These minor thirds are all the same,—­B-D, the foundation of the tonic chord of the key,—­evidence that the singers have a keen sense of the minor tonality.

The tempo alternates between 96 and 108.  The first half of each line is given at 96, but the second half is taken more rapidly at 108 beats per minute.  Each of these rhythms is very evenly preserved, the time being well marked by accented notes and pulsations of the voice as shown in the score.  The figures at the ends of the lines indicate the number of beats rest actually taken by the performers.  Twice they take the normal number four, which, if preserved throughout, would place the song in the regular eight-measure form.  Some of the measures are 4/4, and some are 3/4.

In each verse of this song we find an example of the characteristic which I have termed a “jog.”  It is seen in each next-to-last measure with special sign beneath.  The jogs in the 2nd, 4th, and 6th measures are the best defined (see table of special signs under Introduction, p. 444).

There are three qualities in this song, which indicate that it is of more modern origin than either of the other two which belong to the same ceremony.  The frequent and undoubtedly intentional use of the raised fourth giving the half step E-sharp to F-sharp; the persistent recurrence of the hardly primitive, minor-third harmony; and the fact that the song is not cast in the pentatonic scale, as are the other two records of the same ceremony, point to a more modern origin.

It may be that in the earliest practice of this ceremony the girls or women did not participate, their parts having been a later addition.  This could not be determined musically, however, without examining more records of songs from this or similar ceremonies.

Bogoyas

Record K. Sung by a woman.

This is a woman’s song of praise, complimentary to the host at a party.

The singer makes use of all the scale tones of the major key of E-flat, except the D-natural.  The B-natural found in the next-to-last measure is a passing tone, and does not affect the scale or tonality.  At that point the suggested supporting harmony is an augmented triad upon the tonic leading into the subdominant.  With the exception of this one measure, the song is in the five-note scale.  Notwithstanding that this measure contains two A-flats and also the passing tone B-natural, both of which tones are foreign to this particular five-note scale, the song is not robbed of its pentatonic character.

The rhythm of this song is interesting.  It alternates throughout between 4/4 and 5/4.  It might have been notated in 9/4 time instead, in which case it would have but five measures.

The singer uses the downward glissandos, so characteristic of nearly all of the Tinguian songs of this group.  These glissandos are indicated by oblique lines drawn beneath the tones covered by the slide.