f the Call echoes
itself, as the second line is like the first, only lower in tones.

When all of the camp have gathered in response to the Call, each group must
stand in its appointed place and every member hold a decorated wand. Four
beats of the drum are now to be given; the beats must not be loud or rapid.
When the reverberations of the drum cease, absolute quiet must be
maintained, each one's wand must hang downward from his right hand, while
the following chant is given, sung by the leaders of the groups. The words
are by John B. Tabb, the music is arranged from the Omaha invocation.

Song No. 2

INVOCATION

All that springeth from the sod,
Tendeth upward unto God;
All that cometh from the skies,
Urging it anon to rise.

[Music]

This chant takes the place of the prayer sung at this point of the ceremony
by the Omaha Keepers of the Tribal Sacred Pipes. The prayer in the original
has no words, vocables only are used, for the music is what carries the
appeal to Wakon'da (God).

At the close of the chant two strokes of the drum should be given. Then the
leaders should sing the first line of the following song; all the camp
respond at the beginning of the second measure, and the song follows. This
music is the dance song of the ceremony when all the Omaha tribe made four
rhythmic advances toward the sacred tree, stopping at the close of each
advance. The song was sung four times, once for each forward movement.

Song No. 3

APPROACH TO THE TREE

_Leaders_: Ev'ry one lift up the branch!

_Response by all:_ Up it goes!

_Song by all:_ Dancing, singing, we like leaves sway to and fro.
Happy leaves! Dancing leaves!
Swinging as the breezes blow,
So will we ever be
Blithe and joyous as we go.
Hi-o!

[Music]

"Hi-o!" is the call given by the leaders for the dancers to pause. When
this call is heard, all the branches must be at once lowered and every
person stand still. After a brief pause the leaders will again sing the
command, "Ev'ry one lift up the branch!" then comes the response, "Up it
goes!" The song immediately follows, all the wands held high and waving in
rhythm to the melody while the second advance is made. Each one of these
advances should be but a few steps, on account of the limitations of space.
The dancing steps, the rhythmic movements of the b