Water of the west, become less and less. 
    Less, less, water of the west. 
   Spring of Palawang overflow. 
    Overflow, overflow, be like the overflow. 
   Spring of Langiden flow fast. (Literally “like lightning".)
    Flow, flow, spring of Langiden. 
   Spring of Ka-ba-lang, flow like a chain. 
    Chain, chain, flow like a chain. 
   Water of Padangitah be knee deep to the rooster. 
    Rooster, rooster, knee deep to the rooster. 
   Spring of Layogan flow on. 
    Flow, flow, flow on. 
   Water of Abang (?)
    ? 
   Water of Abas, become dry. 
    Become dry, become dry, water of Abas. 
   Water of Ba-ay has three branches. 
    Branches, branches, has three branches. 
   Water of the East shaped like a ball. 
    Ball, ball, shaped like a ball. 
   Water from above the anito holds (stops). 
    Anito, anito, the anito holds. 
   Water of the uninhabited place the ghost holds. 
    Ghost, ghost, the ghost holds. 
   Water of Ayeng the bamboo tube holds. 
    Bamboo tube, bamboo tube, the bamboo tube holds. 
   Do not be jealous, pretty spring. 
    Spring, spring, pretty spring.

Da-Eng.  Boys’ part.

Record A. Sung while dancing in a religious ceremony.

There are at least two voices in this record.  Possibly there were three or more singers taking part, though it is not possible to distinguish more than two.

The song is cast in the pentatonic scale of A major.  The notes G-natural and D-flat do not belong to this scale.  At those places where they are put down in the notation, they are used to better define the glissandos.  The singers pass over them rapidly, sliding from the topmost note of the group to the lowest with no perceptible dwelling on any of the intermediate tones.  The glissandos are indicated by straight lines drawn obliquely underneath such groups (see Definition of Qualities, p. 478).

In each of measures 2 and 6 of verses 1, 2, and 3; and in measure 6 of verse 4, is shown a group of three notes with an asterisk above.  These groups, as shown in the notation, are B, A, G; but in measure 2 of verse 4, the corresponding group is C, B, A. In those measures marked *, the singers are very plainly striving to reach the tones C, B, A. There is that quality of tension in the voices with the accompanying forcing of tone which is peculiar to untrained singers striving for a tone near the limit of their highest range.  As the tones actually sounded are neither B, A, G, nor C, B, A, but are instead a sort of compromise between the two, it is quite evident that the succession intended in each of the seven measures is the same as in the eighth or odd one, viz.  C, B, A. If we assume this to be the case, it eliminates seven of the foreign G naturals shown in the notation.  If, however, this conjecture is wrong, and the performers really feel that the groups in question all start on