Though pusation does serve to define the rhythm, I believe it is used by primitive peoples mostly as a purely aesthetic touch.  It is indicated in the notation by the usual musical staccato sign thus, --.....

Swelled Tones.—­Tones usually of from two to four beats which are sung with increasing volume to the center, finishing with a decrescendo to the end.  The Swell is sometimes applied to tones of more than four beats, but when so used, it looses some of its character.  Swelled tones must be given to single syllables only, and they are the most effective when introduced several times in succession with but few, if any, intervening tones.  The sign which I have used is double diverging lines followed by double converging lines placed under the note.

In 1905 it was my privilege to transcribe a number of native songs from the singing of a group of Igorot.  In these songs they made frequent use of swelled tones.

Downward Glissandos.—­An even sliding of the voice from the topmost tone of a group to the lowest with no perceptible dwelling on any intermediate tone and without in any manner defining any of the tones lying between the extremes.  Sign,—­a straight line drawn obliquely downward beneath the group.

Upward Glissandos.—­An even sliding of the voice upward without sounding any of the intermediate tones.  Sign,—­a straight line drawn obliquely upward beneath the group.

Notes in Group, Beats in Measure, or Measures in Period.—­Groups of five seem to have no terrors for these people.  In modern music it is extremely unusual to find notes grouped in fives, or measures having the rhythmic value of five beats, or periods made up of measures in fives.  A study of the tabulation shows that the Tinguian have a rather natural bent for groupings in this number.  It seems easy for them to drop into that metric form.  I consider this trait, evidenced in their melodies, one of the marked characteristics of their music. [256]

Groups of notes, beats, or measures in seven are so few in these records that we are not warranted in accepting it as a characteristic.

Jog.—­An over-emphasized short-appoggiatura with always either the tonic or dominant of the key as the principal tone.  The first tone is usually an eighth or sixteenth in value, and must stand on the next degree above the principal tone.  The principal tone is usually a quarter note or longer in value.

In singing the jog, the short note is given a very pointed accent, the voice dropping quickly with a sort of jerk to the second, unaccented, sustained tone.  It is executed without sliding, both tones being well-defined.  To be most effective, it should be given two, three, or four times consecutively without intervening tones.

This device was heard very frequently in the Igorot songs; in fact, some of their songs consisted of little else than the jog sounded first on tonic two or three times, then the same number of times on the dominant, then again on the tonic, then on the dominant, and so on back and forth.