CHAPTER XII

MUSIC

_Introduction_.--That the songs might be delivered as nearly as possible at the same pitch which the singers used when making the records, investigation was made as to the usual speed used by manufacturers while recording. It was found to be 160 revolutions per minute. Accordingly the phonograph was carefully set at this speed during transcription.

In determining the keys in which to transcribe the various songs, the pitch-pipe used was that of the "International," which was adopted at the Vienna Congress in Nov. 1887. This congress established c2 = 522 double vibrations per second. All the records proved to be a shade flat by this standard, but were found to be almost exactly in accord with an instrument of fixed pitch, which in turn was found to be approximately eleven beats at variance with the pitch-pipe on c2.

Assuming that the recording and transcribing speeds of the machines were the same, this would place the original singing almost exactly in accord with the old "philosophical standard of pitch" which places c2 at 512 double vibrations per second. Though the singing was not always in perfect accord with the notes set down in transcriptions, with the exception of those very marked departures especially indicated in the music, the variations were so slight that, so far as true intonation goes, the performances were fully up to the standard of those of the average natural singer.

Special ear tubes were used while transcribing the records, and resort made to a special device wherewith any order of whole, or even part measures could be consecutively played. Thus it was possible to closely compare parts which were similar in either words or music.

In some of the records two or more voices can be distinguished singing in unison. Such unisons are shown in the transcription by single notes. No attempt has been made to indicate the several voices. But when such single notes are shown accompanied by the word "solo," it is to be understood that all of the performers have dropped out but one, probably the leader. When the voices split up into parts, it is so notated in the music.

Primitive people display more or less timidity in giving their songs for scientific purposes. Such timidity is especially apt to be manifested in their attacks. In the _Da-eng_, Girls' Part (Record J), the delayed attack at the beginning of each new verse is very marked. The delay varies considerably from verse to verse, as indicated by the number of beats rest shown at the ends of the lines. Similar pauses are found in the Boys' Part of the same ceremony (see Record A). These beats rest or pauses are not to be taken as part of the legitimate rhythm, for it is more than likely that if the singers were giving their songs in their regular ceremonial and the performers unconscious of observation, these pauses would not occur.

In transcribing those songs which have several verses on the record, the notation has been so arranged on the page that the measures line up vertically, making comparison easy between corresponding measures of the different verses.

To indicate peculiar qualities, special signs are used in connection with the regular musical symbols. The table which follows shows these signs and also lists the qualities for which they stand. Some of these qualities could have been represented by regular musical symbols, but it was thought best to use the special signs to make them stand out more prominently. The qualities thus indicated as well as those which are represented by the regular musical notation will be found listed and defined after the tabulation of qualities.

Words of the Da-Eng

_Part I_. Sung in line. [250]

Ma-li-dom ag-dag-da-gi yo-ma-yom Yom-ma-yom ta yom-ma-yom ag-dag-da-gi yo-ma-yom. Ma-la-nas ag-dag-da-gi na-sa-nas Ma-sa-nas ta ma-sa-nas ag-dag-da-gi na-sa-nas. Si On-na-i in-no-bi-yan ki-not-ko-tan Na-to-tan Na-to-tan ta na-to-tan ki-not ko-tan na-to-tan. Kol-kol-dong si gi-nol-bat nga ag-moli-moli-yat Mo-li-yat ta mo-li-yat ag-mo-li mo-li-yat. Ka-lan-tag kal-la-yan-nen ag-ka-idig-na-yan dig-na-yan ta dig-na-yan ag-ka-i dig-na-yan. A-na-on si Tak-la-yan na-ís-ti-lo ai bolo Bin-no-lo ta bin-no-lo na-ís-ti-lo ai bo-lo. Sok-bot ni ka-bin-bin-an adi ma-sil-si-li-ban si-li-ban ta si-li-ban adi ma-sil-si-liban Ba-gai-ba-yem dem-ma-ngen si-nol-bo-dan ni kolat. ki-no-lat ta ki-no-lat ai ag-ki-no ki-no-lat. Sabak ni am-mo-ga-wen mimog-go-mog di-kai-wen di-kai-wen ta ki-kai wen mimog-go-mog di-kai-wen. Sabak ni an-na-a-wen mi-ka-li-ya li-ya-wen. Li-ya-wen ta li-ya-wen ai ag-li-ya li-ya-wen

_Part II_. Sung in line.

alin-to-bo ni ni-og ag-lam-pi-yok lam-pi-yok ta lam-pi-yok ag-lam-pi lam-pi-yok. al-in-to-bo ni aba ai adi nag-pada pi-na-da ta pi-na-da ai adi nag-pa-da. al-in-to-bo ni no-nang ag-ba-li ba-li-yang ba-li-yang ta ba-li-yang ai ag-ba-li ba-li-yang. al-in-to-bo ni lamai um-al-ali ma-ya-mai ma-ya-mai ta ma-ya-mai umal ali ma-ya-mai. al-in-to-bo ni bang-on ag-ba-la ba-la-ngon ba-la-ngon ta ba-la-ngon ag-ba-la ba-la-ngon. al-in-to-bo ni oway pel-sa-tem ket i-nom-lai i-nom-lai ta i-nom-lai pel-sa-tem ket i-nom-lai. al-in-to-bo ni oling bog-yo-ngem ket boom-li-sing boom-li-sing ta boom-li-sing bog-yo-ngem ket boom-li-sing. al-in-to-bo ni ba-kan umal ali ka-na-kan ka-na-kan ta ka-na-kan umal ali ka-na-kan. al-in-to-bo ni anis ai adi na-gi-nis gi-ni-nis ta gi-ni-nis ai adi nedey na-gi-nis.

_Part III_. Sung as they dance in circle.

A-ya-mem si pa-ni-ki ag-sol-sol-wap si la-bi ni la-bi ta ni labi ag-sol-sol-wap si la-bi. A-ya-mem si bat-ta-teng ag-tiya ti ya-deng ti-ya-deng ta ti-ya-deng ag-ti-ya ti-ya-deng. A-ya-mem si bang-nga-an nga dum-ang-dang-lap si da-lan din-na-lan ta din-na-lan dum-ang-dang-lap si da-lan. A-ya-mem si om-om-bek nga ag-ma-si ma-sim-bek si nim-bek ta si-nim-bek nga ag-ma-si ma-sim-bek. A-ya-mem si po-na-yen nga omas-asi gai-ga-yen gai-ga-yen ta gai-ga-yen om-as asi gai-ga-yen. A-ya-mem si la-ga-dan nga tomal-la tal-la-dan tal-la-dan ta tal-la-dan nga ag-ta-la tal-la-dan. A-ya-mem si bal-ga-si nga agka-a ka-a-si ka-a-si ta ka-a-si nga ag-ka-a ka-a-si.

_Part IV_.

Bwa di la-od to-mo-bo nga lo-mok-bot lo-mok-bot ta lo-mok-bot to-mo-bo wa lo-mok-bot. Bwa di Ba-li-la-si-bis nga gi-i-tem ket ma-i-mis i-ni-mis ta i-ni-mis gi-i-tem ket ma-i-mis. Bwa di Mal-la-pa-ai gi-i-tem ket tom-ga-ey te-ga-ey ta te-ga-ey gi-i-tem ket tom ga-ey. Bwa di Mal-lo-sa-ak gi-i-tem ket tom-ga-ak te-ga-ak ta te-ga-ak gi-i-tem ket tom-ga-ak. Bwa di Tom-mo nga kom-ma-lab ket tom-mo-bo tom-mo-bo ta tom-mo-bo kom-ma-la-lab ket tom-mo-bo.

_Part V_.

Adi yo pai lau-lau-den lawed-ko nga do-la-wen do-la-wen ta do-la-wen adi yo pai lau-lau-den. La-wed ngaita di al-yo pang-lau-lau-dan ta ba-o bi-na-o ta bi-na-o pang-lau-lau-dan ta ba-o. La-wed di po-dok pang-lau-lau-dan ta bo-kod bi-no-kod ta bi-no-kod pang-lau-lau-dan ta bo-kod. La-wed di Sab-lang, pang-lau-lau-dan ta ba-sang bi-na-sang ta bi-na-sang pang-lau-lau-dan ta ba-sang. La-wed di Pa-wai pang-lau-lau-dan ta a-wai in-na-wai ta in-na-wai pang-lau-lau-dan ta a-wai.

_Part VI_.

Ka-wa-yan di Po-da-yan na-tong-dan ta na-tong-dan na-tong-dan ta na-tong-dan ka-wa-yan di Po-da-yan. Ka-wa-yan di Bal-li-weyan om-mi-weyan Om-mi-weyan ta om-mi-weyan ka-wa-yan di Bal-li-weyan. Ka-wa-yan di Ba-ta-an ko-ma omi-na-lan i-na-lan ta i-na-lan ka-wa-yan di Ba-ta-an. Sol-kod-ko nga ka-wa-yan na-kak-la-ang di dem-mang di dem-mang ta di dem-mang na-kak-la-ang di dem-mang. Kawayan di Pa-la-i ag-ka-i dong-la don-la-li dong-la-li ta dong-la-li ag-ka-i dong-la dong-la-li.

_Part VII_.

Da-num di la-od kom-mog-nod ket kom-mog-nod Kom-mog-nod ta kom-mog-nod danum di la-od. Dagsi-yan di Pa-la-wang ko-ma ta sum-mi na-wang si-na-wang ta si-na-wang ko-ma ta sum-mi-na-wang. Dagsi-yan di Langiden mi-ka si-li si-li-ten sili-ten ta si-li-ten dag-si-yan di Lang-i-den. Dagsi-yan di Ka-ba-lang-gan na-kal kalong go-kong-an ga-kong-an taga-kong-an na-kal ka-long ga-kong-an. Danum di Pa-da-ngi-tan ki-na-dang ta ka-witan ka-wi-tan ta ka-wi-tan ki-na-dang ta ka-wi-tan. Dag-si-yan di Lai-og-an nan-gol la-ol la-yo-san la-yo-san ta la-yo-san o-mal-la al-lo-yo-san. Danum di Abang sum-mol-wai ta sum-mol-wai Sum-mol-wai ta sum-mol-wai da-num di A-bang. Danum di Abas inum-bas ket inum-bas inum-bas ta i-num-bas da-num di A-bas. Danum di Ba-ai nag-kat-lo nga sa-long-ai Sa-long-ai ta sa-long-ai nag-kat-lo nga sa-long-ai. Danum di Da-ya nag-kil-la-yos nga si-pa Si-ni-pa ta si-ni-pa nag-kil-la-yos nga sipa. Danum di ngato ti-nung-dai ta a-nito A-nito ta a-nito ti-nun-dai ta a-nito. Danum di aging ti-nung-dai ta ka-la-ding Ka-lad-ing ta ka-la-ding ti-nung-dai ta ka-la-ding. Danum di A-yeng ti-nung-dai ta ba-yeng-yeng ba-yeng-yeng ta ba-yeng-yeng ti-nung-dai ta ba-yeng-yeng. Adi ka-pai man-gi-mon na-sal-li-bon ai bo-bon bin-no-bon ta bin-no-bon na-sal-li-bon ai bo-bon.

_Approximate Translation of the Da-Eng_ [251]

I

? ? The Malanus flows. Flows, flows, flows onward. Si (Mr.) On-na-i and Na-to-tan dig obi (taro) with their hands. Dig, dig, dig with the hands. The firefly in the woods opens his eyes. Opens, opens, opens his eyes. The bank caves into the river. Caves, caves, caves in. Here, your arm pretty bamboo (?) Bamboo, bamboo, pretty bamboo. Do not disturb the rest of the kabibinan (a bird). Disturb, disturb, do not disturb. Help the kolat (a plant) to grow. Become kolat, become kolat, stir up to become kolat. The flower of the Amogawen falls on you. On you, on you, falls on you. The flower of the Ana-an plays with you. Plays, plays, it plays.

II.

The young leaves of the coconut wave. Wave, wave, they wave. The leaves of the aba are not alike. Alike, alike, are not alike. The leaves of the nonang turn back and forth. Back and forth, back and forth, turn back and forth. The leaves of the lamay quake. Quake, quake, they quake. The leaves of the bangon arise(?). Arise, arise, they arise. The leaves of the rattan cut and twist. Twist, twist, cut, and twist. The leaves of the oling rustle and rattle. Rattle, rattle, rustle and rattle. The leaves of the bakan fall before time. Fall, fall, fall before time. The leaves of the anis (a low shrub) are not clean. Clean, clean, not clean.

III.

You play Mr. bat who fly by night. Night, night, fly by night. You play grasshopper whose back is concave. Concave, concave, whose back is concave. You play Bang-nga-an who shines like gold by the trail. By the trail, by the trail, shines like gold by the trail. You play onombek who hiccoughs. Hiccough, hiccough, who hiccoughs. You play dove who falls. Falls, falls, who falls. You play lagadan (a bird) who flees(?). Flees, flees, who flees. You play balgasi (?) who mourns for the dead. Mourns, mourns, mourns for the dead.

IV.

Betel-nut of the west which grows up like the gourd. Grows up, grows up like the gourd. Betel-nut of Balasibis which smiles when it is cut. (Literally--is cut and smiles.) It smiles, it smiles, is cut, and smiles. Betel-nut of Malapay which chuckles (like a woman) when it is cut. Chuckles, chuckles, is cut, and chuckles. Betel-nut of Malosak which laughs (like a man) when it is cut. Laughs, laughs, is cut, and laughs. Betel-nut of Tomo which climbs and grows. Grows, grows, climbs, and grows.

V.

Do not take the leaves of my lawed, who am rich. Rich, rich, do not take lawed leaves. The widower takes often the top (best) lawed of Alyo. The widower, the widower, the widower takes often. The lawed of the wooded hill the widow takes often. The widow, the widow, the widow takes often. The lawed of Sablang the maiden takes often. The maiden, the maiden, the maiden takes often. The lawed of Paway the hermit (country man) takes often. The hermit, the hermit, the hermit takes often.

VI.

Bamboo of Podayan, ever living, ever living. Ever living, ever living, bamboo of Podayan. Bamboo of Baliweyan sigh (literally "go wey") when the wind blows. Sigh, sigh, bamboo of Baliweyan. Bamboo of Bataan, like the sunshine. Sunshine, sunshine, bamboo of Bataan. My cane of bamboo gives out a clang. Clang, clang, gives out a clang. Bamboo of Palai wave up and down. Wave, wave, wave up and down.

VII.

Water of the west, become less and less. Less, less, water of the west. Spring of Palawang overflow. Overflow, overflow, be like the overflow. Spring of Langiden flow fast. (Literally "like lightning".) Flow, flow, spring of Langiden. Spring of Ka-ba-lang, flow like a chain. Chain, chain, flow like a chain. Water of Padangitah be knee deep to the rooster. Rooster, rooster, knee deep to the rooster. Spring of Layogan flow on. Flow, flow, flow on. Water of Abang (?) ? Water of Abas, become dry. Become dry, become dry, water of Abas. Water of Ba-ay has three branches. Branches, branches, has three branches. Water of the East shaped like a ball. Ball, ball, shaped like a ball. Water from above the anito holds (stops). Anito, anito, the anito holds. Water of the uninhabited place the ghost holds. Ghost, ghost, the ghost holds. Water of Ayeng the bamboo tube holds. Bamboo tube, bamboo tube, the bamboo tube holds. Do not be jealous, pretty spring. Spring, spring, pretty spring.

_Da-Eng_. Boys' part.

Record A. Sung while dancing in a religious ceremony.

There are at least two voices in this record. Possibly there were three or more singers taking part, though it is not possible to distinguish more than two.

The song is cast in the pentatonic scale of A major. The notes G-natural and D-flat do not belong to this scale. At those places where they are put down in the notation, they are used to better define the glissandos. The singers pass over them rapidly, sliding from the topmost note of the group to the lowest with no perceptible dwelling on any of the intermediate tones. The glissandos are indicated by straight lines drawn obliquely underneath such groups (see _Definition of Qualities_, p. 478).

In each of measures 2 and 6 of verses 1, 2, and 3; and in measure 6 of verse 4, is shown a group of three notes with an asterisk above. These groups, as shown in the notation, are B, A, G; but in measure 2 of verse 4, the corresponding group is C, B, A. In those measures marked *, the singers are very plainly striving to reach the tones C, B, A. There is that quality of tension in the voices with the accompanying forcing of tone which is peculiar to untrained singers striving for a tone near the limit of their highest range. As the tones actually sounded are neither B, A, G, nor C, B, A, but are instead a sort of compromise between the two, it is quite evident that the succession intended in each of the seven measures is the same as in the eighth or odd one, viz. C, B, A. If we assume this to be the case, it eliminates seven of the foreign G naturals shown in the notation. If, however, this conjecture is wrong, and the performers really feel that the groups in question all start on B, then the G naturals are eliminated by the glissandos. The only other G-natural is shown in measure 7 of verse 4. By comparing this measure with the corresponding measure in each of the other three verses, it will be seen that the singers have taken great pains in those verses to avoid this note which does not belong to the pentatonic scale which they are using,--evidence that they do not sense the tone in the fourth verse, where it is taken glissando. The D-flat, also foreign to the scale, occurs but once. It is in measure 3 of the top line. The glissando here eliminates this tone also, but, by comparing this measure with the corresponding measure of each of the other verses, we find the same avoidance as in the case of the G-natural,--evidence that the performers do not sense this other foreign tone. The song is therefore very markedly pentatonic in character.

The assumption that the seven groups marked with asterisks do not represent the real intent of the singers, is based entirely on the "stress" heard in the record. This "stress" cannot be represented in notation. Relying on the notation alone, one would be warranted in drawing a contrary conclusion and assuming that the odd measure should be made to conform to the other seven and all read, B, A, G; or, from the phonographic record, one might assume that the compromise, previously mentioned, was the intonation really intended. Primitive peoples frequently do sing and play, quite intentionally, tones out of conformity with scale tones of present-day concert music. Such tones cannot be represented by our musical notation without resort to special signs. This is not necessary in the present case, as the falling short of true intonation does not appear to be from deliberate intent on the part of the singers, but seems to be due to lack of ability.

In eight of the measures, at least one of the voices departs from the melody proper, producing the harmony-intervals so frequently heard in the music of primitive peoples, namely, that of a 5th without the 3rd to complete the triad, and that of a 4th without the 6th to complete the chord. Such thirdless 5ths are found in measures 5 (verse 1), 1 and 8 (verse 2), 5 (verse 3), and 1 and 5 (verse 4); and the interval of a 4th without the 6th is found in measures 3 and 8 of verse 4. In the last measure of the notation, however, the interval of a 4th there shown is caused by the leader's voice departing from the regular melodic succession instead of the accompanying voice or voices, as is the case in each of the other measures mentioned.

In measures 1 and 5 of each of the four verses of the song, and also in measure 3 of the second verse, the sign, "....." (mezzo staccato marks), is used to indicate the pulsating of the voice of one of the singers, probably the leader, marking the rhythm of the song.

The metronome tempo is mostly 88, but varies at times and runs as-high as 92 per minute in the last half of the 4th verse.

Between verses 2 and 3 the phonograph shows that the singers paused eight beats (two whole measures), and between verses 3 and 4 there was a similar, though shorter, pause of two beats (one-half measure). These pauses are not shown in the notation.

There was no special change in dynamics throughout the song except as indicated by the sforzando marks in measures 1, 2, 5, 6, 7, and 8 of verse 4.

In general character this song resembles most the _Dang-dang-ay_ (Record M).

_Diwas_

Record B. Sung at night by the friends of a sick man.

There are two singers on this record, both men with bass voices. One seems to be the leader, the accompanying singer dragging along behind. As the tempo is very slow and many of the tones long drawn out, this uncertainty on the part of the second performer is not so noticeable, except on the quick runs as the leader passes to another principal tone.

The song is cast in the natural minor scale of D. The E-flat near the beginning of the second line does not belong to the scale. It is not well defined on the record, and so is indicated in the transcription with an interrogation-mark beneath.

Although not confined to the intervals of the pentatonic scale, the number is distinctly pentatonic in character. It is made up mostly of the tones A, C, D, and E. These tones belong to the pentatonic scales of C major and its relative minor A. In tonality, the song cannot be considered as belonging to either of these keys, as there is a very distinct feeling of B-flat in it, notwithstanding that the tone is seldom dwelt upon, but passed over quickly, almost glissando, in nearly every place where it occurs.

The song ends on A. This is not the key note, however, but is the fifth of the key.

The song is like a mournful chant. Throughout there is a peculiar wailing which leaves a strange, haunting impression. The music admirably suits the hour when it is used. It would be decidedly incongruous given in broad daylight. These untutored savages could hardly have conjured up a more typical tone-picture of the "shadowy valley" than the song heard on this record.

The peculiarly weird character is due in large part to the swelling out and dying away of the tones on certain syllables. (For comparison to effects found in Igorot music, see "Swelled Tones" under _Definition of Qualities_, p. 479).

_Sang-Sangit_

Record C. Sung during the evening following a funeral.

In this record we hear but one voice--a man's. The song is cast in the minor scale of G, but whether the natural minor or the harmonic, cannot be determined, as the singer does not use the 7th of the scale. It is not pentatonic in character.

The song is given in the recitative style. There are several verses which vary but little in the music, except for the changes in the reiterated staccato tones which are made greater or less in number to accommodate the difference in number of syllables. With the exception of those starting the glissandos or trills, the repeated tones were given with a very decided staccato punch.

Much of the intonation is vague. In taking the glissandos shown near the middle of the top line, the upper tone is sung about half way between B-flat and B-natural. There is some abandon in the rhythm also.

The group of six notes marked with an asterisk are trilled on the semitone interval.

_Dawak_

Record D. The song of a medium when calling spirits into her (his) body.

This song is doubtless the invention of the singer. It has that abandon which usually characterizes the songs of workers in the occult among primitive folk.

The song is cast mostly in the relative minor (G-sharp) of the pentatonic scale of B-natural major. A-sharp does not belong to this scale. There are five measures, where this note appears, but in each instance the tonality of the phrase momentarily rests in D-sharp minor, the relative of the pentatonic major of F-sharp. A-sharp belongs to this scale, but B-natural does not. The singer, with his instinct for the five-note scale, avoids the B-natural until the tonality shifts back to the original key. The song is therefore classed as pentatonic in character.

The melody is distinctly harmonic in structure, as nearly all of the successions are made up of triad intervals.

Though the song runs but a minute and a half, the tempo changes eight times. The performer takes nearly every new tempo with a well-defined rhythm. There is considerable freedom shown in the first movement when the tremolos between B-natural and the G-sharp below are taken.

The singer shows quite remarkable flexibility of voice, excellent breath control, and a rather surprising quality of tone and accuracy of intonation. As a demonstration of flexibility, about the middle of the first movement, he takes the quarter note B-natural in falsetto and immediately drops into the waver a tenth below, at the same time assuming his natural voice. The falsetto tone is indicated in the transcription by a tiny circle above the note. All of the wavered tones, as well as the falsetto at the beginning and the turn at the end are sung with one breath to a single syllable. This is quite a remarkable performance considering that the singer had no voice training.

Near the opening of the first 2/4 movement is shown a group of five notes given in the time of four,--a rhythmic effect few trained musicians can execute well.

Of the various performers who took part in making the fourteen records, this singer shows the best voice technic and control.

The fact that the singer scarcely repeats a single motive throughout the extent of the song, but is constantly introducing new tonal ideas argues an extempore performance. It would be interesting to have for comparison another record of the same song made at another time.

_Song of a Spirit_

Record E. Sung by a medium when possessed by a spirit.

Melodically this song is quite in contrast with the _Dawak_. This one is distinctly melodic in structure, though there are suggested harmonies. These harmonies are mostly tonic and dominant alternating one with the other.

Using a two-measure motive, which he announces at the very start, the singer works the material over and over, first in one harmonic mode and then in the other, frequently changing the form of the motive through embellishments or altered metric values, but always leaving an impression which harks back to the original motive.

Arrange the various tones of this melody in any order that we will, we cannot make them conform to any diatonic scale used in modern music. If, however, we ignore the C-flat, which occurs twice in the song, it gives us an incomplete ascending melodic-minor scale in D-flat. But the song is not minor in mode. It is distinctly major in tonality. It is formed mostly of the four tones D-flat, E-flat, A-flat, and B-flat. All of these belong to the pentatonic major scale of D-flat. This gives a very marked pentatonic flavor, yet the song is not in the pentatonic scale, for the singer introduces half steps, and there are no such intervals in the pentatonic scale.

Casting about among the scales used by various peoples, the nearest approach I find to the tonal succession of this song is one of the numerous scales or "tunings" used by the Japanese. It is that known as the "Hirajoshi." To make comparison easy, I have transposed this Japanese koto-tuning into the same key as that of the song. Along with it I show the tonal material of the Tinguian song arranged in corresponding sequence.

It will be seen that every note in the Japanese scale is found also in the Tinguian, though not always in the same octave. All of the Tinguian tones are found in the Japanese scale except the C-flat and D-flat. These exceptions are shown with their stems turned down. The notes shown in white in the Tinguian scale are not sung at the pitch indicated, but occur in the song as octaves of these tones. The black notes therefore show the actual tones sung. It will be noticed that in the arrangement of the notes the opening tone is repeated a few notes later on. This is because the Japanese usually tune the koto with the first and fifth strings in unison to facilitate the execution of certain passages in their music.

The "Jog," heard so frequently in the Igorot songs, occurs eight times in this number. It is not quite so well defined here, however, as in the _Dang-dang-ay,_ being modified in this song either by syncopation, by phrasing, or by lack of accent. It is interesting to note however, that it is always given on the tonic or the dominant, and also that it is repeated in true Igorot style.

The unconcern and skill with which the performer of this song unravels the mixed up duplet and triplet groups, is evidence of his inherent sense of rhythm, as it pertains to the symetry of note groups and their embodiment as beat-units into larger, varying measure-units; but his indifference, as he juggles his metric values of 2/4, 3/8, and 3/4 time, shows an entire absence of appreciation for form as revealed in even-measured sections, phrases, and periods of modern music.

Considered in the light of an oracle from the spirit himself speaking through the medium, the music would indicate that the spectre is not one of the gentle and kind disposition, but on the contrary is very domineering. He is of frightful mien, and tries to terrorize all who come under his sway.

_Song of a Spirit_

Record F. Sung by a medium when possessed by a spirit.

This song is very similar in general character to the _Dawak_, and many qualities in it indicate that it is given by the same performer. It has the same general formation as the _Dawak_. It is harmonic in construction. Nearly all of its tones follow the triad intervals of either the minor or its relative major tonic chords or the minor dominant chord. There is no well-marked motive development but instead a succession of tones first from one triad, then from another, and so on, grouped in ever varying fashion.

The key is G minor, but closes in the relative major B. While singing in the minor, the performer follows modern methods and raises his seventh or "leading tone," when the progression is upwards into the tonic (see measures 10, 13, 25, and 27).

The tempo is mostly 108, but at the tenth measure the movement slows down to 80. At this point is shown a note with a large circle above. This tone was taken with a very wide open mouth quite in contrast with the one preceeding. The next measure following shows two tones taken falsetto.

Like the Dawak, this song is probably the composition of the singer. Although very primitive in its general aspect, it has absorbed from some source a bit of modern influence.

If the surmise is correct that the performer of this song is the same as the one who made the record of the _Dawak_, and if the two songs were made at distinct times with a considerable period elapsing in which other records were made, it would indicate, as is frequently the case among primitive singers, that this performer almost invariably sings at the same pitch. In other words, he has to some degree the sense of absolute pitch.

_Bagoyas_

Record G. A song of praise and compliment sung by a guest at a feast or party. Words are extempore, but music constant.

The singer is a tenor with considerable dramatic quality in his voice. The words of the song must be extemporized to suit each new occasion; so also, must the elemental tonal forms be extemporaneously combined, for the music must fit the words, and these will vary in rhythm and meter with each performance. The music may be considered constant, however, in that the form of each component motive is more or less fixed.

The following five group-ingredients, used either in the pure form as shown, or with slight alterations, make up approximately one-half of the entire song.

Reiterated tones and glissandos pad out between these and make up practically the remainder of the number.

Turning our attention to the first of the above groups, which I have marked "M.M.1." (melodic motive), we find that it is used nearly a score of times throughout the extent of the song.

A motive may be modified in ten different recognized ways and each form of modification employed in varying degrees, within certain limits, and yet the motive will not loose its identity. As an example of this we find in this song the first melodic motive _transposed_ from the fourth degree of the scale (where it is originally announced) to the first, the fifth, and the sixth degrees. We find the same motive given with _omissions_, with _additions_, with _augmentations_, with _contractions_, and with _altered rhythmic values_; in short, the composer has turned this motive over and over, and unwittingly developed it much after the manner used by musicians trained in the art of composition. The fact that this motive is given four times rhythmically and melodically intact, besides recurring frequently throughout the composition in one or another of the accepted forms of modification, argues that this melodic germ was a familiar tone-figure to the singer, one that he could apply to most any syllable on which he wished to dwell. In this connection it is interesting to note that this motive, in its purest form, is always used in a transitional way, not only musically, but rhetorically, thus "marking time," as it were, while the improvisator chooses his next words of praise.

The second melodic motive (M.M.2.) occurs at least five times, with some transformations to be sure, and sometimes even overlapping the first motive. The third (R.M.) is purely rhythmic, but seems to be a pet device of the singer and helps him out with syllables needing special emphasis. The fourth can hardly be dignified by the name of motive, in this case, but is simply a musical device (M.D.), used by the singer mostly in his terminations.

I surmise that the song in its entirety, including the above elemental groups, is the invention of the singer. He has equipped himself with these particular tonal fragments, because they not only suit his fancy, but lie well within the range of his vocal attainments. He has used them so frequently and in such varied forms that he can instantly twist, turn, or alter them to fit the requirements of the various syllables of his ever changing flatteries.

With a few such elemental groups of his own invention at command, any singer would be well equipped to extemporize for the delectation of his host and the entertainment of the other guests.

The song is exceptional for strongly accented notes. The triplets giving the value of three quarter notes in the time of two are rather unusual in modern music. It is cast in the natural minor scale of B-flat. The singer never uses either the raised 6th or 7th in ascending, as do moderns in the melodic minor, but adheres strictly to the old _normal_ or _natural minor_ form.

Although diatonic, in that both the G-flat and C-natural appear frequently, yet the number savors much of the pentatonic.

At three places where the singer uses one or the other of the tones foreign to the pentatonic scale, he makes half-step progressions.

In the fourth line of the song we find the single instance in these records, where the performer takes an upward glissando. It is on the two-note embellishment F-natural G-flat shown in the last measure of that line. It is immediately followed by a downward glissando.

Balalognimas

Record II.

Two singers are heard on this record. They seem to be women. Possibly there are more than the two voices. As the song has such a well-defined swing and such a martial character, it must be wonderfully inspiring when given by a large company of singers.

It is cast in the natural minor diatonic scale of C-sharp, though it is strongly pentatonic in character.

The rhythm is partly 5/8 and partly 4/8, but it swings along so naturally that it seems as if it could not be otherwise.

The distribution of the accents, sometimes falling on the first and third beats and again on the second and fourth, helps to give it a character which puts it in a class by itself. It has the most character of any of the women's songs in this group.

There are several verses to the song almost precisely alike in words and music.

_Da-Eng_. Boys and Girls Alternating.

Record I. Sung while dancing in a religious ceremony.

This song is in two distinct movements or parts varying one from the other in meter, in tempo, and in general style.