ality 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