474 The Tinguian 



syllable ahead of the other performer. In the second measure of the 

 last line, the first divergence is caused by the leader taking E by way 

 of embellishment ; and the second divergence, producing a minor third, 

 is caused by the other voice dropping to B too soon. These are not in- 

 tentional harmonies. The other six departures from unison are caused 

 by the leader embellishing her part. The appogiatura, shown with a tiny 

 circle above, has the quality of falsetto. The singer yodles down to the 

 principal tone B. 



The song is strictly pentatonic. Peculiarly enough, it may be con- 

 sidered as belonging to any one of the following tonalities, B minor, 

 E minor, or G major, though there is no G in the melody. The song 

 seems the most primitive, however, when considered in the key of E 

 minor, for the harmonies required to place it in this tonality carry 

 more of the primitive atmosphere than do the chords which are re- 

 quired in either of the other tonalities. 



In this connection it would be interesting to know just how these 

 various harmonizations would appeal to the Tinguian. It is a well- 

 known fact among musicians who have recorded the songs of primi- 

 tive peoples, that though the songs are used with practically no har- 

 monies, yet the singers feel an harmonic support which they do not 

 express. Experiments along this line have been tried with the American 

 Indians. Various harmonizations of a given melody have been played 

 for them, a melody which they themselves sing only in unison, and 

 they have been very quick to choose the particular harmonic support 

 which appeals to them as being an audible expression of the vague 

 something which they feel within, but do not attempt to voice. 



The tones of this song when arranged to represent the scale of 

 E minor coincide exactly with the scale tones of two of the tunings 

 of the Japanese 13 stringed koto. These tunings were both borrowed 

 by the Japanese from the Chinese by whom they were used as special 

 tunings of the ch'in, or kin, one of the most ancient of musical in- 

 struments. 



In each of the eleven glissandos shown in the notation, the voices 

 drop suddenly to approximately the tone shown by the small square 

 note. The glides are taken diminuendo, the tone dying away completely. 

 The sudden diminuation of tone taken with a glissando gives an effect 

 something like a short groan. The song is in seven-measure periods. 



