464 The Tinguian 



which vary but little in the music, except for the changes in the reite- 

 rated staccato tones which are made greater or less in number to ac- 

 comodate the difference in number of syllables. With the exception of 

 those starting the glissandos or trills, the repeated tones were given 

 with a very decided staccato punch. 



Much of the intonation is vague. In taking the glissandos shown 

 near the middle of the top line, the upper tone is sung about half way 

 between B^ and B^. There is some abandon in the rhythm also. 



The group of six notes marked with an asterisk are trilled on the 

 semitone interval. 



Dawak 

 Record D. The song of a medium when calling spirits into 

 her (his) body. 



This song is doubtless the invention of the singer. It has that 

 abandon which usually characterizes the songs of workers in the 

 occult among primitive folk. 



The song is cast mostly in the relative minor (G#) of the pen- 

 tatonic scale of B* major. A# does not belong to this scale. There 

 are five measures, where this note appears, but in each instance the 

 tonality of the phrase momentarily rests in D# minor, the relative of 

 the pentatonic major of F*. A* belongs to this scale, but B^ does not. 

 The singer, with his instinct for the five-note scale, avoids the B^ 

 until the tonality shifts back to the original key. The song is therefore 

 classed as pentatonic in character. 



The melody is distinctly harmonic in structure, as nearly all of 

 the successions are made up of triad intervals. 



Though the song runs but a minute and a half, the tempo changes 

 eight times. The performer takes nearly every new tempo with a well- 

 defined rhythm. There is considerable freedom shown in the first 

 movement when the tremolos between B^ and the G* below are taken. 



The singer shows quite remarkable flexibility of voice, excellent 

 breath control, and a rather surprising quality of tone and accuracy 

 of intonation. As a demonstration of flexibility, about the middle of 

 the first movement, he takes the quarter note B^ in falsetto and im- 

 mediately drops into the waver a tenth below, at the same time as- 

 suming his natural voice. The falsetto tone is indicated in the tran- 

 scription by a tiny circle above the note. All of the wavered tones, as 

 well as the falsetto at the beginning and the turn at the end are sung 

 with one breath to a single syllable. This is quite a remarkable per- 

 formance considering that the singer had no voice training. 



