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Record I. Sung while dancing in a religious ceremony.

This song is in two distinct movements or parts varying one from the
other in meter, in tempo, and in general style.

Part 1

There are at least two voices discernible in this part. They seem to
be the voices of girls or women.

It is cast in the relative minor (C) of the pentatonic scale of E-flat
major. The tones of this scale given in order are C, E-flat, F, G,
B-flat, and then the octave C. The tones D-natural and A-flat are
missing, thus avoiding the half step between D and E-flat, and between
G and A-flat (see remarks in pentatonic scale under _Definition of
Qualities_, p. 480).

The A-flat shown in the third from the last measure of this part is
written there to define more clearly that particular glissando which
seems to be of slightly different rhythmic construction than the one
in the corresponding measure above. The fact that the tone is passed
over glissando eliminates it from the scale.

In the fourth measure of each line we find a peculiar splitting up of
the parts, one voice holding the C, while the other skips to the E-flat
above, thus producing the harmony-interval of a minor third. This
behavior seems to be intentional on the part of the performers, as
it occurs precisely the same in each of the four lines of the song,
though not quite so well defined the last time owing to the fact that
the upper voice does not come out so strong on the E-flat. This is
indicated in the notation by a small square note.

Part 1 is in the very unusual rhythm of 5/4. The rhythm is not
well defined, however, as there is considerable abandon in the
style of rendition. The metronome tempo of 69 applies practically
throughout. Sometimes the singers are a trifle in advance of the count
and at others drag behind, but always sooner or later drop into the
regular beat. A stress on each fifth count gives the number a rhythm
of five. It is unique also in that each line has but five measures.

Part 2

In this, the same number of voices is heard as in the first part. The
performers seem to be the same ones who sang from the beginning.

The scale is the same as that of part 1. The intonation is very
distinct and the character unmistakably pentatonic.

In measure 2 there is the harmony-interval of a perfect fourth
followed immediately by that of a minor third, the same succession
as was used in the _Da-eng_, Girls' part (Record J). In the fourth
and fifth measure