Traditional Hopi Songs - online book

Native American Songs With Sheet Music, Notation & Commentary

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	ANONYMOUS II                                         205 Argument. A trichord (c'd'-ab-ga) over a tetrachord (ga-fg-e-de) exchanges places with it. An ingenious little composition differing from Haikaya in its com­plexity and from Jakwaina in its unity. The main field of the melody is divided in A1 chiefly as a minor tri­chord over a minor tetrachord, and in A2 chiefly as a minor tetrachord over a minor trichord. The resulting expansion in the closing interval of A is anticipated by alternate wider and narrower movements redu­cible as in Maihai-katcina to an inverse rhythm. The sequence is as follows: — The three slides give a major a slower movement, and this is continued at the summit ofminor and the beginning ofminor. B rehearses characteristic notes of the A's. A1 starts in a minor to climb to the upper fourth, c'd'-ga, which a major is to outline, by the zigzag path familiar in this music (compare C2 andinand in Jakwaina), but divides it tri- chordally at ab instead. The lower fourth it divides as a minor tetra­chord by a semitone, e-de, and a minor third, fg-de, the division empha­sized in a major by a slide of approach and another of departure being trichordal, by a tone, f-de. The fifth (ab-de) spanned in the final movement of a minor becomes in a major by a slide through a semitone, ab-b, a minor sixth; and a flourish before the descent through this in­terval lands the singer on e, a semitone above the pitch of the former a, which nevertheless he regains within a seventh tone in his movement to the final note. The two A's exchange character here, the bold move­ment ofin A1 rising through a minor triad to complete the upper fourth as a minor trichord, c'd'-ab-ga, and its singularly diffident course in A2, ga-a-b, reproducing the tetrachordal division, de-e-f g, of the lower fourth in a minor. A slide to the identical pitch d, setting a semitone lower limit several times struck to be immediately withdrawn from, is followed by recovery to the same pitch, fg-, withintone. The descent and