482 The Tinguian 



Natural Minor Diatonic Scale. That scale in which the consti- 

 tuent tones, if considered in upward sequence, would show the 

 following arrangement of whole and half step intervals, — (whole) 

 (half) (whole) (whole) (half) (whole) (whole). 



Harmonic Minor Diatonic Scale. That scale in which the consti- 

 tuent tones, if considered in upward sequence, would show the 

 following arrangement of half, whole and whole-and-a-half 

 step intervals, — (whole) (half) (whole) (whole) (half) 

 (whole-and-a-half) (half). 



Melodic Minor Diatonic Scale (Ascending). That scale in which 

 the constituent tones, if considered in upward sequence, would 

 show the following arrangement of whole and half step inter- 

 vals, — (whole) (half) (whole) (whole) (whole) (whole) 

 (half). 



Falsetto. Artificial or strained head-tones which sound an octave 

 above the natural tone. Sign, — a tiny circle above the note. 



In record L,.Naway is shown one falsetto tone. It is un- 

 usual to find this effect in a woman's voice. 



Semitones Sung. This needs no definition. The classification is 

 put down to show to what extent these singers appreciate the 

 half -step intervals, and are able to vocalize it (see preceeding 

 definition of Pentatonic Scale for footnote relative to appre- 

 ciation of this interval). Sign, — curved bracket above or 

 below the notes. 



In these records the men use the half-step interval in six of their seven 

 songs, while the women make use of it in but three of their eight songs. 



Appoggiature. These, with the exception of one double one shown 

 in the Bagoyas (Record G), are all of the single, short variety. 

 The singers execute them with the usual quickness heard in 

 modern music, but with the accent about equally divided be- 

 tween the appoggiatura and the principal tone. In the tran- 

 scription they are indicated by the usual musical symbol, — a 

 small eighth note with a slanting stroke through the hook. 



Mordents. Those used in these songs are all of the "inverted" 

 kind, and were executed by the singers in the manner used by 

 modern musicians ; that is, by giving a quick, single alternation 

 of the principal tone with the next scale tone above. Indicated 

 in the score by the usual musical symbol. 



Trills and Wavers. These need no comment except to call attention 

 to the fact that there are none found in the regular songs of 



