462 The Tinguian 



The assumption that the seven groups marked with asterisks do 

 not represent the real intent of the singers, is based entirely on the 

 "stress" heard in the record. This "stress" cannot be represented in 

 notation. Relying on the notation alone, one would be warranted in 

 drawing a contrary conclusion and assuming that the odd measure 

 should be made to conform to the other seven and all read, B, A, G ; 

 or, from the phonographic record, one might assume that the com- 

 promise, previously mentioned, was the intonation really intended. 

 Primitive peoples frequently do sing and play, quite intentionally, 

 tones out of conformity with scale tones of present-day concert music. 

 Such tones cannot be represented by our musical notation without re- 

 sort to special signs. This is not necessary in the present case, as the 

 falling short of true intonation does not appear to be from deliberate 

 intent on the part of the singers, but seems to be due to lack of ability. 



In eight of the measures, at least one of the voices departs from 

 the melody proper, producing the harmony-intervals so frequently 

 heard in the music of primitive peoples, namely, that of a 5th without 

 the 3rd to complete the triad, and that of a 4th without the 6th to com- 

 plete the chord. Such thirdless 5ths are found in measures 5 (verse 

 1), 1 and 8 (verse 2), 5 (verse 3), and 1 and 5 (verse 4) ; and the 

 interval of a 4th without the 6th is found in measures 3 and 8 of verse 

 4. In the last measure of the notation, however, the interval of a 4th 

 there shown is caused by the leader's voice departing from the regular 

 melodic succession instead of the accompanying voice or voices, as is* 

 the case in each of the other measures mentioned. 



In measures 1 and 5 of each of the four verses of the song, and 

 also in measure 3 of the second verse, the sign," " (mezzo stac- 

 cato marks), is used to indicate the pulsating of the voice of one of 

 the singers, probably the leader, marking the rhythm of the song. 



The metronome tempo is mostly 88, but varies at times and runs as- 

 high as 92 per minute in the last half of the 4th verse. 



Between verses 2 and 3 the phonograph shows that the singers 

 paused eight beats (two whole measures), and between verses 3 and 

 4 there was a similar, though shorter, pause of two beats (one-half 

 measure). These pauses are not shown in the notation. 



There was no special change in dynamics throughout the song ex- 

 cept as indicated by the sforzando marks in measures 1,2, 5, 6, 7, and 

 8 of verse 4. 



In general character this song resembles most the Dang-dang-ay 

 (Record M). 



