The singer makes use of all the scale tones of the major key of E♭, except the D♮. The B♮ 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♭s and also the passing tone B♮, 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 Page 471indicated by oblique lines drawn beneath the tones covered by the slide.
In the second measure there is an almost inaudible tone at the end of the glissando. It is indicated by a small, square note. Careful listening to the record at this point shows that the singer really leaves the principal tone E♭ and slides with a sudden dying-down of volume. The abruptness with which the sound of the voice fades as it starts the glissando, leaves the impression of E♭ still sounding.
One tone in this song is given on the inhaled breath. It is indicated by a circle with a dot in the center placed beneath the note. This tone was produced well back in the throat, while the singer sharply inhaled the breath. This artifice, occasionally used by the Tinguian, is seldom, if ever, heard in the singing of civilized peoples (for other examples, see analysis of Record M, Dang-dang-ay).
This song, given by a woman, has not the well-marked motive development shown in the other Bogoyas, sung by a man. However, we find two quite distinct, prevailing ideas set forth. The first includes the whole of the first measure and the first beat of the second. It seems to be in the nature of a question which finds its answer in the remainder of the second measure, and again in the third, and again in the fourth measure. It is the same answer, but expressed each time in a little different manner. In the fifth measure and carrying over into the sixth, the questioning is heard again. Although put forth in a different arrangement of tones, it is the same musical thought as that expressed in the first measure. This time it is answered but once. The answer takes parts of two measures. Now follows another query similar to the first, and again comes the answer fully expressed in each of the two concluding measures.
The principal interest in this centers around the B♮, indicating that the singer has a very decided appreciation of the half step and of the upward leading tendency of a tone raised a semitone by an accidental.
Na-Way
Record L. Sung at the celebration which closes the period of mourning for the dead.
There are two voices heard in the record, probably women. In ten of the measures there is a splitting up of the parts. In the first measure of each of the second and third lines, and also in the third measure of the third line, the difference in the parts is owing to uncertainty of attack, one of the singers, usually the leader, starting the Page 472syllable ahead of the other performer. In the second measure of the last line, the first divergence is caused by the leader taking E by way of embellishment; and the second divergence, producing a minor third, is caused by the other voice dropping to B too soon. These are not intentional harmonies. The other six departures from unison are caused by the leader embellishing her part. The appogiatura, shown with a tiny circle above, has the quality of falsetto. The singer yodles down to the principal tone B.