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.