468 The Tinguian 



as shown, or with slight alterations, make up approximately one-half 

 of the entire song. 



Reiterated tones and glissandos pad out between these and make 

 up practically the remainder of the number. 



Turning our attention to the first of the above groups, which I 

 have marked "M. M. 1." (melodic motive), we find that it is used 

 nearly a score of times throughout the extent of the song. 



A motive may be modified in ten different recognized ways and 

 each form of modification employed in varying degrees, within certain 

 limits, and yet the motive will not loose its identity. As an example 

 of this we find in this song the first melodic motive transposed from 

 the fourth degree of the scale (where it is originally announced) to 

 the first, the fifth, and the sixth degrees. We find the same motive 

 given with omissions, with additions, with augmentations, with con- 

 tractions, and with altered rhythmic values; in short, the composer has 

 turned this motive over and over, and unwittingly developed it much 

 after the manner used by musicians trained in the art of composition. 

 The fact that this motive is given four times rhythmically and melodic- 

 ally intact, besides recurring frequently throughout the composition 

 in one or another of the accepted forms of modification, argues that 

 this melodic germ was a familiar tone-figure to the singer, one that he 

 could apply to most any syllable on which he wished to dwell. In this 

 connection it is interesting to note that this motive, in its purest form, 

 is always used in a transitional way, not only musically, but rhetoric- 

 ally, thus "marking time," as it were, while the improvisator chooses his 

 next words of praise. 



The second melodic motive (M. M. 2.) occurs at least five times, 

 with some transformations to be sure, and sometimes even overlapping 

 the first motive. The third (R. M.) is purely rhythmic, but seems to be 

 a pet device of the singer and helps him out with syllables needing 

 special emphasis. The fourth can hardly be dignified by the name of 

 motive, in this case, but is simply a musical device (M. D.), used by 

 the singer mostly in his terminations. 



I surmise that the song in its entirety, including the above elemental 

 groups, is the invention of the singer. He has equipped himself with 

 these particular tonal fragments, because they not only suit his fancy, 

 but lie well within the range of his vocal attainments. He has used 

 them so frequently and in such varied forms that he can instantly 

 twist, turn, or alter them to fit the requirements of the various syllables 

 of his ever changing flatteries. 



