466 The Tinguian 



?-" J ,i»J T J' | >' T T H.Jtl.^' 1 " ^^ 



, "" 3 1 4 '* It 7 4 5 * ■•» , I J 4- * t 7 6 9 <••'»• '» 



It will be seen that every note in the Japanese scale is found also 

 in the Tinguian, though not always in the same octave. All of the 

 Tinguian tones are found in the Japanese scale except the C b and D^. 

 These exceptions are shown with their stems turned down. The notes 

 shown in white in the Tinguian scale are not sung at the pitch in- 

 dicated, but occur in the song as octaves of these tones. The black notes 

 therefore show the actual tones sung. It will be noticed that in the ar- 

 rangement of the notes the opening tone is repeated a few notes later 

 on. This is because the Japanese usually tune the koto with the first 

 and fifth strings in unison to facilitate the execution of certain pass- 

 ages in their music. 



The "Jog," heard so frequently in the Igorot songs, occurs eight 

 times in this number. It is not quite so well defined here, however, as 

 in the Dang-dang-ay, being modified in this song either by syncopation, 

 by phrasing, or by lack of accent. It is interesting to note however, 

 that it is always given on the tonic or the dominant, and also that it is 

 repeated in true Igorot style. 



The unconcern and skill with which the performer of this song 

 unravels the mixed up duplet and triplet groups, is evidence of his 

 inherent sense of rhythm, as it pertains to the symetry of note groups 

 and their embodiment as beat-units into larger, varying measure- 

 units ; but his indifference, as he juggles his metric values of 2/4, 3/8, 

 and 3/4 time, shows an entire absence of appreciation for form as re- 

 vealed in even-measured sections, phrases, and periods of modern 

 music. 



Considered in the light of an oracle from the spirit himself speak- 

 ing through the medium, the music would indicate that the spectre is 

 not one of the gentle and kind disposition, but on the contrary is very 

 domineering. He is of frightful mien, and tries to terrorize all who 

 come under his sway. 



Song of a Spirit 



Record F. Sung by a medium when possessed by a spirit. 



This song is very similar in general character to the Dawak, and 

 many qualities in it indicate that it is given by the same performer. 

 It has the same general formation as the Dazvak. It is harmonic in con- 



