Appoggiature.  These, with the exception of one double one shown in the Bagoyas (Record G), are all of the single, short variety.  The singers execute them with the usual quickness heard in modern music, but with the accent about equally divided between the appoggiatura and the principal tone.  In the transcription they are indicated by the usual musical symbol,—­a small eighth note with a slanting stroke through the hook.

Mordents.  Those used in these songs are all of the “inverted” kind, and were executed by the singers in the manner used by modern musicians; that is, by giving a quick, single alternation of the principal tone with the next scale tone above.  Indicated in the score by the usual musical symbol.

Trills and Wavers.  These need no comment except to call attention to the fact that there are none found in the regular songs of the women.  The one shown in Record I (Da-eng, Boys and Girls alternating) is in the boys’ part.

Changing Between Duple and Triple Rhythm.  I consider this quite a striking quality in these songs.  Some primitive peoples show little concern over such rhythmic changes, in fact, among some races where percussive instruments are used to accompany the singing, we frequently hear the two rhythms at the same time fitted perfectly one against the other.  This is especially true among our American Indians.

While it is not uncommon to find compositions in modern music using these two rhythms alternately, they are alternated rather sparingly.  A great many musicians have difficulty in passing smoothly from one to the other, preserving perfect proportions in the note values.

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.