472 The Tinguian 



voice as shown in the score. The figures at the ends of the lines in- 

 dicate the number of beats rest actually taken by the performers. Twice 

 they take the normal number four, which, if preserved throughout, 

 would place the song in the regular eight-measure form. Some of 

 the measures are 4/4, and some are 3/4. 



In each verse of this song we find an example of the characteristic 

 which I have termed a "jog." It is seen in each next-to-last measure 

 with special sign beneath. The jogs in the 2nd, 4th, and 6th measures 

 are the best defined (see table of special signs under Introduction, 



p. 444)- 



There are three qualities in this song, which indicate that it is of 

 more modern origin than either of the other two which belong to the 

 same ceremony. The frequent and undoubtedly intentional use of the 

 raised fourth giving the half step E* to F* ; the persistent recurrence 

 of the hardly primitive, minor-third harmony; and the fact that the 

 song is not cast in the pentatonic scale, as are the other two records 

 of the same ceremony, point to a more modern origin. 



It may be that in the earliest practice of this ceremony the girls 

 or women did not participate, their parts having been a later addition. 

 This could not be determined musically, however, without examining 

 more records of songs from this or similar ceremonies. 



Bogoyas 

 Record K. Sung by a woman. 



This is a woman's song of praise, complimentary to the host at 

 a party. 



The singer makes use of all the scale tones of the major key 

 of E^, except the D*. The B b found in the next-to-last measure is a 

 passing tone, and does not affect the scale or tonality. At that point 

 the suggested supporting harmony is an augmented triad upon the 

 tonic leading into the subdominant. With the exception of this one 

 measure, the song is in the five-note scale. Notwithstanding that this 

 measure contains two A b s and also the passing tone B", both of 

 which tones are foreign to this particular five-note scale, the song 

 is not robbed of its pentatonic character. 



The rhythm of this song is interesting. It alternates throughout 

 between 4/4 and 5/4. It might have been notated in 9/4 time in- 

 stead, in which case it would have but five measures. 



The singer uses the downward glissandos, so characteristic of 

 nearly all of the Tinguian songs of this group. These glissandos are 



