"Why didn't you tell me she's the one with the animals?" Kylie said when she came back. "Come in."
"You should know I wouldn't bring anyone here who wasn't acceptable," Deegie said.
It was not dark in the lodge, the smoke hole was somewhat bigger than usual, and allowed light inside, but it did take awhile for eyes to adjust after the bright sunshine outside. At first, Ayla thought the person Deegie was talking to was a child. But when she saw her, Ayla realized she was probably somewhat older, not younger than her tall, stocky friend. The misimpression was caused by the difference in size between the two women. Kylie was small with a slender build, almost dainty, and next to Deegie, it was easy to mistake her for a child, but her lithe, supple movements bespoke the confidence and experience of maturity.
Though the shelter had seemed large from the outside, there was less room inside than Ayla had imagined. The ceiling was lower than usual, and half the usable space in the room was taken up by four mammoth skulls, which were partially buried in the floor with the tusk sockets upright. The trunks of small trees had been placed in the sockets, and were used as supports to brace the ceiling, which had slumped or fallen in. It struck Ayla, as she looked around, that this lodge was far from new. The wood and the thatching had the grayness of age. There were none of the usual household goods or large cooking hearths to be seen, only one small fireplace. The floor had been swept clean, leaving only dark traces of the former major hearths.
Ropes had been strung between the supporting uprights, and drapes, which could be used to divide the space, hung from them, bunched up at one end. Thrown over the ropes, or hanging from pegs on the posts, was the most unusual array of objects Ayla had ever seen. Colorful outfits, fantastic and ornate headgear, strings of ivory beads and seashells, pendants of bone and amber, and some things she couldn't begin to understand.
There were several people in the lodge. Some were sitting around a small fireplace, sipping from cups; a couple more were in the light streaming in through the smoke hole, sewing garments. To the left of the entrance, several people were sitting or kneeling on mats on the floor near large mammoth bones, decorated with red lines and zigzags. Ayla identified a leg bone, a shoulder blade, two lower jawbones, a pelvis bone, and a skull. They were greeted warmly, but Ayla felt they were interrupting something. Everyone seemed to be looking at them, as though waiting to find out why they had come.
"Don't stop practicing for us," Deegie said. "I brought Ayla to meet you, but we don't want to interrupt. We'll wait until you are ready to stop." The people turned back to their task, while Deegie and Ayla sat down on mats nearby.
A woman who was kneeling in front of the large femur began tapping out a steady beat with a hammer-shaped section of reindeer antler, but the sounds she was producing were more than rhythmic. As she hit the leg bone in different places, a resonant, melodic sound emerged, which changed in pitch and tone. Ayla looked more closely, wondering what caused the unusual timbre.
The leg bone was about thirty inches long and rested horizontally on two props that kept it off the ground. The epiphysis at the upper end had been removed, and some of the spongy inner material had been taken out, enlarging the natural canal. The bone was painted across the top with evenly spaced zigzag stripes in dark ochre red, similar to the patterns found so frequently on everything from footwear to house construction, but these seemed to serve more than a decorative or symbolic function. After watching for a while, Ayla felt sure the woman who was playing the leg-bone instrument was using the pattern of stripes as a guide to where she should strike to produce the tone she wanted.
Ayla had heard skull drums and Tornec's scapula played. All had some tonal variation, but she had never heard such a range of musical tones before. These people seemed to think she had some magical gifts, but this seemed more magical than anything she had ever done. A man began to tap on the mammoth shoulder blade like Tornec's with an antler hammer. The timbre and tone had a different resonance, a sharper quality, yet the sound complemented and added interest to the music that the woman played on the leg bone.
The large triangular-shaped scapula was about twenty-five inches long, with a narrow neck at the top, broadening out to about twenty inches along the bottom edge. He held the instrument by the neck, upright, in a vertical position, with the wide bottom resting on the ground. It was also painted with parallel, zigzag stripes in bright red. Each stripe, about the width of a small finger, was divided by spaces of equal width, and each one had a perfectly straight and even edge. In the center of the broad lower area most frequently struck, the red pattern of stripes was worn away and the bone was shiny from long, repeated use.
When the rest of the mammoth bone instruments joined in, Ayla held her breath. At first she could only listen, overwhelmed by the complex sound of the music, but after a while she concentrated on each one individually.
An older man played the larger of the lower jawbones, but rather than an antler hammer, he used an end piece of mammoth tusk, about twelve inches long, grooved around to make a knob at the thicker end. The mandible itself was painted, like the other instruments, but only on the right half. It was turned and rested steady, supported by the left undecorated side, which kept the right playing half off the ground for a clear, undamped sound. While playing it, he tapped along the parallel zigzag red bands that were painted within the hollow as well as along the outer edge of the cheek, and he rubbed the piece of ivory over the ridged surface of the tooth, to create a rasping accent.
A woman played the other jawbone, which was from a younger animal. It was twenty inches long, and fifteen inches across at its widest part, and was also painted with red zigzag stripes on the right side. A deep hole, about two inches wide by five inches long, where a tooth had been removed, altered the resonance and emphasized the higher-pitched tone.
The woman who played the pelvic-bone instrument also held it upright, resting one edge on the ground. She tapped, with an antler hammer, mostly in the center of the bone where a small natural inward curvature was found. The sounds were intensified and the changes in tone distinct at that place, and the red stripes painted there were almost entirely worn away.
Ayla was familiar with the strong, resonant, lower tones of the mammoth skull drum played by a young man. It was like the drums played by Deegie and Mamut with such skill. The drum was also painted where it was struck, on the forehead and roof of the skull, but in this case it did not have zigzag lines, but a distinctly different pattern of branched lines and disconnected marks and dots.
After the people stopped playing, on a satisfactorily conclusive note, they became involved in a discussion. Deegie joined in, but Ayla just listened, trying to understand the unfamiliar terms, but not wanting to intrude.
"The piece needs balance as well as harmony," the woman who played the leg-bone instrument was saying. "I think we could introduce a wind reed before Kylie dances."
"I'm sure you could convince Barzec to sing that part, Tharie," Deegie said.
"It would be better to work him in later. Kylie and Barzec both would be too much. One would detract from the other. No, I think a five-tone crane wind reed would be best. Let's try it, Manen," she said to a man with a neatly trimmed beard, who had joined them from the other group.
Tharie started playing again, and this time, the sounds were becoming familiar to the newcomer. Ayla felt pleased to be allowed to watch, and wanted nothing more than to sit quietly and enjoy this new experience. With the introduction of the haunting tones of the wind reed, a flutelike instrument made of the hollow leg bone of a crane, Ayla was suddenly reminded of the eerie spiritual voice of Ursus, the Great Cave Bear, from the Clan Gathering. Only one mog-ur could make that sound. It was a secret passed down through his line, but he had held something to his mouth. It must have been the same kind of thing, she thought.