470 The Tinguian 



Part i 



There are at least two voices discernible in this part. They seem 

 to be the voices of girls or women. 



It is cast in the relative minor (C) of the pentatonic scale of E^ 

 major. The tones of this scale given in order are C, E b , F, G, B b , 

 and then the octave C. The tones D^ and A^ are missing, thus avoid- 

 ing the half step between D and E 1 *, and between G and A 1 ? (see 

 remarks in pentatonic scale under Definition of Qualities, p. 480). 



The A b shown in the third from the last measure of this part 

 is written there to define more clearly that particular glissando which 

 seems to be of slightly different rhythmic construction than the one 

 in the corresponding measure above. The fact that the tone is passed 

 over glissando eliminates it from the scale. 



In the fourth measure of each line we find a peculiar splitting 

 up of the parts, one voice holding the C, while the other skips to the 

 E b above, thus producing the hamony-interval of a minor third. This 

 behavior seems to be intentional on the part of the performers, as 

 it occurs precisely the same in each of the four lines of the song, 

 though not quite so well defined the last time owing to the fact that 

 the upper voice does not come out so strong on the &. This is in- 

 dicated in the notation by a small square note. 



Part 1 is in the very unusual rhythm of 5/4. The rhythm is not 

 well defined, however, as there is considerable abandon in the style 

 of rendition. The metronome tempo of 69 applies practically through- 

 out. Sometimes the singers are a trifle in advance of the count and at 

 others drag behind, but always sooner or later drop into the regular 

 beat. A stress on each fifth count gives the number a rhythm of five. 

 It is unique also in that each line has but five measures. 



Part 2 



In this, the same number of voices is heard as in the first part. 

 The performers seem to be the same ones who sang from the be- 

 ginning. 



The scale is the same as that of part 1. The intonation is very 

 distinct and the character unmistakably pentatonic. 



In measure 2 there is the harmony-interval of a perfect fourth 

 followed, immediately by that of a minor third, the same succession 

 as was used in the Da-eng, Girls' part (Record J). In the fourth and 

 fifth measures of this part are found unprepared minor thirds, which 

 also appear in Record J. These harmonies are not so primitive a3 

 those found in the boys' part of the same ceremony (see Record A). 



