, 79, 80, 87, 94, 97, 114, 129.18, 19, 21, 35, 36, 40, 41, 42, 43, 48, 49, 51. 60, 62, 63, 64, 68, 69,70, 72, 73, 74, 76, 81, 82, 90, 98, 101, 102, 103, 104, lOG, 107,108, 109, 110, 113, 125, 126, 127.4, 6, 14, 15, 22, 23, 26, 28, 34, 44, 45, 46, 47, 59, 67, 77. 86, 92,100, 120, 128, 130.3, 7, 8, 10, 12, 13, 17, 20, 24, 25, 29, 30, 32, 37, 38, 52, 53, 55, 56,66, 71, 84, 85, 88, 89, 91, 93, 95, 96, 105, 111, 115, 116, 118, 119,121.1, 2, 9, 11, 16, 27, 58, 99, 1175, 57, 83, 122, 123... -. 1 204 BUREAU OF AMERICAN ETHNOLOGYTable 6?TONE MATERIAL [BDLL. 110 Serial number of songs Num-ber Second 5-toned scale . Fourth S-toned scaleMajor triadMajor triad and sixthMajor triad and secondMinor triad and sixthMinor triad and fourthMinor triad and secondOctave completeOctave complete except seventh.Octave complete except seventhand one other tone.Octave complete except sixth...Octave complete except sixthand one other tone.Octave complete except fourth..Octave complete except second . . Lacking the third..Other combinations of tone Irregular in tonality.Total. 61, 69, 74, 75, 80, 97, 98, 114, 12533, 35, 36, 41, 42, 43, 62, 54, 65, 78, 87, 90, 101, 102. 103, 104. 106,107, 108, 110.12, 25, 714,77....^39, 84, 88, 89, 91, 119,22, 237,8, 9, 13, 24, 32, 37, 59, 113, 115, 1166, 93, 95, 12012934, 40, 50, 82, 112, 127, 13015, 17, 18, 19, 28. 44, 46, 53, 60, 61, 62, 63, 85, 92, 96, 100, 105,111, 118, 128.48, 49, 86, 9421, 26, 12431,70..45, 64, 67, 76, 12629,301, 2, 3, 5, 10, 11. 14, 27, 47, 56, 57, 58, (117, 122, 123.16, 20, 38, 55, 72, 73, 121 5, 68, 79, 81, 83, 99, 109, 130 Table 7.?ACCIDENTALS Serial number of songs Num-ber Songs containing ? No accidentalsSeventh raisedSixth raisedFourth raisedSixth and third raised.Seventh loweredSixth loweredFifth loweredIrregular Total. 26,9476,8137,46,64118 -44,67,68, 7035,47,60,69, 103, 104...11616, 20, 38. 55, 72, 73, 121. 104 DBNSMOKEl YUMAN AND YAQUI MUSIC 205Table 9.?FIRST PROGRESSION?DOWNWARD AND UPWARD 206 BUREAU OF AMERICAN ETHNOLOGY [BUI/L. 110Rhythmic AnalysisTable 14.?PART OF MEASURE ON WHICH SONG BEGINS Serial number of songs Num-ber Percent Beginning on unaccented partof measure. Beginning on accented part ofmeasure. Total. 2, 3, 5, 6, 7, 8, 9, 10, 11, 12, 14, 17, 23, 25, 33, 35. 38, 46, 47, 49,52, 53, 54, 56, 57, 58, 59, 60, 61, 63, 64, 66, 67, 69, 70, 71, 72,73, 74, 78, 79, 80, 81, 83, 85, 86, 88, 91, 92, 94, 95, 97, 99, 100,105, 106, 107, 108, 109, 111, 116, 119, 120, 124, 125, 126, 127,129.1, 4, 12, 15, Ifi, 18, 19, 20, 21, 22, 24, 26, 27, 28, 29, 30, 31, 32,34, 36, 37, 39, 40, 41, 42, 43, 44, 45, 48, 50, 51, 55, 62, 64, 68,75, 76, 77, 82, 84, 87, 89, 90, 93, 96, 98, 101, 102, 103, 104, 110,112, 113, 114, lis, 117, 118, 121, 122, 123, 128, 130. 68 i9 Table 15.?RHYTHM (METER) OF FIRST MEASURE DENSMOEE] YUMAN AND YAQUI MUSICTable 17?RHYTHMIC PERIOD OB UNIT 207 208 BUEEAU OF AMERICAN ETHNOLOGY [bdll. 110Rhythms in the accompaniment ofmore than one songNVl J, J J J J JNo.. J r~3 J n No. 3 j> ;> j^ -h- i> ji No. 4 n J^ 7 i^ /n j^ . i^ No. 6 J^^i^J^^^i^^i'i^^i' No. 6 J J I J J iAlso quarter notes with rests corresponding to rests of voice. AUTHORITIES CITED CuLiN, Stewart. Games of the North American Indians. Twenty-fourthAnn. Rept. Bur. Amer. Ethn., Washington, 1907.Dhnsmorb, Frances. Chippewa Music. Bull. 4-5, Bur. Amer. Ethn., Wash-ington, 1910.Chippewa Music?II. Bull. 53, Bur. Amer. Ethn., Washington, 1913.Teton Sioux Music. Bull. 61, Bur. Amer. Ethn., Washington, 1918.Northern Ute Music. Bull. 75, Bur. Amer. Ethn., Washington, 1922.Mandan and Hidatsa Music. Bull. 80, Bur. Amer. Ethn., Washington,1923.Music of the Tule Indians of Panama. Smithsonian Inst., Misc. Colls.,vol. 77, no. 11 (Publ. 2864), Washington, 1926. ? Papago Music. Bull. 90, Bur. Amer. Ethn., Washington, 1929. ? Pawnee Music. Bull. 93, Bur. Amer. Ethn., Washington, 1929. ? Menominee Music. Bull. 102, Bur. Amer. Ethn., Washington, 1931.DoouMENTOs PARA LA HisTORiA DE Mesico. Four series. 20 vols. Mexico,1853-1857.Fox Strangwats, A. H. Music of Hindostan. Oxford, 1914.GiFFORD, E. W. The Kamia of Imperial Valley, Bull. 97, Bur. Amer. Ethn.,Washington, 1931.Handbook of American Indians North of Mexico. Edited by F. W. Hodge,Bur. Amer. Ethn., Bull. 30, pts. 1-2, Washington, 1907-1910.Henshaw, H. W. [Article] Yuman Family. I)i Handbook of Amer. Inds.,Bur. Amer. Ethn., Bull. 30, pt. 2, pp. 1011-1012, Washington, 1910.Herzoq, George. The Yuman Musical Style. Journ. Amer. Folk-Lore, vol. 41,pp. 183-231, New York, 1928.HrdliCka, Axe?. Notes on the Indians of Sonora, Mexico. Amer. Anthrop.,n. s. vol. VI, pp. 51-89, Lancaster, Pa., 1904.Kroe:ber, a. L. Handbook of the Indians of California. Bur. Amer. Ethn.,Bull. 78, Washington, 1925.Putnam, G. R. A Yuma Cremation. Amer. Anthrop., vol. vin, pp. 264-267.Washington, 1895. 209 INDEX PageAccompaniments to songs 20-21Agriculture of Yuman In-dians 2, 4Alvarez, Anka, a singer xviiiAnalysis?descriptive, of songs 36-40rhythmic and melodic, ofsongs 202-208tabulated, of songs 28-36Ariwares, Juan, a singer xviiiArrow weed, bundles of, usedas drum sticks 24Arrows, made at ceremony 84Ayala, Manuel, mention of? 27Barley, Mike?a singer xviiisongs recorded by 186Basket drums?described 24number of, used at dances. _ 24Papago method of using? 24Yuman method of using? 2Q-2 1 , 24, 130-131Beliefs concerning the dead__ 10,41, 85, 101Betting on games 195-196Bird dance?Cocopa, songs of 168-182Cocopa, time of 169Mohave, songs of 182-185Blackbird, songs concerning? 141,146, 147Burial customs. See Crema-tion; KArok; Memorial^ ceremony; Mourners.Buzzard, song concerning 142Cahita group, home of 15Ca'koramu's dance of theYuma 166-168Ceremonies?cremation 41-47Karok, or memorial 73-85See also Dances.Chiefs, cremation of 4267183?32 Children? Pageeducation of 8Yuma songs for 198-199Chippewa music, peculiarity of. 20Chippewa songs, tabulatedanalysis of 28-36Clam, a singer v, xviii, 85Cleveland, Leonard, a singer, xviiiClothing?burned at cremation cere-mony 47burned at memorial cere-mony 74See also Costumes; Dress,Club, Yuma weapon, described. 10Cocopa Indians?Bird dance of 168-182cremation legend of 85-98cremation practiced among- 41described 6-7facial painting of 9group of, in U. S. NationalMuseum 6habitat of 1Tcumanpaxwa dance of. _ 185-192Cocopa material, where col-lected VCocopa songs?number of, recorded 16recording of 85-86Corn?community ownership of ? 67cultivation of 7Corn dance?accompaniment for 21arrangement of songs in 17described 66-72manner of dancing 66-67movement in 15object of 66songs of 68-72Costumes?for the Corn dance 66of the Deer dance 130,155See also Clothing; Dress.211 212 INDEXCotton, cultivated by the PagoYaqui 16Courting CUSTOMS 9Coyote?legends concerning 100song concerning 145story of 91-96Cremation?among the Cocopa 7belief concerning 41customs connected with 41-48incident connected with 48origin of, among Yumantribes 41,48-66place for 41practiced by Yuman tribes. 5, 41Cremation ceremony?described 41-47duration of 42Cremation legends?Cocopa 85-98Mohave 98-100Yuman 48-66Cremation pyre, constructionof 45-46Customs of Yuman tribes 8-15Dances?Ca'koramu's.- __ 166-168Cocopa Bird 168-182Cocopa Tcumanpaxwa 185-192Corn , described _. 66-72Human Being, described 72-73Maturity, Yuma 193-194Mayo Deer 165-166Mohave Bird 182-185of Pleiades type, described. 167Yaqui Deer 154-156Yuma Deer 130-131Dancing?manner of , described 15,66-67, 73of Yuman tribes 15with Deer songs only 14Death?story of origin of 100See also Burial customs;Spirit of the dead.Deer?songs concerning 131,144, 159, 160, 165supernatural power of 130Deer dance?described- 130-131movement in 15 Deer dance?Continued. PageoftheMayo... 165-166use of drums at 24-25Yaqui, described 154-166Yuma, songs of 130-154Deity, dying, story of 98-100Dreams?importance attached to 6songs received in 98Yuman belief in 10Dress?of the dead 45of the Yuma 4See also Clothing; Cos-tumes.Drum?use of 20,21See also Basket drum.Dunbar, U. S. J., figures mod-eled by 6Dwellings?of the Cocopa 7of the Yuma 4Escalanti, George?flutes made by 26records made by 26Facial painting 9Fasting, after a cremation 48Flame, Bernard?cremation ceremony of 43-48death of 44Flute?described 25-26music of 25-27songs concerning 49-50stories of origin of 49Fly, song concerning 158Food, customs concerning 8Fort Yuma, establishment of_- 2Gambling. See Betting.Game. See Hunting.Games, Yuma?described 194-197played with ball 43songs for 196-197Garroteros, Spanish name forthe Yuma 3Gill, DeLancey, mention of__ 6Golding, Alfred?a singer xviiisongs recorded by 131Grunting, songs accompaniedby .- 20,21 INDEX 213Guadalupe village, Ariz.? Pagedescribed 22population of 22songs recorded in 22Hairdressing, of the Yuma._ 4Hammon, Peter?a singer v, xviiilegend recorded by 49songs recorded by 52Harp, made by the Yaqui 27Hemorrhage, treatment for 103HiDATSA SONGS, tabulated analy-sis of 28-36Hieroglyphics, Yuman 9Holmes, W. H., Cocopa de-scribed by 6-7Homer, Joe?a singer v, xviii, 42legend recorded by 49mention of 43,46speech made by 44story of dream of 10Homer, Luke?an interpreter vtranslator 43, 85"Hoop and stick"?a Yuma game 194described 195Human Being dance?accompaniment to 21described 72-73Humming bird?naming of 64song of 65, 149Hunting?manner of 10songs concerning 163-165Images of the dead?burning of 74, 85described 74r-75preparation of 75procession of 82-83Infants, care of 8Interpreters, acknowledgmentto VKArok?a memorial ceremony 17peculiarity of songs of 42reference to songs of 17, 18See also Memorial cere-mony.Katcora?a singer xviiiassistance of v Katcora?Continued. Pagesongs recorded by 166, 186Language, obsolete, used inwords of songs 10,17,86Largo, Joe, frog song recordedby ? . 14Legends?accompaniment for songsof 21Cocopa cremation 85-98connected with cremation. 48^66list of 14Mohave cremation 98-100of the journey of the deer_ 130origin, Yuma 4-5relating of 13-14songs interpolated in 13subject of 14Lightning, mythological causeof 112Lightning songs, Yuma 111-129Love song of Tule Indians 199Lucius, Father, mention of 22Luna, Loretto?an interpreter vmention of 22, 23Mandan songs, tabulated anal-ysis of 28-36Maricopa, enemies of the Yuma 3, 10Marriage customs 9-10Maturity dance of the Yuma 193-194Mayo songs?number of, recorded 16offered for recording 16Mayo tribe?briefly described 16Deer dance of 165-166meaning of the name 16Meadow lark, song concern-ing 167Medical treatment, Yuman _ 8,100-111Medicine man?methods of 102power of 101, 111Memorial ceremony?arrangement of songs in? 17described 73-85shack built for 75time of 75See also KArok.Menominee songs, tabulatedanalysis of 28?36 214 INDEXMexican influence in Yaqui Pagesongs 199Miguel, Chief, a singer 42Missions among the Yuma 3-4Mohave Bird dance, songs of. 182-185Mohave Indians?characteristics of 2color of skin of 2cremation among 41cremation legend of 9&-100game of, described 195habitat of 2narrative song cycles of 15songs of, recorded 16Mohave material, place of col-lection of vMourners?fasting of 48wailing of 47Mourning, terminated by Me-morial ceremony 73-74Musical instruments?described 24-27of the Deer dance 155used in courting 9used to accompany songs ._ 20-21Yaqui 27Yuman, use of 24See also Drum; Flute;Rattles.Mythology?southern Californian, dis-cussed 86See also Legends; Super-man.Names of the dead, tabooed.. 48, 76Nighthawk, songs of 152-154NuMAWASOAT, a singer xviii, 169Odle, L. L., superintendent ofYuma Reservation 41Origin legends of the Yuma_. 4?5Otur, a Yuma game 194,195Owl, song concerning 150Pablo Colorado, chief, men-tion of 7Paint, for pottery, mixing of.. 9Palmer, Edward L.?ornament collected by 156quoted on Mohave game__ 43Papago Indians?color of skin of 2relations of, with the Yuma 10Papago songs, tabulated analy-sis of... 28-36 Pasquale, Frank? Pa??honor accorded memory of. 42mention of 42Pawnee songs?reference to 20tabulated analysis of 28-36Peon?a Yuma game... 194described 195Phonetics xviiiPictographs, Yuman 8-9Pima, expedition against, by theYuma 3Ple IAde s, song concerning 179Poor, Billie?a singer xviiisongs recorded bj' 98Population?of the Yuma 4of Yaqui village 22Procession, of images of thedead 82-83Property, personal, burnedwith the dead 41Pueblo songs, resemblance of,to Yuma 19Quail, songs concerning 157, 168Rainbow, Lee, cremation of.. 42-43Rainbow, Nelson?a singer xviiian interpreter v, 43songs recorded by 196translator 85Rattles?cocoon, described 155dewclaw, tradition of 42dewclaw, use of 21gourd, use of 21made of cocoons 26of the Chippewa 25of the Cocopa 25of the Mohave 25spice-box, described 25spice-box, use of 21, 73used to accompany songs.. 20, 21varieties of 21Raven, song concerning 143Redbird, songs concerning 147,148, 151Rests in songs, discussed 19Ribas, Perez de, Yaqui de-scribed by 15-16Scalps?belief concerning 13ceremony of "feasting" 12 INDEX 215Scalps?Continued. Pageceremony of taking 11-12preparation of, for keeping. 12Shield, occurrence of, in thewest 84Shinny, game resembling 43, 194Sick?songs for treating 104-1 10treatment of 8, 100-104Singers, names of v, xviiiSioux songs, tabulated analy-sis of 28-36Social dance, accompanimentfor 21SoMERTON, Ariz., songs re-corded near 85Songs?accompaniments to 20-2 1 accompanying games 196-197concerning the blackbird, _ 141concerning the flute 49-50concerning the .hummingbird 65concerning the spider 140concerning the wild cat 64cycles of 13Deer dance, of Yaqui 156-165descriptive analysis of 36-40diflBculties in transcribing __ 17for children, Yuma 198-199improvised 17interpolated in legends 13Karok, peculiaritj^ of 18, 42manner of learning 17melodic and rhythmic anal-ysis of 202-208occasions for singing 16of Corn dance 68-72of Mayo Deer dance 166of Memorial ceremony 77-83of Mohave deity 99of the lightning 111-129of the Superman 87-98of the war party 11of the Wonder-boy 51-63of Yuma Deer dance 130-154order of 15regarded as property 1 68relating to the water bug. 132-137tabulated analysis of 28-36used in treating the sick 98,104-110with animal characteristics. 17Soul. See Spirit. Speeches, at cremation cere- Pagemony 44Spider, song concerning 140Spirit of the dead, beliefs con-cerning 10, 41, 101Stamping, songs accompaniedby 21Story of Coyote and theheart 91-96, 100Superman?a Cocopa god 86songs of 87-98Taboo?concerning the dead 5-6for warriors 12Tattooing, facial, for girls 9TCUMANPAXWA DANCE of theCocopa 185-192Tehanna, Frank?assistance rendered by v, 169characterization of 7-8Thunder and lightning, myth-ological cause of 111-112Transcription op songs, dif-ficulties of 17Tule Indians, love song of 199TuLE songs, characteristic of. _ 17TuNAK DANCE. See MaturityDANCE.Umada, Jos? Marie, a singer. _ xviiiUte Indians, reference to songsof 17Ute songs?reference to 20tabulated analysis of 28-36Victory dance, performance of. 12-13Wagers on games 195-196Wailing, custom of 44, 45War customs 10-13War party?departure of 10-11songs of 11Warriors, disguise of 11Water bug, songs relating to. 132-137Weapon of the Yuma 10White Cloud^?a mythological being 111storms controlled by 111Wild cat?naming of 63song of 64Wilson, Bill?a singer 42mention of 46 216 INDEXWilson, Charles? Pagea singer v, xviiicures effected by 102mention of 49songs belonging to 42songs recorded by 18supernatural power of 101treatment by, of the sick. 102-104Wilson, Mrs. Charles?a singer xviiisongs recorded by 193Wonder-boy, songs of 51-63Wounds, gunshot, treatmentfor. 103Yaqui Indians?dance of, described 154-156derivation of the name 15government of 22miscellaneous songs of 199-201musical instruments of 27territory occupied by 15village of 22Yaqui music?Mexican influence on 23native, accompaniment for. 23where studied vYaqui songs?discussion of 22 Yaqui songs?Continued Pagenumber of, recorded 16tabulated analysis of 28-36Yuma, Ariz., situation of 2Yuma Indians?beliefs of 41Cakoramus dance of 166-168characteristics of 4derivation of the name 3habitat of 1names for 3population of 4Yuma material, where col-lected VYuman songs?discussion of 17-21in cycles 16-17number of, recorded 16of the Deer dance 130-154tabulated analysis of 28-36Yuman tribes?cremation practiced among. 41customs of 8-15described 2discussion of 1-8environment of 1o ^?7 7 k'.