ck, one of the singers, usually the leader, starting
the syllable ahead of the other performer. In the second measure of
the last line, the first divergence is caused by the leader taking E
by way of embellishment; and the second divergence, producing a minor
third, is caused by the other voice dropping to B too soon. These are
not intentional harmonies. The other six departures from unison are
caused by the leader embellishing her part. The appogiatura, shown
with a tiny circle above, has the quality of falsetto. The singer
yodles down to the principal tone B.

The song is strictly pentatonic. Peculiarly enough, it may be
considered as belonging to any one of the following tonalities, B
minor, E minor, or G major, though there is no G in the melody. The
song seems the most primitive, however, when considered in the key
of E minor, for the harmonies required to place it in this tonality
carry more of the primitive atmosphere than do the chords which are
required in either of the other tonalities.

In this connection it would be interesting to know just how these
various harmonizations would appeal to the Tinguian. It is a well-known
fact among musicians who have recorded the songs of primitive peoples,
that though the songs are used with practically no harmonies, yet the
singers feel an harmonic support which they do not express. Experiments
along this line have been tried with the American Indians. Various
harmonizations of a given melody have been played for them, a melody
which they themselves sing only in unison, and they have been very
quick to choose the particular harmonic support which appeals to them
as being an audible expression of the vague something which they feel
within, but do not attempt to voice.

The tones of this song when arranged to represent the scale of E minor
coincide exactly with the scale tones of two of the tunings of the
Japanese 13 stringed _koto_. These tunings were both borrowed by the
Japanese from the Chinese by whom they were used as special tunings of
the _ch'in_, or _kin_, one of the most ancient of musical instruments.

In each of the eleven glissandos shown in the notation, the voices drop
suddenly to approximately the tone shown by the small square note. The
glides are taken diminuendo, the tone dying away completely. The
sudden diminuation of tone taken with a glissando gives an effect
something like a short groan. The song is in seven-measure periods.

_Dang-Dang-Ay_

Re