.
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