2. Harmonic Melody. — These songs seem to be a real connecting link between excited shouting and excited singing. In quality of tone they are shouts or howls. In pitch-relations they are unmistakably harmonic. Some of them manifest this characteristic most strikingly. For example, the two songs on cylinder No. 41 contain all the tones which compose the chord of C major, and no others. The second one on cylinder No. 38 has the tones D and F sharp and no others, except in the little preliminary flourish at the beginning, and here there is only a passing E, which fills up the gap between the two chord-tones. D is evidently the key-note, and the whole melody is made up of the Tonic chord incomplete. The first song on the same cylinder is similarly made up of the incomplete Tonic chord in C minor; only the opening phrase has the incomplete chord of E flat, the relative major. Cylinder No. 49 has nothing but the Tonic chord in C major, and the chord is complete. No. 61 has the complete chord of B flat minor and nothing else. No. 62 is made up mainly of the chord of F major complete. It has two by-tones occasionally used, G and D, the former belonging to the Dominant and the other to both the Sub-dominant and Relative minor chords. Song No. 9 on cylinder No. 100 has the incomplete chord of D sharp minor, with G sharp, the Sub-dominant in the key, as an occasional by-tone. The last tone of each period, the lowest tone of the song, sounds in the phonograph as if the singer could not reach it easily, and the pitch is rather uncertain. It was probably meant for G sharp; but a personal interview with the singer would be necessary to settle the point conclusively. Song No. 10, on the same cylinder, has the complete Tonic chord in D sharp minor and nothing else except the tone C sharp, which is here not a melodic by-tone, but a harmonic tone, a minor seventh added to the Tonic chord. This is curiously analogous to some of the melodies I heard in the Dahomey village at the World's Fair, and also to some of the melodies of our own Southern negroes. Song No. 11, on the same cylinder, has the same characteristics as No.9. Nos. 12 and 13, on cylinder No. 135, contain the complete chord of D flat and nothing else. The two songs on cylinder No. 138 contain the complete chord of C major and nothing else, except at the beginning, where A, the relative minor tone, comes in, in the opening phrase. As a rule, whatever by-tones there are in these songs are used in the preliminary phrase or flourish of the song, and then the singer settles down steadily to the line of the Tonic chord. The two songs recorded on No. 139 have the complete major chord of B flat, with G, the relative minor, as a by-tone. The two songs on No. 143 are in C sharp minor and embody the Tonic chord, with F sharp, the Sub-dominant, as a by-tone. Only the first of the two begins with the tone B, which does not occur again. Song No. 27, on cylinder No. 144, embodies only the complete chord of C sharp minor. No. 28 has the same chord, with F sharp as a by-tone. The two songs on No. 145 are in D minor and are made up mainly of the Tonic chord. The by-tones used are G and B flat, which make up two thirds of the Sub-dominant chord, and C, which belongs to the relative major. No. 32, on cylinder No. 146, has more of diatonic melody. It is in G major, and embodies the chord of the Tonic with by-tones belonging to both the Dominant and Sub-dominant chords, one from each chord. No. 33, on the same cylinder, is less melodious, but has the same harmonic elements. Cylinder 147 has two songs in D major which embody the Tonic chord complete, with slight use of a single by-tone, B, the relative minor. The same is true of song No. 36, on cylinder No. 148. Song No. 37, on the same cylinder, has the major chord of C and nothing else.
There are two striking facts in all this: (1) When these Navahoes make music spontaneously, make melodies by singing tones in rhythmically ordered succession,—there is always a tone which forces itself on our consciousness as a key-
