The singer shows quite remarkable flexibility of voice, excellent breath control, and a rather surprising quality of tone and accuracy of intonation. As a demonstration of flexibility, about the middle of the first movement, he takes the quarter note B-natural in falsetto and immediately drops into the waver a tenth below, at the same time assuming his natural voice. The falsetto tone is indicated in the transcription by a tiny circle above the note. All of the wavered tones, as well as the falsetto at the beginning and the turn at the end are sung with one breath to a single syllable. This is quite a remarkable performance considering that the singer had no voice training. Near the opening of the first 2/4 movement is shown a group of five notes given in the time of four,--a rhythmic effect few trained musicians can execute well. Of the various performers who took part in making the fourteen records, this singer shows the best voice technic and control. The fact that the singer scarcely repeats a single motive throughout the extent of the song, but is constantly introducing new tonal ideas argues an extempore performance. It would be interesting to have for comparison another record of the same song made at another time. _Song of a Spirit_ Record E. Sung by a medium when possessed by a spirit. Melodically this song is quite in contrast with the _Dawak_. This one is distinctly melodic in structure, though there are suggested harmonies. These harmonies are mostly tonic and dominant alternating one with the other. Using a two-measure motive, which he announces at the very start, the singer works the material over and over, first in one harmonic mode and then in the other, frequently changing the form of the motive through embellishments or altered metric values, but always leaving an impression which harks back to the original motive. Arrange the various tones of this melody in any order that we will, we cannot make them conform to any diatonic scale used in modern music. If, however, we ignore the C-flat, which occurs twice in the song, it gives us an incomplete ascending melodic-minor scale in D-flat. But the song is not minor in mode. It is distinctly major in tonality. It is formed mostly of the four tones D-flat, E-flat, A-flat, and B-flat. All of these belong to the pentatonic major scale of D-flat. This gives a very marked pentatonic flavor, yet the song is not in the pentatonic scale, for the singer introduces half steps, and there are no such intervals in the pentatonic scale. Casting about among the scales used by various peoples, the nearest approach I find to the tonal succession of this song is one of the numerous scales or "tunings" used by the Japanese. It is that known as the "Hirajoshi." To make comparison easy, I have transposed this Japanese koto-tuning into the same key as that of the song. Along with it I show the tonal material of the Tinguian song arranged in corresponding sequence.