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Music of Acoma, Isleta, Cochiti, and Zuñi Pueblos - Flutopedia.com

Music of Acoma, Isleta, Cochiti, and Zuñi Pueblos - Flutopedia.com

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58 BUREAU OF AMERICAN ETHNOLOGY [Boll. 165<br />

Translation<br />

Is it not you, young man, is it not you, young man.<br />

That sort <strong>of</strong> yellow butterfly you painted,<br />

That flies in among the corn plants.<br />

Is it not you, young man, is it not you, young man,<br />

That sort <strong>of</strong> blue butterfly you painted,<br />

That flies in among the corn plants.<br />

Chortis<br />

Butterfly, butterfly, that yellow butterfly, that beautiful butterfly [repeated]'<br />

I can see it fly away in its sacred way.<br />

Is it not you young man, is it not you, young man?<br />

That kind <strong>of</strong> yellow butterfly, yellow butterfly you have painted,<br />

So then it is pretty, to alight in the field.<br />

II<br />

(Repeated, mentioning the blue butterfly)<br />

Chorus<br />

Butterfly, butterfly, yellow, blue butterfly,<br />

Beautiful, beautifully it flies to the country.<br />

Beautiful butterfly, red, white butterfly,<br />

Beautiful, beautifully it has flown among the flowers.<br />

Analysis.—The performance <strong>of</strong> this song occupied 2 minutes, the entire performance<br />

being transcribed. At the close <strong>of</strong> the repetition <strong>of</strong> period B, before<br />

the half rest, the tone F was sung slightly above the indicated pitch, this rise<br />

in pitch level having been gradual. The tone F in the upper octave, occurring<br />

early in the fourth period, was clearly sung as F-sharp <strong>and</strong> the remainder <strong>of</strong> the<br />

performance was on that pitch level. Throughout the observance <strong>of</strong> a change<br />

in pitch level, it has been noted that the change occurs in anticipation <strong>of</strong> a particularly<br />

large interval or, occasionally, in the singing <strong>of</strong> this unusually large<br />

interval. The transcription contains 179 progressions, <strong>and</strong> the entire performance,<br />

including the repeated portions, contains 212 progressions. Although the song<br />

is major in tonality, the major third <strong>com</strong>prises less than 1 percent <strong>of</strong> the intervals,<br />

the melody progressing chiefly by whole tones <strong>and</strong> semitones. ^The drimibeat<br />

slightly preceded the voice <strong>and</strong> is in quarter-note values.<br />

COMANCHE DANCE SONG<br />

This is a pleasure dance among the <strong>A<strong>com</strong>a</strong>, but is closely connected<br />

with traditions <strong>of</strong> war (cf. Comanche dance <strong>of</strong> the Zuni, p. 109).<br />

Only boys <strong>and</strong> young men take part in the Comanche dance, some<br />

appearing like <strong>A<strong>com</strong>a</strong> warriors, while others are in the war regalia<br />

<strong>of</strong> the Plains tribes. It was said, "if wearing a feather bonnet they<br />

dance more gracefully <strong>and</strong> trip along." They carry shields <strong>and</strong><br />

<strong>of</strong>ten dance face to face as though fighting with spears.<br />

The| Comanche dance songs 'usedf at <strong>A<strong>com</strong>a</strong> are in imitation <strong>of</strong><br />

songs learned from other tribes. In explanation <strong>of</strong> the song here

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