Between verses 2 and 3 the phonograph shows that the singers paused eight beats (two whole measures), and between verses 3 and 4 there was a similar, though shorter, pause of two beats (one-half measure).  These pauses are not shown in the notation.

There was no special change in dynamics throughout the song except as indicated by the sforzando marks in measures 1, 2, 5, 6, 7, and 8 of verse 4.

In general character this song resembles most the Dang-dang-ay (Record M).

Diwas

Record B. Sung at night by the friends of a sick man.

There are two singers on this record, both men with bass voices.  One seems to be the leader, the accompanying singer dragging along behind.  As the tempo is very slow and many of the tones long drawn out, this uncertainty on the part of the second performer is not so noticeable, except on the quick runs as the leader passes to another principal tone.

The song is cast in the natural minor scale of D. The E-flat near the beginning of the second line does not belong to the scale.  It is not well defined on the record, and so is indicated in the transcription with an interrogation-mark beneath.

Although not confined to the intervals of the pentatonic scale, the number is distinctly pentatonic in character.  It is made up mostly of the tones A, C, D, and E. These tones belong to the pentatonic scales of C major and its relative minor A. In tonality, the song cannot be considered as belonging to either of these keys, as there is a very distinct feeling of B-flat in it, notwithstanding that the tone is seldom dwelt upon, but passed over quickly, almost glissando, in nearly every place where it occurs.

The song ends on A. This is not the key note, however, but is the fifth of the key.

The song is like a mournful chant.  Throughout there is a peculiar wailing which leaves a strange, haunting impression.  The music admirably suits the hour when it is used.  It would be decidedly incongruous given in broad daylight.  These untutored savages could hardly have conjured up a more typical tone-picture of the “shadowy valley” than the song heard on this record.

The peculiarly weird character is due in large part to the swelling out and dying away of the tones on certain syllables. (For comparison to effects found in Igorot music, see “Swelled Tones” under Definition of Qualities, p. 479).

Sang-Sangit

Record C. Sung during the evening following a funeral.

In this record we hear but one voice—­a man’s.  The song is cast in the minor scale of G, but whether the natural minor or the harmonic, cannot be determined, as the singer does not use the 7th of the scale.  It is not pentatonic in character.

The song is given in the recitative style.  There are several verses which vary but little in the music, except for the changes in the reiterated staccato tones which are made greater or less in number to accommodate the difference in number of syllables.  With the exception of those starting the glissandos or trills, the repeated tones were given with a very decided staccato punch.