It would be interesting to know just how commonly this device is used in the singing of the Tinguian and also in the music of other tribes of these Islands.  From it we might learn something of the contact of other tribes with the Igorot.

Japanese Scales.—­For structure of these scales, see analysis of those songs using one or another of the Japanese “tunings” or approximations to them.

Tonality.—­That entire group of harmonies which, intimately related to a foundation or “tonic” chord, may be considered as clustered around and drawn to it.

Major Tonality.  That tonality in which the upper two of the three tones constituting its tonic chord, when ranged upward from its foundation tone, are found at distances of four and seven semitones respectively from it.

Minor Tonality.  That tonality in which the upper two of the three tones constituting its tonic chord, when ranged upward from its foundation tone, are found at distances of three and seven semitones respectively from it.

Pentatonic Character.  That peculiar essence or quality which a melody has when it is built up entirely or almost wholly of the tones of the pentatonic or five-note scale.  The melody may employ sparingly one or both of the two tones foreign to the pentatonic scale, and yet its pentatonic character will not be destroyed.

Diatonic Character.  That quality which a melody takes on when the two tones which are foreign to the pentatonic scale of the same key or tonality are freely employed.

I use this term in contradistinction to “Pentatonic Character,” and not in contradistinction to “Chromatic,” as it is usually employed in musical literature.

Melodic Structure.  That form of flowing succession of tones in which the accented tones, if considered in sequence, show dominant non-adherence to chord intervals.

Harmonic Structure.  That form of tonal succession in which the tones of the melody follow rather persistently the structural outline of chords.

Major Pentatonic Scale.  That scale in which the constituent tones, if considered in upward sequence, would show the following arrangement of whole and whole-and-a-half-step intervals,—­(whole) (whole) (whole-and-a-half) (whole) (whole-and-a-half).

Minor Pentatonic Scale.  That scale in which the constituent tones, if considered in upward sequence, would show the following arrangement of whole and whole-and-a-half step intervals,—­(whole-and-a-half) (whole) (whole) (whole-and-a-half) (whole).

The pentatonic scale is markedly primitive in character.  It is known to have been in use anterior to the time of Guido d’Arezzo, which would give it a date prior to the beginning of the 11th century. [257]

Rowbotham ascribes the invention of scales to those primitive musicians who, striving for greater variety in their one-toned chants, added first one newly-discovered tone, then another, and another. [258] The pentatonic scale might have resulted from such chanting.