B, then the G naturals are eliminated by the glissandos.  The only other G-natural is shown in measure 7 of verse 4.  By comparing this measure with the corresponding measure in each of the other three verses, it will be seen that the singers have taken great pains in those verses to avoid this note which does not belong to the pentatonic scale which they are using,—­evidence that they do not sense the tone in the fourth verse, where it is taken glissando.  The D-flat, also foreign to the scale, occurs but once.  It is in measure 3 of the top line.  The glissando here eliminates this tone also, but, by comparing this measure with the corresponding measure of each of the other verses, we find the same avoidance as in the case of the G-natural,—­evidence that the performers do not sense this other foreign tone.  The song is therefore very markedly pentatonic in character.

The assumption that the seven groups marked with asterisks do not represent the real intent of the singers, is based entirely on the “stress” heard in the record.  This “stress” cannot be represented in notation.  Relying on the notation alone, one would be warranted in drawing a contrary conclusion and assuming that the odd measure should be made to conform to the other seven and all read, B, A, G; or, from the phonographic record, one might assume that the compromise, previously mentioned, was the intonation really intended.  Primitive peoples frequently do sing and play, quite intentionally, tones out of conformity with scale tones of present-day concert music.  Such tones cannot be represented by our musical notation without resort to special signs.  This is not necessary in the present case, as the falling short of true intonation does not appear to be from deliberate intent on the part of the singers, but seems to be due to lack of ability.

In eight of the measures, at least one of the voices departs from the melody proper, producing the harmony-intervals so frequently heard in the music of primitive peoples, namely, that of a 5th without the 3rd to complete the triad, and that of a 4th without the 6th to complete the chord.  Such thirdless 5ths are found in measures 5 (verse 1), 1 and 8 (verse 2), 5 (verse 3), and 1 and 5 (verse 4); and the interval of a 4th without the 6th is found in measures 3 and 8 of verse 4.  In the last measure of the notation, however, the interval of a 4th there shown is caused by the leader’s voice departing from the regular melodic succession instead of the accompanying voice or voices, as is the case in each of the other measures mentioned.

In measures 1 and 5 of each of the four verses of the song, and also
in measure 3 of the second verse, the sign, “.....” (mezzo staccato
marks), is used to indicate the pulsating of the voice of one of the
singers, probably the leader, marking the rhythm of the song.

The metronome tempo is mostly 88, but varies at times and runs as-high as 92 per minute in the last half of the 4th verse.