It will be seen that every note in the Japanese scale is found also in the Tinguian, though not always in the same octave. All of the Tinguian tones are found in the Japanese scale except the C-flat and D-flat. These exceptions are shown with their stems turned down. The notes shown in white in the Tinguian scale are not sung at the pitch indicated, but occur in the song as octaves of these tones. The black notes therefore show the actual tones sung. It will be noticed that in the arrangement of the notes the opening tone is repeated a few notes later on. This is because the Japanese usually tune the koto with the first and fifth strings in unison to facilitate the execution of certain passages in their music. The "Jog," heard so frequently in the Igorot songs, occurs eight times in this number. It is not quite so well defined here, however, as in the _Dang-dang-ay,_ being modified in this song either by syncopation, by phrasing, or by lack of accent. It is interesting to note however, that it is always given on the tonic or the dominant, and also that it is repeated in true Igorot style. The unconcern and skill with which the performer of this song unravels the mixed up duplet and triplet groups, is evidence of his inherent sense of rhythm, as it pertains to the symetry of note groups and their embodiment as beat-units into larger, varying measure-units; but his indifference, as he juggles his metric values of 2/4, 3/8, and 3/4 time, shows an entire absence of appreciation for form as revealed in even-measured sections, phrases, and periods of modern music. Considered in the light of an oracle from the spirit himself speaking through the medium, the music would indicate that the spectre is not one of the gentle and kind disposition, but on the contrary is very domineering. He is of frightful mien, and tries to terrorize all who come under his sway. _Song of a Spirit_ Record F. Sung by a medium when possessed by a spirit. This song is very similar in general character to the _Dawak_, and many qualities in it indicate that it is given by the same performer. It has the same general formation as the _Dawak_. It is harmonic in construction. Nearly all of its tones follow the triad intervals of either the minor or its relative major tonic chords or the minor dominant chord. There is no well-marked motive development but instead a succession of tones first from one triad, then from another, and so on, grouped in ever varying fashion. The key is G minor, but closes in the relative major B. While singing in the minor, the performer follows modern methods and raises his seventh or "leading tone," when the progression is upwards into the tonic (see measures 10, 13, 25, and 27).