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