Although diatonic, in that both the G-flat and C-natural appear frequently, yet the number savors much of the pentatonic.

At three places where the singer uses one or the other of the tones foreign to the pentatonic scale, he makes half-step progressions.

In the fourth line of the song we find the single instance in these records, where the performer takes an upward glissando.  It is on the two-note embellishment F-natural G-flat shown in the last measure of that line.  It is immediately followed by a downward glissando.

Balalognimas

Record II.

Two singers are heard on this record.  They seem to be women.  Possibly there are more than the two voices.  As the song has such a well-defined swing and such a martial character, it must be wonderfully inspiring when given by a large company of singers.

It is cast in the natural minor diatonic scale of C-sharp, though it is strongly pentatonic in character.

The rhythm is partly 5/8 and partly 4/8, but it swings along so naturally that it seems as if it could not be otherwise.

The distribution of the accents, sometimes falling on the first and third beats and again on the second and fourth, helps to give it a character which puts it in a class by itself.  It has the most character of any of the women’s songs in this group.

There are several verses to the song almost precisely alike in words and music.

Da-Eng.  Boys and Girls Alternating.

Record I. Sung while dancing in a religious ceremony.

This song is in two distinct movements or parts varying one from the other in meter, in tempo, and in general style.

Part 1

There are at least two voices discernible in this part.  They seem to be the voices of girls or women.

It is cast in the relative minor (C) of the pentatonic scale of E-flat major.  The tones of this scale given in order are C, E-flat, F, G, B-flat, and then the octave C. The tones D-natural and A-flat are missing, thus avoiding the half step between D and E-flat, and between G and A-flat (see remarks in pentatonic scale under Definition of Qualities, p. 480).

The A-flat shown in the third from the last measure of this part is written there to define more clearly that particular glissando which seems to be of slightly different rhythmic construction than the one in the corresponding measure above.  The fact that the tone is passed over glissando eliminates it from the scale.

In the fourth measure of each line we find a peculiar splitting up of the parts, one voice holding the C, while the other skips to the E-flat above, thus producing the harmony-interval of a minor third.  This behavior seems to be intentional on the part of the performers, as it occurs precisely the same in each of the four lines of the song, though not quite so well defined the last time owing to the fact that the upper voice does not come out so strong on the E-flat.  This is indicated in the notation by a small square note.