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 Contents vii

Part III
Melody: Chromaticism
Rhythm: Further Rhythmic Practices
13. Rhythm and Syncopation
Melody: 202
Rhythmic Reading 203
Section 1 (R). Syncopation in simple meters at the beat
or beat division level 203
Section 2 (R). Syncopation in compound meters at the beat
or beat division level 204
Section 3 (R). Two-part drills 205
Section 4 (R). Syncopation at the beat subdivision level
in simple meters 207
Section 5 (R). Syncopation at the beat subdivision level
in compound meters 209
Section 6 (R). Two-part drills 209
Sight Singing 211
Section 7. Syncopation in simple meters at the beat or
beat division level 211
Section 8. Syncopation in compound meters at the beat or
beat division level 217
Section 9. Syncopation at the beat subdivision level in simple
and compound meters 219
Section 10. Duets 224
Section 11. Structured improvisation 226

14. Rhythm and Triplet Division of Undotted Note

Melody: Values; Duplet Division of
Dotted Note Values 227
Rhythmic Reading 228
Section 1 (R). Triplet division of undotted note values 228
Section 2 (R). Duplet division of dotted note values 231
Section 3 (R). Two-part drills 232
Sight Singing 234
Section 4. Triplet division of undotted note values 234
Section 5. Duplet division of dotted note values 240
Section 6. Duets 243
Section 7. Structured improvisation 244
viii Contents

15. Melody: Chromaticism (I): Chromatic

Embellishing Tones; Tonicizing the
Dominant; Modulation to the Key of
the Dominant or the Relative Major 246
Section 1. Chromatic notes in the context of stepwise motion 246
Section 2. Chromatic notes approached or left by leap 250
Section 3. Tonicization of V in major keys 254
Section 4. Tonicization of III and modulation to the relative
major from minor keys 261
Section 5. Modulation to the dominant from major keys 267
Section 6. Modulation to the dominant from minor keys 275
Section 7. Duets 277
Section 8. Structured improvisation 279

16. Melody: Chromaticism (II): Tonicization of Any

Diatonic Triad; Modulation to Any
Closely Related Key 281
Section 1. Brief tonicizations of any diatonic triad with no
modulation 281
Section 2. Extended tonicizations 284
Section 3. Tonicization with modulation only to the
dominant or relative major key 288
Section 4. Modulation to any closely related key 292
Section 5. Successive modulations among closely related keys 296
Section 6. Additional practice with tonicization and modulation 299
Section 7. Duets 307
Section 8. Structured improvisation 311

17. Rhythm and Changing Meter Signatures;

Melody: The Hemiola; Less Common
Meter Signatures 313
Rhythmic Reading 313
Section 1 (R). Definitions and rhythmic reading exercises 313
Sight Singing 317
Section 2. Changing meter signatures 317
Section 3. The hemiola 322
Section 4. Meters of 5 and 7, and other meters 327
Section 5. Structured improvisation 334
 Contents ix

18. Rhythm and Further Subdivision of the Beat;

Melody: Notation in Slow Tempi 335
Section 1 (R). Rhythmic reading 336
Section 2. Sight singing 338
Section 3. Structured improvisation 346

19. Melody Chromaticism (III): Additional

Uses of Chromatic Tones;
Remote Modulation 348
Section 1. Mode mixture 348
Section 2. Augmented-sixth chords 350
Section 3. The Neapolitan sixth 351
Section 4. Chromatic tones in less common intervals 359
Section 5. Remote modulation 367
Section 6. Structured improvisation 375

Part IV
The Diatonic Modes and Recent Music
20. Melody The Diatonic Modes 377
Section 1. Folk music 378
Section 2. Composed music 386
Section 3. Structured improvisation 394

21. Rhythm and The Twentieth and

Melody: Twenty-First Centuries 395
Section 1 (R). Meter and rhythm. Rhythmic reading 395
Section 2. Extensions of the traditional tonal system 398
Section 3. Symmetrical collections; the whole-tone
and octatonic scales 409
Section 4. Freely post-tonal melodies; twelve-tone melodies 417
Section 5. Duets 422
Section 6. Structured improvisation 427

Appendix A: Rhythm Solmization 429

Appendix B: Pitch Solmization 432
Appendix C: Musical Terms 435
Preface
Developing the “mind’s ear”—the ability to imagine how music sounds without
first playing it on an instrument—is essential to any musician, and sight singing (in
conjunction with ear training and other studies in musicianship) is invaluable in
reaching this fundamental goal. The principal objective of sight singing is acquir-
ing the ability to sing a given melody accurately at first sight. Although repeating
a melody and correcting any errors is beneficial, we can truly sight sing a melody
only once, which is why Music for Sight Singing provides a generous number of ex-
ercises (more than 1,500 in this volume) for practice.
Generations of musicians have valued Music for Sight Singing for its abun-
dance of meticulously organized melodies drawn from the literature of com-
posed music and a wide range of the world’s folk music. Not only is “real music”
more enjoyable and interesting to sing than dry exercises, but genuine repertoire
naturally introduces a host of important musical considerations beyond pitch
and rhythm (including dynamics, accents, articulations, slurs, repeat signs, and
tempo markings). The book’s systematic arrangement of exercises according to
specific melodic and rhythmic features lays an effective foundation for success.
Each chapter methodically introduces elements one at a time, steadily increasing
in difficulty while providing a musically meaningful framework around which
students can hone their skills. Through this method, the book creates a sense of
challenge rather than frustration: a conscientious student should always be pre-
pared to tackle the next melody.
The text as a whole is divided into four parts:

1. Chapters 1–9, diatonic melodies with rhythmic patterns limited to whole beats
and their most basic divisions (two notes per beat in simple meters, three notes
per beat in compound meters)
2. Chapters 10–12, diatonic melodies with rhythmic patterns that include subdi-
visions of the beat (four notes per beat in simple meters, six notes per beat in
compound meters)
3. Chapters 13–19, chromaticism, tonicization, modulation, and more advanced
rhythmic patterns and metrical concepts
4. Chapters 20–21, modal and post-tonal music
Readers who prefer to progress to subdivided rhythms more rapidly may skip
directly from chapter 7 to chapters 10 and 11. However, subsequently returning to
chapters 8 and 9 will help introduce new leaps in a simpler rhythmic context before
proceeding to chapter 12.
Music for Sight Singing contains exercises appropriate for students of all skill
levels, including beginners, but a basic working knowledge of fundamental

x
 Preface xi
music theory and notation is prerequisite to sight singing. The following abilities
are particularly important:

• Recognize, write, and sing all major and minor scales

• Recognize and write all major and minor key signatures
• Recognize and write all common note values and their corresponding rests
• Recognize and interpret standard meter signatures

Each of the above will be reviewed as topics are introduced throughout the text.
However, a practical command of these basic elements from the outset will ensure
satisfactory progress.
A new edition of Music for Sight Singing offers the opportunity to build on
the book’s strengths, address any weaknesses, and introduce some new ideas. As
always, exercises have been selected from a wide musical repertoire, and melodies
written especially for pedagogical purposes are kept to a minimum.
Important revisions in the tenth edition include the following:

• The minor mode is introduced more gradually and systematically, starting with
ˆ then melodies including the comparatively famil-
melodies that exclude 6̂ and 7,
iar ascending c 7ˆ and descending T 6̂, then melodies with the somewhat less fa-
ˆ and finally less common uses of 6̂ and 7.
miliar ascending c 6̂ and descending T 7, ˆ

• Leaps outside of the tonic and dominant harmonies are presented more sys-
tematically. Three different approaches are supported by clearly identified
sections: leaps outlining IV or ii, leaps to 4̂ and 6̂ (which are the most difficult
diatonic notes for many students), and leaps of particular interval sizes.
• There are further improvements to the introduction of modulation. Most
significantly, the three most common modulations (to the dominant from a
major key, to the minor dominant from a minor key, and to the relative major
from a minor key) now appear in separate sections.
• Tonicizations beyond the dominant and relative major have been further orga-
nized for a more gradual increase in difficulty. The initial section includes only
very brief tonicizations, the next section includes more extended tonicizations
(where some people may prefer to change syllables temporarily), and a third
section combines tonicization with the familiar modulations introduced in the
previous chapter (to the dominant or relative major key).
• A new section specifically addressing mode mixture has been added, and this is
followed by another new section that includes augmented-sixth chords.
• There is now a separate section of melodies that modulate successively among
three or more closely related keys.
• The number of melodies in minor keys has further increased.
• More melodies have been notated in alto, tenor, and bass clefs.
• Chapter 21 includes more music by living composers.
xii Preface
This edition also refers and directs students to the Rhythm Generator soft-
ware in some chapters. The Rhythm Generator (http://myweb.fsu.edu/nrogers/
Rhythm_Generator/Rhythm_Generator.html) creates virtually unlimited rhythmic
drills tailored to specific chapters of the book. These rhythmic drills are easily set to
a variety of lengths as well as to beginning, intermediate, or advanced levels; they
provide appropriate challenge to any student. Instructors and students alike will
find the rhythms well targeted, musically satisfying, and fun to perform.
This edition maintains the structured improvisation exercises established in
the seventh edition. Structured improvisation provides students with a framework
around which to create their own melodies. These singing exercises are crafted
to reinforce the lessons of their respective chapters, fundamentally emphasizing
the book’s organization and approach through a new kind of activity. Structured
improvisation training offers specific musical and pedagogical benefits, from help-
ing beginning students master an unfamiliar solmization system (by concentrating
specifically on scale degrees and their corresponding syllables without the addi-
tional mental burden of notation) to fostering a deep awareness of harmony in stu-
dents at all levels. Finally, improvisational exercises will provide additional variety
to class and individual practice, and (unlike traditional sight singing) they will
extend the same benefits even after multiple repetitions.
I am strongly committed to maintaining the tradition of excellence that Robert
Ottman established more than 60 years ago. The combination of his vast knowledge
of the repertoire and his deep pedagogical instincts made Music for Sight Singing
one of the most celebrated music textbooks of the twentieth century. It is humbling
to walk in such giant footsteps, but of course it is also a tremendous privilege to
continue Dr. Ottman’s work for the benefit of twenty-first-century musicians.

Nancy Rogers
In Memoriam
Musicians around the world have been touched by Robert Ottman. Hundreds of
fortunate students studied with him during his long career at the University of
North Texas, where he is fondly remembered as an exceptionally fine and dedicated
teacher. He was an inspirational role model for those who later became educators
and were able to pass along his words of wisdom, his teaching techniques, and
his high standards to thousands of their own students. Countless other musicians
have benefited from the insight and experience that he poured into Music for Sight
Singing and 10 other textbooks.
Dr. Ottman earned his bachelor’s and master’s degrees from the Eastman
School of Music (1938 and 1944), then enlisted in the U.S. Army as a chaplain’s as-
sistant. During World War II, he played a portable organ during worship services
and drove the chaplain’s Jeep (sometimes at night, without headlights) near enemy
territory in order to draw fire and pinpoint troop locations. After the war ended, he
studied at Trinity College of Music in London, then returned to the United States
to head the music theory department at the University of North Texas (known at

Robert William Ottman

May 3, 1914–June 30, 2005

xiii
xiv In Memoriam
the time as the North Texas State College). He received his doctorate from UNT in
1956—the same year that he published the first edition of Music for Sight Singing.
Serving both as a professor of music theory and as director of the Madrigal
Singers, Robert Ottman was a valued member of the University of North Texas fac-
ulty throughout his 35 years there. Even after his retirement in 1981, he remained
actively involved with the university and the larger Denton community. In 2004 he
received the UNT President’s Citation for outstanding service.
Dr. Ottman was beloved by those who knew him and, remarkably, even by
people acquainted solely with his books. If it is, indeed, possible to be immortalized
through one’s work, then Robert Ottman will live forever in the hearts and minds of
musicians all around the world.
Acknowledgments
The following publishers have granted permission to use melodies from their
publications, for which the authors wish to express their appreciation. Additional
acknowledgments will be found immediately below individual melodies.
American Book Company, New York: melody 2.35 from Songs and Pictures, Book I, by
Robert Foresman.
The American Folklore Society, Philadelphia, PA: melodies 6.48, 12.22, 15.19, and 17.81
from Spanish-American Folk Songs, ed. Eleanor Hague; melodies 3.38 and 20.8 from
The Journal of American Folk Lore.
Ascherberg, Hopwood, and Crew, Ltd.: melody 4.30 from Folk Songs of the North-Countries
by Frank Kidson; melody 8.44 from A Garland of English Folk Songs by Frank Kidson.
Associated Music Publishers, Inc., New York, NY: melodies 17.32 and 17.61 from Folk
Dance Music of the Slavic Nations by H. A. Schimmerling; melodies 3.24, 3.13, 3.28,
5.26, and 17.75 from Das Lied der Volker by Heinrich Möller, copyright by B. Schott’s
Soehne, Mainz, used by permission of the copyright owner and its agent, Associ-
ated Music Publishers, Inc.
C.F. Peters Corporation, New York, NY: melodies 3.3, 3.66, 6.18, 6.39, and 8.1 from
Deutschland in Volkslied, ed. Gustav Kniep, copyright C. F. Peters, reprinted with
permission.
Columbia University Press, New York, NY: melody 4.77 from A Song Catcher in the Southern
Mountains by Dorothy Scarborough; melodies 3.32, 3.55, 3.69, 12.67, 14.47, 14.65, 17.56
and 17.85 from Folk Music and Poetry of Spain and Portugal by Kurt Schindler, courtesy
of Hispanic Institute, Columbia University.
G. Schirmer, Inc., New York, NY: melody 13.78 from Anthology of Ialian Song by
A. Parisotti; melodies 6.49 and 15.3 from 44 French Songs and Variants by Julian
Tiersot; melody 6.26 from Reliquary of English Song; melody 4.90 from Songs of
Italy by E. Marzo.
Gesellschaft zur Herausgabe von Denkmäler der Tonkunst in Osterreiech, Vienna: melodies
15.22 and 16.49 from Denkmäler der Tonkunst in Osterreich.
Harvard University Press, Cambridge, MA: melody 13.84, reprinted by permission of
the publishers from Willi Apel and Archibald T. Davison, Historical Anthology of
Music, Vol. II, copyright 1946, 1949, 1950 by the President and Fellows of Harvard
College.
H.W. Gray Co., New York, NY: melodies 3.51, 5.16, and 12.32 from Folk Song Chanteys and
Singing Games by Charles Farnsworth and Cecil Sharp, reprinted by permission of
Novello & Co., Ltd.
Louisiana State University Press, Baton Rouge: melody 6.11 from Louisiana-French Folk
Songs by Irene Whitfield.
Mary O. Eddy, author of Ballads and Songs from Ohio, published by J.J. Augustin, Locust
Valley, NY: melodies 3.43, 9.26 and 11.6.
Novello & Company, Ltd., London: melody 17.78 from Caractacus by Sir Edward Elgar,
reproduced by permission.
University of Alabama Press: melodies 8.57 and 13.102 from Folk Songs of Alabama by
Byron Arnold.
University of Utah Press, Salt Lake City: melody 14.56 from Ballads and Songs from Utah
by Lester A. Hubbard, University of Utah Press, 1961.

xv
xvi Acknowledgments
Vermont Printing Company, Brattleboro: melody 17.62 from Cancionero Español by Maria
Diez de Onate.
The illustrations on pages 2 and 299 were based on several online sources:
Gordon Lamb, “The Conducting Beat Patterns,” Connexions, March 20, 2009,
http://cnx.org/content/m20804/1.1/.
“What Do I See When I Look at the Conductor?,” http://drribs.tripod.com.
“Conducting Course,” The Church of Jesus Christ of Latter-Day Saints, 1992, http://
www.lds.org/cm/ccourse/Lessons/ConductCourse33619000_06.pdf.

I would like to thank the following individuals for their suggestions as

I prepared the manuscript for the tenth edition: Karen Becker (Plattsburgh State
University of New York), Jon Beebe (Appalachian State University), Jenine Brown
(Peabody Conservatory of Johns Hopkins University), William Dyer (Grays Harbor
College), Alan Elkins (Florida State University), Anita-Ann Jerosch (University of
Maine at Augusta), and Tony Jones (Illinois Central College).
I remain grateful to Alan Theisen (Mars Hill College), who did a superb job of
setting the entire eighth edition and has set all of the new melodies for each subse-
quent edition. William Wieland (Northern State University) was a joy to work with
as he combined his expert musicianship and technological skills to design and im-
plement the Rhythm Generator. I would also like to thank everyone involved with
producing the tenth edition: Marla Sussman (Executive Editor at Integra), Allison
Campbell (Associate Managing Editor at Integra), Vigneswaran Balachandran
(Project Manager at Integra), Kani Kapoor (Content Producer at Pearson Education),
and Bimbabati Sen (Sponsoring Editor at Pearson Education). Last but by no means
least, I am enormously indebted to my husband, Michael Buchler, for his constant
personal and professional support.

Nancy Rogers
Chapter 1
Rhythm
Simple Meters;
The Beat and Its Division into Two Parts

The Rhythm Generator provides virtually unlimited rhythm-

reading exercises corresponding to this chapter.

An important attribute of the accomplished musician is the ability to “hear men-

tally”—that is, to know how a given piece of music sounds without recourse to an
instrument. Sight singing, together with ear training and other studies in musician-
ship, helps develop that attribute. The goal of sight singing is the ability to sing at
first sight, with correct rhythm and pitch, a piece of music previously unknown
to the performer. Accomplishing this goal demonstrates that the music symbols
on paper were comprehended mentally before being performed. In contrast, skill
in reading music on an instrument often represents an ability to interpret music
symbols as fingerings, with no way of demonstrating prior mental comprehension
of the score.
To help you become proficient in sight singing, this text provides you with
many carefully graded music examples. Beginning in this chapter, you will perform
the simplest of exercises in reading rhythm, after which you will perform easy me-
lodic lines that incorporate those same rhythmic patterns.

Rhythmic Reading
In simple meters (also known as simple time), the beat is divisible into two equal
parts; therefore, any note value so divisible can represent the beat. Most com-
monly used are the quarter note (𝅘𝅥 = 𝅘𝅥 𝅘𝅥 ), the eighth note (𝅘𝅥𝅮 = 𝅘𝅥 𝅘𝅥 ), and the half note
(𝅗𝅥 = 𝅘𝅥 𝅘𝅥 ), though other values ( 𝅝, 𝅘𝅥𝅯, 𝅘𝅥𝅰 ) are sometimes seen. In this chapter, the note
value representing the simple division of the beat (that is, half of the beat) will be
the shortest note value used. In reading, follow these suggestions:
1. Rhythmic syllables. Accurate rhythmic reading is best accomplished through the use
of spoken or sung rhythmic syllables. Any spoken method (even a neutral syllable)
is preferable to clapping or tapping for a variety of reasons: dynamics and sustained
notes are more easily performed vocally, faster tempos are possible, and vocalizing

1
2 Chapter 1
leaves the hands free for conducting. There are a variety of good rhythmic syllable
systems in current use; several popular systems are illustrated in Appendix A.
2. The conductor’s beat. The use of conductor’s beats is highly recommended. Shown
below are hand-movement patterns for two beats, three beats, and four beats per
measure. Successive downbeats of each pattern coincide with successive bar lines.
You should conduct with your right hand.

The Conductor’s Beats: two beats, three beats, and four beats
per measure

2 3 4

1 1 2 1 3
2

The downbeat (1) drops in a straight line and describes a small bounce at the instant
the first beat occurs. The first downbeat is preceded by an upbeat, beginning at the
point of the last beat of the pattern being used. Therefore, the last beat of each meas-
ure is the upbeat for the following measure.
Practice these three conductor’s beats without reading or singing. Next, with the
left hand, tap twice for each beat of the conductor’s beat. These taps represent the
normal simple division of the beat-note value. When you no longer have to concen-
trate on these hand movements, you are ready to begin rhythmic reading and sight
singing.
3. Striving for continuity. It should be obvious that only the first performance of an
exercise can be considered reading at first sight. (After that, you are practicing!)
Therefore, on the first try, you should not stop to correct errors or to study what
to do next. As you read an exercise, use the conductor’s beat and tapping to keep
going without pause until the very end. If you make a mistake, don’t hesitate or
stop; the next “1” (downbeat) will be the next bar line where you can pick up your
reading and continue to the end. If you made errors or lost your place, you can
review and practice in anticipation of doing better on the next exercise. Follow this
procedure beginning with the very first exercises. Conducting and tapping easy
exercises now is the best way to prepare yourself for the more difficult exercises
to follow.
4. Notation for rhythmic reading. Exercises such as a on the following page are
designed specifically for rhythmic reading and therefore use a simple one-line
staff. However, reading rhythmic notation from a melodic line, as in example b,
should begin as soon as possible. As seen in this pair of examples (illustrated with
one of many possible solmization systems), there is no difference in the resulting
rhythmic performance.
 Chapter 1 3

The melodies of Chapters 2 and 3 include only the same type of rhythm patterns
found in this chapter.

Section 1. The quarter note as the beat unit. Beat-note

values and larger only: 𝅘𝅥 = 1 beat, 𝅗𝅥 = 2 beats, 𝅗𝅥. = 3
beats, 𝅝 = 4 beats.
Not all exercises begin on the first beat of the measure. Determine the beat number
of the first note before reading. If there is an anacrusis (i.e., a pick-up), silently count
from the downbeat and enter on the appropriate beat.

1.1

1.2

1.3

1.4

1.5

1.6

1.7
4 Chapter 1

1.8

1.9

1.10

Section 2. The quarter note as the beat unit

and its division (𝅘𝅥 = 𝅘𝅥 𝅘𝅥 ). Dotted notes and tied notes.
A tie connects two notes; simply continue the first note through the second
without rearticulation (𝅘𝅥 𝅘𝅥 = 𝅗𝅥 ). A dot extends the preceding note by half its
value (𝅘𝅥 = 𝅘𝅥 𝅘𝅥𝅮, 𝅗𝅥 = 𝅗𝅥 𝅘𝅥 ).
(
(
(

1.11

1.12

1.13

1.14

1.15

1.16
 Chapter 1 5

1.17

1.18

1.19

1.20

1.21

1.22

1.23

1.24
6 Chapter 1

Section 3. Two-part drills.

Suggested methods of performance:
1. One person: Tap both lines, using both hands.
2. One person: Recite one line while tapping the other.
3. Two people: Each recite a line.

1.25

1.26

1.27
 Chapter 1 7

1.28

1.29

Only the meter signatures 24, 4,

3 and 44 will be found in melodies from Section 1 of
Chapter 2. Sight-singing studies may begin there at this time.

Section 4. Note values other than the quarter note as

beat values.
The half note, the eighth note, and the sixteenth note are also used to represent the
beat. The signatures 22 (𝄵 ), 2,
3 and 28 are commonly used in written music. Others are
occasionally seen. See Chapter 2, Section 3, for melodic examples of less common
signatures.
In 1.30, examples a, b, c, and d all sound the same when the duration of each of
their beat-note values (𝅘𝅥, 𝅗𝅥, 𝅘𝅥𝅮, and 𝅘𝅥𝅯 ) is the same.
8 Chapter 1

1.30

1.31

1.32

1.33

1.34

1.35

1.36

1.37

1.38

1.39
 Chapter 1 9

1.40

1.41

1.42

1.43

1.44

1.45

1.46
10 Chapter 1

1.47

1.48

1.49

1.50

1.51

1.52

1.53

Section 5. Two-part drills.

1.54
 Chapter 1 11

1.55

1.56

1.57

1.58
12 Chapter 1

1.59

1.60

1.61

1.62
Chapter 2
Melody
Stepwise Melodies, Major Keys

Rhythm
Simple Meters;
The Beat and Its Division into Two Parts

Sight Singing
All melodies in this chapter display stepwise movement and in a major key only;
each interval is either a whole step (major second) or a half step (minor second).1 If
you can sing a major scale, these melodies should present very little difficulty.
Before reading a given melody, make these general preparations, all of which
refer to later chapters in the text as well as to the melodies of this chapter.

1. Look at the key signature. What key does it indicate? On what line or space is the
tonic? Does the melody begin on the tonic tone, or on some other pitch? (You may
play the tonic note, but no other, immediately before singing.)
2. Scan the melody for passages in stepwise movement and then for larger intervals,
particularly those presented in the chapter under study.
3. Observe the phrase marks. The end of a phrase mark usually indicates a cadence
(that is, a temporary pause or a final stopping place), much the way commas and
periods indicate pauses in language reading. Look ahead to the last note under
each phrase mark so that you know where you are heading.
4. Firmly establish the key in your mind. Singing a scale is helpful, but many
musicians prefer a more elaborate pattern such as the one shown here.
(If the melody goes significantly below the tonic, sing the lower note in measure 3;
if it stays mostly above the tonic, sing the high note.)

1
Most melodies in this chapter were written by Robert Ottman. The remainder of the text includes,
for the most part, only folk music or music by recognized composers, but examples from these
sources occur too infrequently for the purposes of this chapter.

13
14 Chapter 2

5. Continue to use the conductor’s beat, as described under “Rhythmic Reading” on

page 2. Remember that “sight singing” refers only to the first time you sing the
melody. Sing to the end of the example without stopping, no matter how many
mistakes you make. Then go back, review the melody, practice the rough spots, and
sing the entire melody again.

Pitch solmization for Western music has a venerable history, dating back ap-
proximately a thousand years to Guido d’Arezzo.2 Its longevity is easily explained:
with practice, most musicians find that solmization facilitates accurate sight sing-
ing. Several different systems are currently used:
1. Moveable-do solfège, where the tonic note is do
2. Scale-degree numbers, where the tonic note is 1̂
3. Letter names (already familiar to North American musicians)
4. Fixed-do solfège, where C is do even when C is not the tonic
A simple illustration is shown below; detailed information is provided in
Appendix B.

Section I. Major keys, treble clef, the quarter note as the

beat unit. Key signatures with no more than three
sharps or three flats.

2
Guido d’Arezzo was a Benedictine monk who lived from approximately 991 until some time after
1033 and wrote one of the most widely read music instruction books of the Middle Ages. The sol-
mization system passed down from Guido is known today as solfège (or solfeggio).
 Chapter 2 15

2.1

2.2

2.3

2.4

2.5

2.6

2.7

2.8
16 Chapter 2

2.9

2.10

2.11

2.12

2.13

2.14

2.15
 Chapter 2 17

2.16

Melodies occasionally begin on pitches outside of the tonic triad, as in the

next two examples. Be sure to identify the key first, then sing a scale from
the tonic pitch up or down to the melody’s first note. Alternatively, given that the
first note necessarily falls within one scale step of 1̂, 3̂, or 5̂, it is also convenient to
sing the nearest member of the tonic triad and then move stepwise to the first note
of the melody. The latter strategy is depicted here.

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2.18

Section 2. Bass clef.

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2.20
18 Chapter 2

2.21

2.22

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 DANCE ON STILTS AT THE GIRLS’ UNYAGO, NIUCHI

Newala, too, suffers from the distance of its water-supply—at least

the Newala of to-day does; there was once another Newala in a lovely
valley at the foot of the plateau. I visited it and found scarcely a trace
of houses, only a Christian cemetery, with the graves of several
missionaries and their converts, remaining as a monument of its
former glories. But the surroundings are wonderfully beautiful. A
thick grove of splendid mango-trees closes in the weather-worn
crosses and headstones; behind them, combining the useful and the
agreeable, is a whole plantation of lemon-trees covered with ripe
fruit; not the small African kind, but a much larger and also juicier
imported variety, which drops into the hands of the passing traveller,
without calling for any exertion on his part. Old Newala is now under
the jurisdiction of the native pastor, Daudi, at Chingulungulu, who,
as I am on very friendly terms with him, allows me, as a matter of
course, the use of this lemon-grove during my stay at Newala.
 FEET MUTILATED BY THE RAVAGES OF THE “JIGGER”
(Sarcopsylla penetrans)

The water-supply of New Newala is in the bottom of the valley,

some 1,600 feet lower down. The way is not only long and fatiguing,
but the water, when we get it, is thoroughly bad. We are suffering not
only from this, but from the fact that the arrangements at Newala are
nothing short of luxurious. We have a separate kitchen—a hut built
against the boma palisade on the right of the baraza, the interior of
which is not visible from our usual position. Our two cooks were not
long in finding this out, and they consequently do—or rather neglect
to do—what they please. In any case they do not seem to be very
particular about the boiling of our drinking-water—at least I can
attribute to no other cause certain attacks of a dysenteric nature,
from which both Knudsen and I have suffered for some time. If a
man like Omari has to be left unwatched for a moment, he is capable
of anything. Besides this complaint, we are inconvenienced by the
state of our nails, which have become as hard as glass, and crack on
the slightest provocation, and I have the additional infliction of
pimples all over me. As if all this were not enough, we have also, for
the last week been waging war against the jigger, who has found his
Eldorado in the hot sand of the Makonde plateau. Our men are seen
all day long—whenever their chronic colds and the dysentery likewise
raging among them permit—occupied in removing this scourge of
Africa from their feet and trying to prevent the disastrous
consequences of its presence. It is quite common to see natives of
this place with one or two toes missing; many have lost all their toes,
or even the whole front part of the foot, so that a well-formed leg
ends in a shapeless stump. These ravages are caused by the female of
Sarcopsylla penetrans, which bores its way under the skin and there
develops an egg-sac the size of a pea. In all books on the subject, it is
stated that one’s attention is called to the presence of this parasite by
an intolerable itching. This agrees very well with my experience, so
far as the softer parts of the sole, the spaces between and under the
toes, and the side of the foot are concerned, but if the creature
penetrates through the harder parts of the heel or ball of the foot, it
may escape even the most careful search till it has reached maturity.
Then there is no time to be lost, if the horrible ulceration, of which
we see cases by the dozen every day, is to be prevented. It is much
easier, by the way, to discover the insect on the white skin of a
European than on that of a native, on which the dark speck scarcely
shows. The four or five jiggers which, in spite of the fact that I
constantly wore high laced boots, chose my feet to settle in, were
taken out for me by the all-accomplished Knudsen, after which I
thought it advisable to wash out the cavities with corrosive
sublimate. The natives have a different sort of disinfectant—they fill
the hole with scraped roots. In a tiny Makua village on the slope of
the plateau south of Newala, we saw an old woman who had filled all
the spaces under her toe-nails with powdered roots by way of
prophylactic treatment. What will be the result, if any, who can say?
The rest of the many trifling ills which trouble our existence are
really more comic than serious. In the absence of anything else to
smoke, Knudsen and I at last opened a box of cigars procured from
the Indian store-keeper at Lindi, and tried them, with the most
distressing results. Whether they contain opium or some other
narcotic, neither of us can say, but after the tenth puff we were both
“off,” three-quarters stupefied and unspeakably wretched. Slowly we
recovered—and what happened next? Half-an-hour later we were
once more smoking these poisonous concoctions—so insatiable is the
craving for tobacco in the tropics.
Even my present attacks of fever scarcely deserve to be taken
seriously. I have had no less than three here at Newala, all of which
have run their course in an incredibly short time. In the early
afternoon, I am busy with my old natives, asking questions and
making notes. The strong midday coffee has stimulated my spirits to
an extraordinary degree, the brain is active and vigorous, and work
progresses rapidly, while a pleasant warmth pervades the whole
body. Suddenly this gives place to a violent chill, forcing me to put on
my overcoat, though it is only half-past three and the afternoon sun
is at its hottest. Now the brain no longer works with such acuteness
and logical precision; more especially does it fail me in trying to
establish the syntax of the difficult Makua language on which I have
ventured, as if I had not enough to do without it. Under the
circumstances it seems advisable to take my temperature, and I do
so, to save trouble, without leaving my seat, and while going on with
my work. On examination, I find it to be 101·48°. My tutors are
abruptly dismissed and my bed set up in the baraza; a few minutes
later I am in it and treating myself internally with hot water and
lemon-juice.
Three hours later, the thermometer marks nearly 104°, and I make
them carry me back into the tent, bed and all, as I am now perspiring
heavily, and exposure to the cold wind just beginning to blow might
mean a fatal chill. I lie still for a little while, and then find, to my
great relief, that the temperature is not rising, but rather falling. This
is about 7.30 p.m. At 8 p.m. I find, to my unbounded astonishment,
that it has fallen below 98·6°, and I feel perfectly well. I read for an
hour or two, and could very well enjoy a smoke, if I had the
wherewithal—Indian cigars being out of the question.
Having no medical training, I am at a loss to account for this state
of things. It is impossible that these transitory attacks of high fever
should be malarial; it seems more probable that they are due to a
kind of sunstroke. On consulting my note-book, I become more and
more inclined to think this is the case, for these attacks regularly
follow extreme fatigue and long exposure to strong sunshine. They at
least have the advantage of being only short interruptions to my
work, as on the following morning I am always quite fresh and fit.
My treasure of a cook is suffering from an enormous hydrocele which
makes it difficult for him to get up, and Moritz is obliged to keep in
the dark on account of his inflamed eyes. Knudsen’s cook, a raw boy
from somewhere in the bush, knows still less of cooking than Omari;
consequently Nils Knudsen himself has been promoted to the vacant
post. Finding that we had come to the end of our supplies, he began
by sending to Chingulungulu for the four sucking-pigs which we had
bought from Matola and temporarily left in his charge; and when
they came up, neatly packed in a large crate, he callously slaughtered
the biggest of them. The first joint we were thoughtless enough to
entrust for roasting to Knudsen’s mshenzi cook, and it was
consequently uneatable; but we made the rest of the animal into a
jelly which we ate with great relish after weeks of underfeeding,
consuming incredible helpings of it at both midday and evening
meals. The only drawback is a certain want of variety in the tinned
vegetables. Dr. Jäger, to whom the Geographical Commission
entrusted the provisioning of the expeditions—mine as well as his
own—because he had more time on his hands than the rest of us,
seems to have laid in a huge stock of Teltow turnips,[46] an article of
food which is all very well for occasional use, but which quickly palls
when set before one every day; and we seem to have no other tins
left. There is no help for it—we must put up with the turnips; but I
am certain that, once I am home again, I shall not touch them for ten
years to come.
Amid all these minor evils, which, after all, go to make up the
genuine flavour of Africa, there is at least one cheering touch:
Knudsen has, with the dexterity of a skilled mechanic, repaired my 9
× 12 cm. camera, at least so far that I can use it with a little care.
How, in the absence of finger-nails, he was able to accomplish such a
ticklish piece of work, having no tool but a clumsy screw-driver for
taking to pieces and putting together again the complicated
mechanism of the instantaneous shutter, is still a mystery to me; but
he did it successfully. The loss of his finger-nails shows him in a light
contrasting curiously enough with the intelligence evinced by the
above operation; though, after all, it is scarcely surprising after his
ten years’ residence in the bush. One day, at Lindi, he had occasion
to wash a dog, which must have been in need of very thorough
cleansing, for the bottle handed to our friend for the purpose had an
extremely strong smell. Having performed his task in the most
conscientious manner, he perceived with some surprise that the dog
did not appear much the better for it, and was further surprised by
finding his own nails ulcerating away in the course of the next few
days. “How was I to know that carbolic acid has to be diluted?” he
mutters indignantly, from time to time, with a troubled gaze at his
mutilated finger-tips.
 Since we came to Newala we have been making excursions in all
directions through the surrounding country, in accordance with old
habit, and also because the akida Sefu did not get together the tribal
elders from whom I wanted information so speedily as he had
promised. There is, however, no harm done, as, even if seen only
from the outside, the country and people are interesting enough.
The Makonde plateau is like a large rectangular table rounded off
at the corners. Measured from the Indian Ocean to Newala, it is
about seventy-five miles long, and between the Rovuma and the
Lukuledi it averages fifty miles in breadth, so that its superficial area
is about two-thirds of that of the kingdom of Saxony. The surface,
however, is not level, but uniformly inclined from its south-western
edge to the ocean. From the upper edge, on which Newala lies, the
eye ranges for many miles east and north-east, without encountering
any obstacle, over the Makonde bush. It is a green sea, from which
here and there thick clouds of smoke rise, to show that it, too, is
inhabited by men who carry on their tillage like so many other
primitive peoples, by cutting down and burning the bush, and
manuring with the ashes. Even in the radiant light of a tropical day
such a fire is a grand sight.
Much less effective is the impression produced just now by the
great western plain as seen from the edge of the plateau. As often as
time permits, I stroll along this edge, sometimes in one direction,
sometimes in another, in the hope of finding the air clear enough to
let me enjoy the view; but I have always been disappointed.
Wherever one looks, clouds of smoke rise from the burning bush,
and the air is full of smoke and vapour. It is a pity, for under more
favourable circumstances the panorama of the whole country up to
the distant Majeje hills must be truly magnificent. It is of little use
taking photographs now, and an outline sketch gives a very poor idea
of the scenery. In one of these excursions I went out of my way to
make a personal attempt on the Makonde bush. The present edge of
the plateau is the result of a far-reaching process of destruction
through erosion and denudation. The Makonde strata are
everywhere cut into by ravines, which, though short, are hundreds of
yards in depth. In consequence of the loose stratification of these
beds, not only are the walls of these ravines nearly vertical, but their
upper end is closed by an equally steep escarpment, so that the
western edge of the Makonde plateau is hemmed in by a series of
deep, basin-like valleys. In order to get from one side of such a ravine
to the other, I cut my way through the bush with a dozen of my men.
It was a very open part, with more grass than scrub, but even so the
short stretch of less than two hundred yards was very hard work; at
the end of it the men’s calicoes were in rags and they themselves
bleeding from hundreds of scratches, while even our strong khaki
suits had not escaped scatheless.

NATIVE PATH THROUGH THE MAKONDE BUSH, NEAR

MAHUTA

I see increasing reason to believe that the view formed some time
back as to the origin of the Makonde bush is the correct one. I have
no doubt that it is not a natural product, but the result of human
occupation. Those parts of the high country where man—as a very
slight amount of practice enables the eye to perceive at once—has not
yet penetrated with axe and hoe, are still occupied by a splendid
timber forest quite able to sustain a comparison with our mixed
forests in Germany. But wherever man has once built his hut or tilled
his field, this horrible bush springs up. Every phase of this process
may be seen in the course of a couple of hours’ walk along the main
road. From the bush to right or left, one hears the sound of the axe—
not from one spot only, but from several directions at once. A few
steps further on, we can see what is taking place. The brush has been
cut down and piled up in heaps to the height of a yard or more,
between which the trunks of the large trees stand up like the last
pillars of a magnificent ruined building. These, too, present a
melancholy spectacle: the destructive Makonde have ringed them—
cut a broad strip of bark all round to ensure their dying off—and also
piled up pyramids of brush round them. Father and son, mother and
son-in-law, are chopping away perseveringly in the background—too
busy, almost, to look round at the white stranger, who usually excites
so much interest. If you pass by the same place a week later, the piles
of brushwood have disappeared and a thick layer of ashes has taken
the place of the green forest. The large trees stretch their
smouldering trunks and branches in dumb accusation to heaven—if
they have not already fallen and been more or less reduced to ashes,
perhaps only showing as a white stripe on the dark ground.
This work of destruction is carried out by the Makonde alike on the
virgin forest and on the bush which has sprung up on sites already
cultivated and deserted. In the second case they are saved the trouble
of burning the large trees, these being entirely absent in the
secondary bush.
After burning this piece of forest ground and loosening it with the
hoe, the native sows his corn and plants his vegetables. All over the
country, he goes in for bed-culture, which requires, and, in fact,
receives, the most careful attention. Weeds are nowhere tolerated in
the south of German East Africa. The crops may fail on the plains,
where droughts are frequent, but never on the plateau with its
abundant rains and heavy dews. Its fortunate inhabitants even have
the satisfaction of seeing the proud Wayao and Wamakua working
for them as labourers, driven by hunger to serve where they were
accustomed to rule.
But the light, sandy soil is soon exhausted, and would yield no
harvest the second year if cultivated twice running. This fact has
been familiar to the native for ages; consequently he provides in
time, and, while his crop is growing, prepares the next plot with axe
and firebrand. Next year he plants this with his various crops and
lets the first piece lie fallow. For a short time it remains waste and
desolate; then nature steps in to repair the destruction wrought by
man; a thousand new growths spring out of the exhausted soil, and
even the old stumps put forth fresh shoots. Next year the new growth
is up to one’s knees, and in a few years more it is that terrible,
impenetrable bush, which maintains its position till the black
occupier of the land has made the round of all the available sites and
come back to his starting point.
The Makonde are, body and soul, so to speak, one with this bush.
According to my Yao informants, indeed, their name means nothing
else but “bush people.” Their own tradition says that they have been
settled up here for a very long time, but to my surprise they laid great
stress on an original immigration. Their old homes were in the
south-east, near Mikindani and the mouth of the Rovuma, whence
their peaceful forefathers were driven by the continual raids of the
Sakalavas from Madagascar and the warlike Shirazis[47] of the coast,
to take refuge on the almost inaccessible plateau. I have studied
African ethnology for twenty years, but the fact that changes of
population in this apparently quiet and peaceable corner of the earth
could have been occasioned by outside enterprises taking place on
the high seas, was completely new to me. It is, no doubt, however,
correct.
The charming tribal legend of the Makonde—besides informing us
of other interesting matters—explains why they have to live in the
thickest of the bush and a long way from the edge of the plateau,
instead of making their permanent homes beside the purling brooks
and springs of the low country.
“The place where the tribe originated is Mahuta, on the southern
side of the plateau towards the Rovuma, where of old time there was
nothing but thick bush. Out of this bush came a man who never
washed himself or shaved his head, and who ate and drank but little.
He went out and made a human figure from the wood of a tree
growing in the open country, which he took home to his abode in the
bush and there set it upright. In the night this image came to life and
was a woman. The man and woman went down together to the
Rovuma to wash themselves. Here the woman gave birth to a still-
born child. They left that place and passed over the high land into the
valley of the Mbemkuru, where the woman had another child, which
was also born dead. Then they returned to the high bush country of
Mahuta, where the third child was born, which lived and grew up. In
course of time, the couple had many more children, and called
themselves Wamatanda. These were the ancestral stock of the
Makonde, also called Wamakonde,[48] i.e., aborigines. Their
forefather, the man from the bush, gave his children the command to
bury their dead upright, in memory of the mother of their race who
was cut out of wood and awoke to life when standing upright. He also
warned them against settling in the valleys and near large streams,
for sickness and death dwelt there. They were to make it a rule to
have their huts at least an hour’s walk from the nearest watering-
place; then their children would thrive and escape illness.”
The explanation of the name Makonde given by my informants is
somewhat different from that contained in the above legend, which I
extract from a little book (small, but packed with information), by
Pater Adams, entitled Lindi und sein Hinterland. Otherwise, my
results agree exactly with the statements of the legend. Washing?
Hapana—there is no such thing. Why should they do so? As it is, the
supply of water scarcely suffices for cooking and drinking; other
people do not wash, so why should the Makonde distinguish himself
by such needless eccentricity? As for shaving the head, the short,
woolly crop scarcely needs it,[49] so the second ancestral precept is
likewise easy enough to follow. Beyond this, however, there is
nothing ridiculous in the ancestor’s advice. I have obtained from
various local artists a fairly large number of figures carved in wood,
ranging from fifteen to twenty-three inches in height, and
representing women belonging to the great group of the Mavia,
Makonde, and Matambwe tribes. The carving is remarkably well
done and renders the female type with great accuracy, especially the
keloid ornamentation, to be described later on. As to the object and
meaning of their works the sculptors either could or (more probably)
would tell me nothing, and I was forced to content myself with the
scanty information vouchsafed by one man, who said that the figures
were merely intended to represent the nembo—the artificial
deformations of pelele, ear-discs, and keloids. The legend recorded
by Pater Adams places these figures in a new light. They must surely
be more than mere dolls; and we may even venture to assume that
they are—though the majority of present-day Makonde are probably
unaware of the fact—representations of the tribal ancestress.
 The references in the legend to the descent from Mahuta to the
Rovuma, and to a journey across the highlands into the Mbekuru
valley, undoubtedly indicate the previous history of the tribe, the
travels of the ancestral pair typifying the migrations of their
descendants. The descent to the neighbouring Rovuma valley, with
its extraordinary fertility and great abundance of game, is intelligible
at a glance—but the crossing of the Lukuledi depression, the ascent
to the Rondo Plateau and the descent to the Mbemkuru, also lie
within the bounds of probability, for all these districts have exactly
the same character as the extreme south. Now, however, comes a
point of especial interest for our bacteriological age. The primitive
Makonde did not enjoy their lives in the marshy river-valleys.
Disease raged among them, and many died. It was only after they
had returned to their original home near Mahuta, that the health
conditions of these people improved. We are very apt to think of the
African as a stupid person whose ignorance of nature is only equalled
by his fear of it, and who looks on all mishaps as caused by evil
spirits and malignant natural powers. It is much more correct to
assume in this case that the people very early learnt to distinguish
districts infested with malaria from those where it is absent.
This knowledge is crystallized in the
ancestral warning against settling in the
valleys and near the great waters, the
dwelling-places of disease and death. At the
same time, for security against the hostile
Mavia south of the Rovuma, it was enacted
that every settlement must be not less than a
certain distance from the southern edge of the
plateau. Such in fact is their mode of life at the
present day. It is not such a bad one, and
certainly they are both safer and more
comfortable than the Makua, the recent
intruders from the south, who have made USUAL METHOD OF
good their footing on the western edge of the CLOSING HUT-DOOR
plateau, extending over a fairly wide belt of
country. Neither Makua nor Makonde show in their dwellings
anything of the size and comeliness of the Yao houses in the plain,
especially at Masasi, Chingulungulu and Zuza’s. Jumbe Chauro, a
Makonde hamlet not far from Newala, on the road to Mahuta, is the
most important settlement of the tribe I have yet seen, and has fairly
spacious huts. But how slovenly is their construction compared with
the palatial residences of the elephant-hunters living in the plain.
The roofs are still more untidy than in the general run of huts during
the dry season, the walls show here and there the scanty beginnings
or the lamentable remains of the mud plastering, and the interior is a
veritable dog-kennel; dirt, dust and disorder everywhere. A few huts
only show any attempt at division into rooms, and this consists
merely of very roughly-made bamboo partitions. In one point alone
have I noticed any indication of progress—in the method of fastening
the door. Houses all over the south are secured in a simple but
ingenious manner. The door consists of a set of stout pieces of wood
or bamboo, tied with bark-string to two cross-pieces, and moving in
two grooves round one of the door-posts, so as to open inwards. If
the owner wishes to leave home, he takes two logs as thick as a man’s
upper arm and about a yard long. One of these is placed obliquely
against the middle of the door from the inside, so as to form an angle
of from 60° to 75° with the ground. He then places the second piece
horizontally across the first, pressing it downward with all his might.
It is kept in place by two strong posts planted in the ground a few
inches inside the door. This fastening is absolutely safe, but of course
cannot be applied to both doors at once, otherwise how could the
owner leave or enter his house? I have not yet succeeded in finding
out how the back door is fastened.

MAKONDE LOCK AND KEY AT JUMBE CHAURO

 This is the general way of closing a house. The Makonde at Jumbe
Chauro, however, have a much more complicated, solid and original
one. Here, too, the door is as already described, except that there is
only one post on the inside, standing by itself about six inches from
one side of the doorway. Opposite this post is a hole in the wall just
large enough to admit a man’s arm. The door is closed inside by a
large wooden bolt passing through a hole in this post and pressing
with its free end against the door. The other end has three holes into
which fit three pegs running in vertical grooves inside the post. The
door is opened with a wooden key about a foot long, somewhat
curved and sloped off at the butt; the other end has three pegs
corresponding to the holes, in the bolt, so that, when it is thrust
through the hole in the wall and inserted into the rectangular
opening in the post, the pegs can be lifted and the bolt drawn out.[50]

MODE OF INSERTING THE KEY

With no small pride first one householder and then a second

showed me on the spot the action of this greatest invention of the
Makonde Highlands. To both with an admiring exclamation of
“Vizuri sana!” (“Very fine!”). I expressed the wish to take back these
marvels with me to Ulaya, to show the Wazungu what clever fellows
the Makonde are. Scarcely five minutes after my return to camp at
Newala, the two men came up sweating under the weight of two
heavy logs which they laid down at my feet, handing over at the same
time the keys of the fallen fortress. Arguing, logically enough, that if
the key was wanted, the lock would be wanted with it, they had taken
their axes and chopped down the posts—as it never occurred to them
to dig them out of the ground and so bring them intact. Thus I have
two badly damaged specimens, and the owners, instead of praise,
come in for a blowing-up.
The Makua huts in the environs of Newala are especially
miserable; their more than slovenly construction reminds one of the
temporary erections of the Makua at Hatia’s, though the people here
have not been concerned in a war. It must therefore be due to
congenital idleness, or else to the absence of a powerful chief. Even
the baraza at Mlipa’s, a short hour’s walk south-east of Newala,
shares in this general neglect. While public buildings in this country
are usually looked after more or less carefully, this is in evident
danger of being blown over by the first strong easterly gale. The only
attractive object in this whole district is the grave of the late chief
Mlipa. I visited it in the morning, while the sun was still trying with
partial success to break through the rolling mists, and the circular
grove of tall euphorbias, which, with a broken pot, is all that marks
the old king’s resting-place, impressed one with a touch of pathos.
Even my very materially-minded carriers seemed to feel something
of the sort, for instead of their usual ribald songs, they chanted
solemnly, as we marched on through the dense green of the Makonde
bush:—
 “We shall arrive with the great master; we stand in a row and have
no fear about getting our food and our money from the Serkali (the
Government). We are not afraid; we are going along with the great
master, the lion; we are going down to the coast and back.”
With regard to the characteristic features of the various tribes here
on the western edge of the plateau, I can arrive at no other
conclusion than the one already come to in the plain, viz., that it is
impossible for anyone but a trained anthropologist to assign any
given individual at once to his proper tribe. In fact, I think that even
an anthropological specialist, after the most careful examination,
might find it a difficult task to decide. The whole congeries of peoples
collected in the region bounded on the west by the great Central
African rift, Tanganyika and Nyasa, and on the east by the Indian
Ocean, are closely related to each other—some of their languages are
only distinguished from one another as dialects of the same speech,
and no doubt all the tribes present the same shape of skull and
structure of skeleton. Thus, surely, there can be no very striking
differences in outward appearance.
 Even did such exist, I should have no time
to concern myself with them, for day after day,
I have to see or hear, as the case may be—in
any case to grasp and record—an
extraordinary number of ethnographic
phenomena. I am almost disposed to think it
fortunate that some departments of inquiry, at
least, are barred by external circumstances.
Chief among these is the subject of iron-
working. We are apt to think of Africa as a
country where iron ore is everywhere, so to
speak, to be picked up by the roadside, and
where it would be quite surprising if the
inhabitants had not learnt to smelt the
material ready to their hand. In fact, the
knowledge of this art ranges all over the
continent, from the Kabyles in the north to the
Kafirs in the south. Here between the Rovuma
and the Lukuledi the conditions are not so
favourable. According to the statements of the
Makonde, neither ironstone nor any other
form of iron ore is known to them. They have
not therefore advanced to the art of smelting
the metal, but have hitherto bought all their
THE ANCESTRESS OF
THE MAKONDE
iron implements from neighbouring tribes.
Even in the plain the inhabitants are not much
better off. Only one man now living is said to
understand the art of smelting iron. This old fundi lives close to
Huwe, that isolated, steep-sided block of granite which rises out of
the green solitude between Masasi and Chingulungulu, and whose
jagged and splintered top meets the traveller’s eye everywhere. While
still at Masasi I wished to see this man at work, but was told that,
frightened by the rising, he had retired across the Rovuma, though
he would soon return. All subsequent inquiries as to whether the
fundi had come back met with the genuine African answer, “Bado”
(“Not yet”).
 BRAZIER

Some consolation was afforded me by a brassfounder, whom I

came across in the bush near Akundonde’s. This man is the favourite
of women, and therefore no doubt of the gods; he welds the glittering
brass rods purchased at the coast into those massive, heavy rings
which, on the wrists and ankles of the local fair ones, continually give
me fresh food for admiration. Like every decent master-craftsman he
had all his tools with him, consisting of a pair of bellows, three
crucibles and a hammer—nothing more, apparently. He was quite
willing to show his skill, and in a twinkling had fixed his bellows on
the ground. They are simply two goat-skins, taken off whole, the four
legs being closed by knots, while the upper opening, intended to
admit the air, is kept stretched by two pieces of wood. At the lower
end of the skin a smaller opening is left into which a wooden tube is
stuck. The fundi has quickly borrowed a heap of wood-embers from
the nearest hut; he then fixes the free ends of the two tubes into an
earthen pipe, and clamps them to the ground by means of a bent
piece of wood. Now he fills one of his small clay crucibles, the dross
on which shows that they have been long in use, with the yellow
material, places it in the midst of the embers, which, at present are
only faintly glimmering, and begins his work. In quick alternation
the smith’s two hands move up and down with the open ends of the
bellows; as he raises his hand he holds the slit wide open, so as to let
the air enter the skin bag unhindered. In pressing it down he closes
the bag, and the air puffs through the bamboo tube and clay pipe into
the fire, which quickly burns up. The smith, however, does not keep
on with this work, but beckons to another man, who relieves him at
the bellows, while he takes some more tools out of a large skin pouch
carried on his back. I look on in wonder as, with a smooth round
stick about the thickness of a finger, he bores a few vertical holes into
the clean sand of the soil. This should not be difficult, yet the man
seems to be taking great pains over it. Then he fastens down to the
ground, with a couple of wooden clamps, a neat little trough made by
splitting a joint of bamboo in half, so that the ends are closed by the
two knots. At last the yellow metal has attained the right consistency,
and the fundi lifts the crucible from the fire by means of two sticks
split at the end to serve as tongs. A short swift turn to the left—a
tilting of the crucible—and the molten brass, hissing and giving forth
clouds of smoke, flows first into the bamboo mould and then into the
holes in the ground.
The technique of this backwoods craftsman may not be very far
advanced, but it cannot be denied that he knows how to obtain an
adequate result by the simplest means. The ladies of highest rank in
this country—that is to say, those who can afford it, wear two kinds
of these massive brass rings, one cylindrical, the other semicircular
in section. The latter are cast in the most ingenious way in the
bamboo mould, the former in the circular hole in the sand. It is quite
a simple matter for the fundi to fit these bars to the limbs of his fair
customers; with a few light strokes of his hammer he bends the
pliable brass round arm or ankle without further inconvenience to
the wearer.
SHAPING THE POT

SMOOTHING WITH MAIZE-COB

CUTTING THE EDGE

 FINISHING THE BOTTOM

LAST SMOOTHING BEFORE

BURNING

FIRING THE BRUSH-PILE

 LIGHTING THE FARTHER SIDE OF
THE PILE

TURNING THE RED-HOT VESSEL

NYASA WOMAN MAKING POTS AT MASASI

Pottery is an art which must always and everywhere excite the
interest of the student, just because it is so intimately connected with
the development of human culture, and because its relics are one of
the principal factors in the reconstruction of our own condition in
prehistoric times. I shall always remember with pleasure the two or
three afternoons at Masasi when Salim Matola’s mother, a slightly-
built, graceful, pleasant-looking woman, explained to me with
touching patience, by means of concrete illustrations, the ceramic art
of her people. The only implements for this primitive process were a
lump of clay in her left hand, and in the right a calabash containing
the following valuables: the fragment of a maize-cob stripped of all
its grains, a smooth, oval pebble, about the size of a pigeon’s egg, a
few chips of gourd-shell, a bamboo splinter about the length of one’s
hand, a small shell, and a bunch of some herb resembling spinach.
 Nothing more. The woman scraped with the
shell a round, shallow hole in the soft, fine
sand of the soil, and, when an active young
girl had filled the calabash with water for her,
she began to knead the clay. As if by magic it
gradually assumed the shape of a rough but
already well-shaped vessel, which only wanted
a little touching up with the instruments
before mentioned. I looked out with the
MAKUA WOMAN closest attention for any indication of the use
MAKING A POT. of the potter’s wheel, in however rudimentary
SHOWS THE a form, but no—hapana (there is none). The
BEGINNINGS OF THE embryo pot stood firmly in its little
POTTER’S WHEEL
depression, and the woman walked round it in
a stooping posture, whether she was removing
small stones or similar foreign bodies with the maize-cob, smoothing
the inner or outer surface with the splinter of bamboo, or later, after
letting it dry for a day, pricking in the ornamentation with a pointed
bit of gourd-shell, or working out the bottom, or cutting the edge
with a sharp bamboo knife, or giving the last touches to the finished
vessel. This occupation of the women is infinitely toilsome, but it is
without doubt an accurate reproduction of the process in use among
our ancestors of the Neolithic and Bronze ages.
There is no doubt that the invention of pottery, an item in human
progress whose importance cannot be over-estimated, is due to
women. Rough, coarse and unfeeling, the men of the horde range
over the countryside. When the united cunning of the hunters has
succeeded in killing the game; not one of them thinks of carrying
home the spoil. A bright fire, kindled by a vigorous wielding of the
drill, is crackling beside them; the animal has been cleaned and cut
up secundum artem, and, after a slight singeing, will soon disappear
under their sharp teeth; no one all this time giving a single thought
to wife or child.
To what shifts, on the other hand, the primitive wife, and still more
the primitive mother, was put! Not even prehistoric stomachs could
endure an unvarying diet of raw food. Something or other suggested
the beneficial effect of hot water on the majority of approved but
indigestible dishes. Perhaps a neighbour had tried holding the hard
roots or tubers over the fire in a calabash filled with water—or maybe
an ostrich-egg-shell, or a hastily improvised vessel of bark. They
became much softer and more palatable than they had previously
been; but, unfortunately, the vessel could not stand the fire and got
charred on the outside. That can be remedied, thought our
ancestress, and plastered a layer of wet clay round a similar vessel.
This is an improvement; the cooking utensil remains uninjured, but
the heat of the fire has shrunk it, so that it is loose in its shell. The
next step is to detach it, so, with a firm grip and a jerk, shell and
kernel are separated, and pottery is invented. Perhaps, however, the
discovery which led to an intelligent use of the burnt-clay shell, was
made in a slightly different way. Ostrich-eggs and calabashes are not
to be found in every part of the world, but everywhere mankind has
arrived at the art of making baskets out of pliant materials, such as
bark, bast, strips of palm-leaf, supple twigs, etc. Our inventor has no
water-tight vessel provided by nature. “Never mind, let us line the
basket with clay.” This answers the purpose, but alas! the basket gets
burnt over the blazing fire, the woman watches the process of
cooking with increasing uneasiness, fearing a leak, but no leak
appears. The food, done to a turn, is eaten with peculiar relish; and
the cooking-vessel is examined, half in curiosity, half in satisfaction
at the result. The plastic clay is now hard as stone, and at the same
time looks exceedingly well, for the neat plaiting of the burnt basket
is traced all over it in a pretty pattern. Thus, simultaneously with
pottery, its ornamentation was invented.
Primitive woman has another claim to respect. It was the man,
roving abroad, who invented the art of producing fire at will, but the
woman, unable to imitate him in this, has been a Vestal from the
earliest times. Nothing gives so much trouble as the keeping alight of
the smouldering brand, and, above all, when all the men are absent
from the camp. Heavy rain-clouds gather, already the first large
drops are falling, the first gusts of the storm rage over the plain. The
little flame, a greater anxiety to the woman than her own children,
flickers unsteadily in the blast. What is to be done? A sudden thought
occurs to her, and in an instant she has constructed a primitive hut
out of strips of bark, to protect the flame against rain and wind.
This, or something very like it, was the way in which the principle
of the house was discovered; and even the most hardened misogynist
cannot fairly refuse a woman the credit of it. The protection of the
hearth-fire from the weather is the germ from which the human
dwelling was evolved. Men had little, if any share, in this forward
step, and that only at a late stage. Even at the present day, the
plastering of the housewall with clay and the manufacture of pottery
are exclusively the women’s business. These are two very significant
survivals. Our European kitchen-garden, too, is originally a woman’s
invention, and the hoe, the primitive instrument of agriculture, is,
characteristically enough, still used in this department. But the
noblest achievement which we owe to the other sex is unquestionably
the art of cookery. Roasting alone—the oldest process—is one for
which men took the hint (a very obvious one) from nature. It must
have been suggested by the scorched carcase of some animal
overtaken by the destructive forest-fires. But boiling—the process of
improving organic substances by the help of water heated to boiling-
point—is a much later discovery. It is so recent that it has not even
yet penetrated to all parts of the world. The Polynesians understand
how to steam food, that is, to cook it, neatly wrapped in leaves, in a
hole in the earth between hot stones, the air being excluded, and
(sometimes) a few drops of water sprinkled on the stones; but they
do not understand boiling.
To come back from this digression, we find that the slender Nyasa
woman has, after once more carefully examining the finished pot,
put it aside in the shade to dry. On the following day she sends me
word by her son, Salim Matola, who is always on hand, that she is
going to do the burning, and, on coming out of my house, I find her
already hard at work. She has spread on the ground a layer of very
dry sticks, about as thick as one’s thumb, has laid the pot (now of a
yellowish-grey colour) on them, and is piling brushwood round it.
My faithful Pesa mbili, the mnyampara, who has been standing by,
most obligingly, with a lighted stick, now hands it to her. Both of
them, blowing steadily, light the pile on the lee side, and, when the
flame begins to catch, on the weather side also. Soon the whole is in a
blaze, but the dry fuel is quickly consumed and the fire dies down, so
that we see the red-hot vessel rising from the ashes. The woman
turns it continually with a long stick, sometimes one way and
sometimes another, so that it may be evenly heated all over. In
twenty minutes she rolls it out of the ash-heap, takes up the bundle
of spinach, which has been lying for two days in a jar of water, and
sprinkles the red-hot clay with it. The places where the drops fall are
marked by black spots on the uniform reddish-brown surface. With a
sigh of relief, and with visible satisfaction, the woman rises to an
erect position; she is standing just in a line between me and the fire,
from which a cloud of smoke is just rising: I press the ball of my
camera, the shutter clicks—the apotheosis is achieved! Like a
priestess, representative of her inventive sex, the graceful woman
stands: at her feet the hearth-fire she has given us beside her the
invention she has devised for us, in the background the home she has
built for us.
At Newala, also, I have had the manufacture of pottery carried on
in my presence. Technically the process is better than that already
described, for here we find the beginnings of the potter’s wheel,
which does not seem to exist in the plains; at least I have seen
nothing of the sort. The artist, a frightfully stupid Makua woman, did
not make a depression in the ground to receive the pot she was about
to shape, but used instead a large potsherd. Otherwise, she went to
work in much the same way as Salim’s mother, except that she saved
herself the trouble of walking round and round her work by squatting
at her ease and letting the pot and potsherd rotate round her; this is
surely the first step towards a machine. But it does not follow that
the pot was improved by the process. It is true that it was beautifully
rounded and presented a very creditable appearance when finished,
but the numerous large and small vessels which I have seen, and, in
part, collected, in the “less advanced” districts, are no less so. We
moderns imagine that instruments of precision are necessary to
produce excellent results. Go to the prehistoric collections of our
museums and look at the pots, urns and bowls of our ancestors in the
dim ages of the past, and you will at once perceive your error.
MAKING LONGITUDINAL CUT IN
BARK

DRAWING THE BARK OFF THE LOG

REMOVING THE OUTER BARK

 BEATING THE BARK

WORKING THE BARK-CLOTH AFTER BEATING, TO MAKE IT

SOFT

MANUFACTURE OF BARK-CLOTH AT NEWALA

To-day, nearly the whole population of German East Africa is
clothed in imported calico. This was not always the case; even now in
some parts of the north dressed skins are still the prevailing wear,
and in the north-western districts—east and north of Lake
Tanganyika—lies a zone where bark-cloth has not yet been
superseded. Probably not many generations have passed since such
bark fabrics and kilts of skins were the only clothing even in the
south. Even to-day, large quantities of this bright-red or drab
material are still to be found; but if we wish to see it, we must look in
the granaries and on the drying stages inside the native huts, where
it serves less ambitious uses as wrappings for those seeds and fruits
which require to be packed with special care. The salt produced at
Masasi, too, is packed for transport to a distance in large sheets of
bark-cloth. Wherever I found it in any degree possible, I studied the
process of making this cloth. The native requisitioned for the
purpose arrived, carrying a log between two and three yards long and
as thick as his thigh, and nothing else except a curiously-shaped
mallet and the usual long, sharp and pointed knife which all men and
boys wear in a belt at their backs without a sheath—horribile dictu!
[51]
Silently he squats down before me, and with two rapid cuts has
drawn a couple of circles round the log some two yards apart, and
slits the bark lengthwise between them with the point of his knife.
With evident care, he then scrapes off the outer rind all round the
log, so that in a quarter of an hour the inner red layer of the bark
shows up brightly-coloured between the two untouched ends. With
some trouble and much caution, he now loosens the bark at one end,
and opens the cylinder. He then stands up, takes hold of the free
edge with both hands, and turning it inside out, slowly but steadily
pulls it off in one piece. Now comes the troublesome work of
scraping all superfluous particles of outer bark from the outside of
the long, narrow piece of material, while the inner side is carefully
scrutinised for defective spots. At last it is ready for beating. Having
signalled to a friend, who immediately places a bowl of water beside
him, the artificer damps his sheet of bark all over, seizes his mallet,
lays one end of the stuff on the smoothest spot of the log, and
hammers away slowly but continuously. “Very simple!” I think to
myself. “Why, I could do that, too!”—but I am forced to change my
opinions a little later on; for the beating is quite an art, if the fabric is
not to be beaten to pieces. To prevent the breaking of the fibres, the
stuff is several times folded across, so as to interpose several
thicknesses between the mallet and the block. At last the required
state is reached, and the fundi seizes the sheet, still folded, by both
ends, and wrings it out, or calls an assistant to take one end while he
holds the other. The cloth produced in this way is not nearly so fine
and uniform in texture as the famous Uganda bark-cloth, but it is
quite soft, and, above all, cheap.
Now, too, I examine the mallet. My craftsman has been using the
simpler but better form of this implement, a conical block of some
hard wood, its base—the striking surface—being scored across and
across with more or less deeply-cut grooves, and the handle stuck
into a hole in the middle. The other and earlier form of mallet is
shaped in the same way, but the head is fastened by an ingenious
network of bark strips into the split bamboo serving as a handle. The
observation so often made, that ancient customs persist longest in
connection with religious ceremonies and in the life of children, here
finds confirmation. As we shall soon see, bark-cloth is still worn
during the unyago,[52] having been prepared with special solemn
ceremonies; and many a mother, if she has no other garment handy,
will still put her little one into a kilt of bark-cloth, which, after all,
looks better, besides being more in keeping with its African
surroundings, than the ridiculous bit of print from Ulaya.
MAKUA WOMEN