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144                                         HOPI SONGS
The performances diverge as follows from the schematic cycle: Singer No. 1 gave all of the notes of his opening strophe a pitch which refers them to the relaxed (minor) version, excepting those marked (1), which unequivocally took the major level. He opened his major strophe with the junction pitch (ab) of the minor version; but the pitch of note (2), while that of its minor homologue, is that of all the other homologues as well, the A triad changing to minor in the major B's at this point. The modification in the following repeated B3, which seems to betray thoughts of a coming relaxed performance-of the strophe, affects the notes marked (3), all of which are lower than their preceding homologues. The variation in pitch of the highest notes in the different B's indicates that they were at the limit of the singer's voice and renders any theory of their intent less certain. The third C is developed by this singer as a finale. It reflects the major fabric, excepting that the note B which took both major and minor levels in the foregoing C is here pitched unequivocally at B.
Singer No. 2 also begins his performance in the minor phase, but has only just completed the A triad when he reverses his conception of his place in the song, and through the remainder of the strophe adheres consistently to the more vigorous reading. In the following repetition of B C he gives three signs of a coming relaxation: the lowering of note (4) the smaller rise at (5) and the reiterated note AB. He follows No. 1 in the first and approaches the minor version still more closely in the second; while the note AB is the octave of the junction pitch of the minor version. In beginning this after his pause he follows Singer No. 1 and his own original start in giving his introductory triad the minor level, making its mediant b —, and in performing the lower inter­val of the A triad in the minor version. But the upper interval and most of the rest of the strophe he raises to the major level. The two halves of the A triad hence part company, B3 reverts to the minor form only at the note marked (6) and in the characteristic minor timidity of the rise at (7), and C3 only in the initial note B -. The final major strophe is performed consistently in the vigorous form and ends on
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