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 syllable 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. The song is strictly pentatonic. Peculiarly enough, it may be considered as belonging to any one of the following tonalities, B minor, E minor, or G major, though there is no G in the melody. The song seems the most primitive, however, when considered in the key of E minor, for the harmonies required to place it in this tonality carry more of the primitive atmosphere than do the chords which are required in either of the other tonalities. In this connection it would be interesting to know just how these various harmonizations would appeal to the Tinguian. It is a well-known fact among musicians who have recorded the songs of primitive peoples, that though the songs are used with practically no harmonies, yet the singers feel an harmonic support which they do not express. Experiments along this line have been tried with the American Indians. Various harmonizations of a given melody have been played for them, a melody which they themselves sing only in unison, and they have been very quick to choose the particular harmonic support which appeals to them as being an audible expression of the vague something which they feel within, but do not attempt to voice. The tones of this song when arranged to represent the scale of E minor coincide exactly with the scale tones of two of the tunings of the Japanese 13 stringed _koto_. These tunings were both borrowed by the Japanese from the Chinese by whom they were used as special tunings of the _ch'in_, or _kin_, one of the most ancient of musical instruments. In each of the eleven glissandos shown in the notation, the voices drop suddenly to approximately the tone shown by the small square note. The glides are taken diminuendo, the tone dying away completely. The sudden diminuation of tone taken with a glissando gives an effect something like a short groan. The song is in seven-measure periods. _Dang-Dang-Ay_ Record M. Sung by women while pounding rice out of the straw and husks. Only one voice can be distinguished in the record. It is that of a woman.