Following the tabulation is given a detailed explanation or definition of each of the qualities listed at the heads of the vertical columns.
Dying Tones.—Found only at the end of some few glissandos. On the glide, the volume of sound diminishes so rapidly that when the final tone of the group is reached, the sound has practically died out. The effect is something like a short groan with no anguish in it. Sign,—same as a muted note, but written at the end of a glissando.
Muted Tones.—Sort of half-articulated tones, if I may use that expression. Without more records of the same songs in which these are shown, it is not possible to determine whether they are intended by the singers as necessary parts of the records. Sign,—note with small square head.
Inhaled Tones.—Tones produced well back in the throat while sharply inhaling the breath rather than exhaling it, as practiced almost universally by singers. Sign,—circle with dot in center.
Pulsated Tones.—Tones of more than one beat sung with a rythmic stressing usually in accord with the time meter or some multiple of that meter. Pulsation is rarely heard among modern musicians, except in drilling ensemble singing. It is heard quite frequently in the singing of our American Indians and in the songs of several other primitive peoples. It occurs to some extent in nearly every one of the Tinguian men's songs. It is found in but one of those sung by women. Page 477
Though pusation does serve to define the rhythm, I believe it is used by primitive peoples mostly as a purely æsthetic 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.