What one would see, when this song was sung, was in violent contrast to the character of the music. The blithe major strains suggest only happiness. They hardly touch ground, so to speak, but keep their flight up where the birds are flitting about in the sunshine; and, if there are clouds in the blue sky, they are soft and fleecy, and cast no shadows. Yet the men who sang this song were ranged in line before the tent where the dead lay ready for burial. They had drawn the stem of a willow branch through a loop of flesh cut on their left arm, and their blood dripped upon the green leaves and fell in drops to the ground. The meaning of this strange spectacle and its musical accompaniment, so apparently out of keeping, must be sought for in the beliefs of the people. It was a drama touching two worlds. The shedding of blood was to express how vital was the loss. This act, visible to the mourners, was an exhibition of sympathy; but music had power to reach the unseen world, so the song was for the spirit of the dead, who could not see the lacerated singers, but could hear them, as they sang to cheer him as he went forth, forced by death to leave all who were dear to him.[7] [Footnote 7: It was one of the customs of the Omahas to cease wailing at a certain stage in the funeral ceremonies, that the departing friend might not be distressed by the sounds of sorrow, as he left his home behind him,--a custom founded on the same belief as that expressed by this funeral song.] The song was always sung in unison. The rhythm was accented by each singer beating together two small willow sticks. There are no words to the song, only vocables; and these belong to the breathing or sighing class, indicative of emotion. [Music: SONG TO THE SPIRIT. _Omaha._ Harmonized by PROF. J.C. FILLMORE. E a dha ah E he a ha ah, he ah E dha ah he a ha ah E dha ah E ah E ah ha e ha o E dha he he dhoe ha o o E dha ha he a ha ah E dha ah e ah E ah ha e ha o E dha he dho.] STORY AND SONG OF THE MOTHER'S VOW.