hen introduced several times in succession with but few, if
any, intervening tones. The sign which I have used is double diverging
lines followed by double converging lines placed under the note.

In 1905 it was my privilege to transcribe a number of native songs
from the singing of a group of Igorot. In these songs they made
frequent use of swelled tones.

_Downward Glissandos_.--An even sliding of the voice from the topmost
tone of a group to the lowest with no perceptible dwelling on any
intermediate tone and without in any manner defining any of the tones
lying between the extremes. Sign,--a straight line drawn obliquely
downward beneath the group.

_Upward Glissandos_.--An even sliding of the voice upward without
sounding any of the intermediate tones. Sign,--a straight line drawn
obliquely upward beneath the group.

_Notes in Group, Beats in Measure, or Measures in Period_.--Groups of
five seem to have no terrors for these people. In modern music it is
extremely unusual to find notes grouped in fives, or measures having
the rhythmic value of five beats, or periods made up of measures in
fives. A study of the tabulation shows that the Tinguian have a rather
natural bent for groupings in this number. It seems easy for them
to drop into that metric form. I consider this trait, evidenced in
their melodies, one of the marked characteristics of their music. [256]

Groups of notes, beats, or measures in seven are so few in these
records that we are not warranted in accepting it as a characteristic.

_Jog_.--An over-emphasized short-appoggiatura with always either the
tonic or dominant of the key as the principal tone. The first tone
is usually an eighth or sixteenth in value, and must stand on the
next degree above the principal tone. The principal tone is usually
a quarter note or longer in value.

In singing the jog, the short note is given a very pointed accent, the
voice dropping quickly with a sort of jerk to the second, unaccented,
sustained tone. It is executed without sliding, both tones being
well-defined. To be most effective, it should be given two, three,
or four times consecutively without intervening tones.

This device was heard very frequently in the Igorot songs; in fact,
some of their songs consisted of little else than the jog sounded
first on tonic two or three times, then the same number of times on
the dominant, then again on the tonic, then on the dominant, and so
on back and forth.

It