Part 1 is in the very unusual rhythm of 5/4.  The rhythm is not well defined, however, as there is considerable abandon in the style of rendition.  The metronome tempo of 69 applies practically throughout.  Sometimes the singers are a trifle in advance of the count and at others drag behind, but always sooner or later drop into the regular beat.  A stress on each fifth count gives the number a rhythm of five.  It is unique also in that each line has but five measures.

Part 2

In this, the same number of voices is heard as in the first part.  The performers seem to be the same ones who sang from the beginning.

The scale is the same as that of part 1.  The intonation is very distinct and the character unmistakably pentatonic.

In measure 2 there is the harmony-interval of a perfect fourth followed immediately by that of a minor third, the same succession as was used in the Da-eng, Girls’ part (Record J).  In the fourth and fifth measures of this part are found unprepared minor thirds, which also appear in Record J. These harmonies are not so primitive as those found in the boys’ part of the same ceremony (see Record A).

The tempo throughout this part is 80 and the rhythm strongly marked.  There is a wait between the two lines.  The machine was evidently stopped at this point or the needle raised and started again.  Each line has the uncommon number of five measures the same as the first part, but metrically the part is in 4/4 rhythm.

The second time through, the singers seem to be striving to repeat the first line of the movement with embellishments consisting of inverted mordents, appogiature, and trills.

Musically, there seems to be absolutely no connection between this song and the other two of the same ceremony.  In many ways this song is the most interesting of those submitted.  In origin it probably dates between the other two.

It is not given consecutively on the record, as there were breaks between each two lines while the needle was raised.

Da-Eng.  Girls’ part.

Record J. Sung while dancing in a religious ceremony.

The record shows but two voices one of which is greatly predominant in strength and confidence as if it were the leader’s voice.

The song is cast in the scale of B minor.  It is not pentatonic.  The singers would employ, so an interrogation-mark is; placed below that be either A-natural or A-sharp, according to whether the scale is the natural minor or the harmonic minor, it is not possible to determine which tone the singers would employ, so an interrogation mark is placed below that note.  The raised fourth (E-sharp), shown in the fifth measure of four out of the six verses, is perfectly intentional on the part of the singers, but musically, is to be interpreted as an accidental, and does not affect the scale of the song.

In this song we again have the interval of a fourth without the sixth above.  It occurs four times, each time followed immediately by the less primitive and more harmonious interval of a minor third.  The minor third harmony also occurs in three other measures,—­in these without preparation.