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