ternately, they are alternated rather sparingly. A
great many musicians have difficulty in passing smoothly from one to
the other, preserving perfect proportions in the note values.

In noting down in the table the findings under this head, I have
put down under each song, not the number of duple or triple or
quadruple groups in the song, but rather the number of "changes"
which occur. After one has made the transition from one style of
rhythm to the other, and has the new "swing" established, manifestly
it is no special feat to follow along in that same kind of measure;
but the real test is the "change" to the rhythm of the other sort. For
instance, in the Song of the Spirit (Record E), I find but 31 measures
and parts of measures which are in triple rhythm, yet the singer had
to change his meter 47 times to execute these. On the other hand,
the _Dang-dang-ay_ (Record M), has in it 21 triple-time measures and
triplet groups of notes, but because of the persistence of the triple
rhythm, when once established in the second part, the song requires
a changing of swing but 17 times.

Because of the frequency of changes found throughout these songs,
and noting, as heard in the records, the precision with which, in
nearly every instance, a new rhythm is taken, I conclude that the
Tinguian have a remarkable grasp of different metric values, which
enables them to change readily from one to the other. Naturally this
trait would stamp itself upon their music, and I consider the use of
such frequent metric changes a dominant characteristic.

Although frequent rhythmic change is also strongly characteristic
of the music of some other peoples, as I have indicated elsewhere,
it is important to tabulate it here to differentiate the Tinguian
from those peoples who do not make use of it.

_Minor 3rds, Perfect 4ths, and Perfect 5ths_. These are the only
intentional harmonies found in these songs. It is interesting to note
that the only examples are in the _Da-eng_ ceremony, where all three
are used, some in one part and some in another.

Among some primitive peoples, only the men take part in the songs. The
early chanting of all peoples was quite likely by men. Probably the
most primitive harmony was a perfect fifth resulting from the attempt
of men with different ranges to sing together. The difference between
a bass and a tenor voice is just about a fifth. Between an alto and
a soprano it is about a fourth. The difference in these