Traditional Hopi Songs - online book

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ANOSHKAEY                     m                  157
the first A has precisely the pitch of that of the last, but as in previous instances the singer takes time to find himself in the song. The divi­sion of the initial interval at b, a tone above the lower fifth, determines the segment as minor, most of the other notes and the opening of B being below the pitch of their later homologues. The distinction in the singer's mind between the two forms of B, major and minor, is reflected in the shift of pitch twice executed at the junction of the two movements in the major B's (B1, B3), but left out at the corresponding point in the minor B's (B2, B4, B6). In the former a shift is necessary in passing from one major triad (f-a-c') to the other (d-fg-a), but the fourth (fg-a-b) and the major triad (d-fg-a) of the minor B's fit accurately. The expressive content of the song is per­haps indicated in the whisper with which Polakka begins it, and in the sequence of the minor on the major B's like the fall of an echo. Even the wavering intonation may contribute to depict the flight of some­thing ephemeral, or the destruction of something fragile.
Lesma delivers the melody robustly and simply, not even troubling himself to finish his triads in A; and makes short work of it, breaking away from the other version in C. His two A's reflect the types of Polakka's performance in the sequence in which they there appear, minor preceding major. His B is major and contains a suggestion of the shift in pitch made a feature of that reading by Polakka.
The staff notations confused the two renditions, giving B major to Lesma and B minor to Polakka, and noting various sporadic semitones only in Lesma's rendition. The chief structural feature of the melody, its combination of the major triads c'-a-f, and a-fg-d, the summit pitch of one being the interior pitch of the other, is adiatonic, and the fact is recorded in the ft) of Lesma's notation. Elsewhere the staff notation gives a diatonic misrepresentation of the melody by reducing the transition triad to a tritonus (ascribed to Lesma) or fourth (ascribed to Polakka).
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