480 The Tinguian 



degree above the principal tone. The principal tone is usually a quarter 

 note or longer in value. 



In singing the jog, the short note is given a very pointed accent, 

 the voice dropping quickly with a sort of jerk to the second, unaccented, 

 sustained tone. It is executed without sliding, both tones being well- 

 defined. To be most effective, it should be given two, three, or four 

 times consecutively without intervening tones. 



This device was heard very frequently in the Igorot songs ; in fact, some 

 of their songs consisted of little else than the jog sounded first on tonic two or 

 three times, then the same number of times on the dominant, then again on the 

 tonic, then on the dominant, and so on back and forth. 



It would be interesting to know just how commonly this device is used in 

 the singing of the Tinguian and also in the music of other tribes of these 

 Islands. From it we might learn something of the contact of other tribes with 

 the Igorot. * 



Japanese Scales. — For structure of these scales, see analysis of 

 those songs using one or another of the Japanese "tunings" or approxi- 

 mations to them. 



Tonality. — That entire group of harmonies which, intimately 

 related to a foundation or "tonic" chord, may be considered as 

 clustered around and drawn to it. 

 Major Tonality. That tonality in which the upper two of the 

 three tones constituting its tonic chord, when ranged upward 

 from its foundation tone, are found at distances of four and 

 seven semitones respectively from it. 

 Minor Tonality. That tonality in which the upper two of the three 

 tones constituting its tonic chord, when ranged upward from 

 its foundation tone, are found at distances of three and seven 

 semitones respectively from it. 

 Pentatonic Character. That peculiar essence or quality which a 

 melody has when it is built up entirely or almost wholly of the 

 tones of the pentatonic or five-note scale. The melody may 

 employ sparingly one or both of the two tones foreign to the 

 pentatonic scale, and yet its pentatonic character will not be 

 destroyed. 

 Diatonic Character. That quality which a melody takes on when 

 the two tones which are foreign to the pentatonic scale of the 

 same key or tonality are freely employed. 



I use this term in contradistinction to "Pentatonic Character," and 

 not in contradistinction to "Chromatic," as it is usually employed in 

 musical literature. 



Melodic Structure. That form of flowing succession of tones in 



