In noting down in the table the findings under this head, I have put down under each song, not the number of duple or triple or quadruple groups in the song, but rather the number of "changes" which occur. After one has made the transition from one style of rhythm to the other, and has the new "swing" established, manifestly it is no special feat to follow along in that same kind of measure; but the real test is the "change" to the rhythm of the other sort. For instance, in the Song of the Spirit (Record E), I find but 31 measures and parts of measures which are in triple rhythm, yet the singer had to change his meter 47 times to execute these. On the other hand, the _Dang-dang-ay_ (Record M), has in it 21 triple-time measures and triplet groups of notes, but because of the persistence of the triple rhythm, when once established in the second part, the song requires a changing of swing but 17 times. Because of the frequency of changes found throughout these songs, and noting, as heard in the records, the precision with which, in nearly every instance, a new rhythm is taken, I conclude that the Tinguian have a remarkable grasp of different metric values, which enables them to change readily from one to the other. Naturally this trait would stamp itself upon their music, and I consider the use of such frequent metric changes a dominant characteristic. Although frequent rhythmic change is also strongly characteristic of the music of some other peoples, as I have indicated elsewhere, it is important to tabulate it here to differentiate the Tinguian from those peoples who do not make use of it. _Minor 3rds, Perfect 4ths, and Perfect 5ths_. These are the only intentional harmonies found in these songs. It is interesting to note that the only examples are in the _Da-eng_ ceremony, where all three are used, some in one part and some in another. Among some primitive peoples, only the men take part in the songs. The early chanting of all peoples was quite likely by men. Probably the most primitive harmony was a perfect fifth resulting from the attempt of men with different ranges to sing together. The difference between a bass and a tenor voice is just about a fifth. Between an alto and a soprano it is about a fourth. The difference in these voices made it impossible to sing melodies of wide range in unison, and so the basses and tenors sang in consecutive fifths. When women took up the chanting, they sang either in fifths or in fourths. These harmonies appealed to them, and so continued in use even when there was no exigency on account of restricted range. Referring again to the _Da-eng_ ceremony, it is interesting to observe that the three different parts of this ceremony are in distinct scales, and that the part sung by the girls alone, is diatonic in character while the other two parts are pentatonic.