Traditional Hopi Songs - online book

Native American Songs With Sheet Music, Notation & Commentary

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Vigorous in outline and even vociferous in delivery, the sobriety of structure of this little song is at the opposite pole of composition from the harlequin design of Jakwaina. Instead of numerous themes stated to be dropped, it presents a single one doubly developed. In A a fourth, dV-ab, prolonged to a minor sixth by the notes ga and fg, is expanded into a figure whose closing notes would repeat the previous close a fourth lower were the last rise a tone instead of an approximate major third. B develops this figure shifted downward a tone, shortening its final plunge to the initial minor sixth, and ending approximately on the same two pitches. C repeats these cardinal notes with sforzando leaps which start from the closing sixthas it were point-
ing out the goal attained, and shape it elastically upward like the move­ments which in the preceding B3 threaten to destroy the identity of that figure. The melody illustrates again the simultaneous shaping and expansion of figure shown in Anoshkaey, but gives the drama a different ending, the restoration of the figure to its initial span taking place by the delayed descent of the upper note instead of by shrinkage both ways.
Of the two lowest notes the upper is the more constant, only once in nine repetitions being judged to vary more than a fourteenth tone. The •homologous note of the first figure of A1 is judged at precisely the same pitch in A2, the upper notes d'e' + of the triads varying a fourteenth tone.
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