The above described entry of the dancers was according to the regular procedure. However, these dancers, especially the ash-devils, were privileged to perform many comical antics, and it not infrequently happened that one or more of them would run up on to the roof of the dance-house and dive through the smoke-hole. In fact, this was one of the usual modes of deception practiced in this ceremony. A special net, cko´l tabiū käle hai (N), was stretched about two feet below the smoke-hole to catch the dancer. A special post was set in the ground beside this net for the dancer to slide down. He would then go through the usual series of movements, running four times around the fire. After this he usually took up a position at one of the posts near the door, there to levy tribute upon the spectators. This tribute might be in the form of firewood, tobacco, or other commodities. The music for this ceremony was provided by a drummer, two chief singers, and a number of burden-singers. The ghost-dancers sometimes sang a kind of burden of their own while dancing. This was simply "hī, hī, hī, hī," etc., in a very high key. The chief singers were provided with cocoon rattles. These and the drum were the only instruments used. The dancers carried no whistles, although these were ordinarily used by performers in other dances. The burden-singers also used no split-stick rattles, but clapped their hands instead in time to their singing. After the performers had in this way entered the dance-house, the chief ghost-dancer called to the singers to start. The drummer then jumped upon the drum, crying "hūtsaiya´hīī" (E).[17] With the first cry of the drummer, the chief singers sounded their rattles. After an interval of perhaps a minute, the drummer repeated his jump and call. The song started and the dance began. The song as given by one of the informants is as follows: yōhīya´ yōhīya´, yōhīya´ yōhīya´, kūlī kūlē kūlē .... kūlī kūlē kūlē .... hūtsaiya´ hūtsaiya´ hīī .... (Repeat indefinitely.)