(half) (whole-and-a-half)
(half).

_Melodic Minor Diatonic Scale_ (_Ascending_). That scale in which
the constituent tones, if considered in upward sequence, would show
the following arrangement of whole and half step intervals,--(whole)
(half) (whole) (whole) (whole) (whole) (half).

_Falsetto_. Artificial or strained head-tones which sound an octave
above the natural tone. Sign,--a tiny circle above the note.

In record L. _Naway_ is shown one falsetto tone. It is unusual to
find this effect in a woman's voice.

_Semitones Sung_. This needs no definition. The classification is put
down to show to what extent these singers appreciate the half-step
intervals, and are able to vocalize it (see preceeding definition
of Pentatonic Scale for footnote relative to appreciation of this
interval). Sign,--curved bracket above or below the notes.

In these records the men use the half-step interval in six of their
seven songs, while the women make use of it in but three of their
eight songs.

_Appoggiature_. These, with the exception of one double one shown in
the _Bagoyas_ (Record G), are all of the single, short variety. The
singers execute them with the usual quickness heard in modern music,
but with the accent about equally divided between the appoggiatura
and the principal tone. In the transcription they are indicated by
the usual musical symbol,--a small eighth note with a slanting stroke
through the hook.

_Mordents_. Those used in these songs are all of the "inverted"
kind, and were executed by the singers in the manner used by modern
musicians; that is, by giving a quick, single alternation of the
principal tone with the next scale tone above. Indicated in the score
by the usual musical symbol.

_Trills and Wavers_. These need no comment except to call attention
to the fact that there are none found in the regular songs of
the women. The one shown in Record I (_Da-eng,_ Boys and Girls
alternating) is in the boys' part.

_Changing Between Duple and Triple Rhythm_. I consider this quite a
striking quality in these songs. Some primitive peoples show little
concern over such rhythmic changes, in fact, among some races where
percussive instruments are used to accompany the singing, we frequently
hear the two rhythms at the same time fitted perfectly one against
the other. This is especially true among our American Indians.

While it is not uncommon to find compositions in modern music using
these two rhythms al