<P> Pueblo songs are complex and meticulously detailed, usually with five sections divided into four or more phrases characterized by detailed introductory and cadential formulas . They are much slower in tempo than Athabaskan songs, and use various percussion instruments as accompaniment . </P> <P> Nettl describes Pueblo music, including Hopi, Zuni, Taos Pueblo, San Ildefonso Pueblo, Santo Domingo Pueblo, and many others, as one of the most complex on the continent, featuring increased length and number of scale tones (hexatonic and heptatonic common), variety of form, melodic contour, and percussive accompaniment, ranges between an octave and a twelfth, with rhythmic complexity equal to the Plains sub-area . He sites the Kachina dance songs as the most complex songs and Hopi and Zuni material as the most complex of the Pueblo, while Tanoan and Keresan music is simpler and intermediate between the Plains and western Pueblos . The music of the Pima and Tohono O'odham is intermediary between the Plains - Pueblo and the California - Yuman music areas, with melodic movement of the Yuman, though including the rise, and the form and rhythm of the Pueblo . </P> <P> He describes Southern Athabascan music, that of the Apache and Navajo, as the simplest next to the Great Basin style, featuring strophic form, tense vocals using pulsation and falsetto, tritonic and tetratonic scales in triad formation, simple rhythms and values of limited duration (usually only two per song), arc - type melodic contours, and large melodic intervals with a predominance of major and minor thirds and perfect fourths and fifths with octave leaps not rare . Peyote songs share characteristics of Apache music and Plains - Pueblo music having been promoted among the Plains by the Apache people . </P> <P> He describes the structural characteristics of California - Yuman music, including that of Pomo, Miwak, Luiseno, Catalineno, and Gabrielino, and the Yuman tribes, including, Mohave, Yuman, Havasupai, Maricopa, as using the rise in almost all songs, a relaxed nonpulsating vocal technique (like European classical music), a relatively large amount of isorhythmic material, some isorhythmic tendencies, simple rhythms, pentatonic scales without semitones, an average melodic range of an octave, sequence, and syncopated figures such as a sixteenth - note, eight - note, sixteenth - note figure . The form of rise used varies throughout the area, usually being rhythmically related to the preceding non-rise section but differing in melodic material or pitch . The rise may be no higher than the highest pitch of the original section, but will contain a much larger number of higher pitches . In California the non-rise is usually one reiterate phrase, the rise being the phrase transposed an octave higher, the Yumans use a non-rise of long repeated sections each consisting of several phrases, the rise being three to five phrases performed only once, and in southern California the previous two and progressive forms are found . </P>

Common performing media for traditional native-american music of north america uses