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Now follows another query similar to the first, and again comes the answer fully expressed in each of the two concluding measures. The principal interest in this centers around the B-natural, indicating that the singer has a very decided appreciation of the half step and of the upward leading tendency of a tone raised a semitone by an accidental. Na-Way
As a demonstration of flexibility, about the middle of the first movement, he takes the quarter note B-natural in falsetto and immediately drops into the waver a tenth below, at the same time assuming his natural voice. The falsetto tone is indicated in the transcription by a tiny circle above the note.
The first trumpets are in the key of A-flat and the second B-natural, a peculiarly stirring effect being produced by the sudden shifting of the key of the march when the second group of trumpeters enters on the scene. The King greets Radames with an embrace, bids him receive the wreath of victory from the hands of his daughter and ask whatever boon he will as a reward for his services.
The singer makes use of all the scale tones of the major key of E-flat, except the D-natural. The B-natural found in the next-to-last measure is a passing tone, and does not affect the scale or tonality. At that point the suggested supporting harmony is an augmented triad upon the tonic leading into the subdominant. With the exception of this one measure, the song is in the five-note scale.
The singer, with his instinct for the five-note scale, avoids the B-natural until the tonality shifts back to the original key. The song is therefore classed as pentatonic in character. The melody is distinctly harmonic in structure, as nearly all of the successions are made up of triad intervals. Though the song runs but a minute and a half, the tempo changes eight times.
The performer takes nearly every new tempo with a well-defined rhythm. There is considerable freedom shown in the first movement when the tremolos between B-natural and the G-sharp below are taken. The singer shows quite remarkable flexibility of voice, excellent breath control, and a rather surprising quality of tone and accuracy of intonation.
It has that abandon which usually characterizes the songs of workers in the occult among primitive folk. A-sharp does not belong to this scale. There are five measures, where this note appears, but in each instance the tonality of the phrase momentarily rests in D-sharp minor, the relative of the pentatonic major of F-sharp. A-sharp belongs to this scale, but B-natural does not.
Notwithstanding that this measure contains two A-flats and also the passing tone B-natural, both of which tones are foreign to this particular five-note scale, the song is not robbed of its pentatonic character. The rhythm of this song is interesting. It alternates throughout between 4/4 and 5/4. It might have been notated in 9/4 time instead, in which case it would have but five measures.
In taking the glissandos shown near the middle of the top line, the upper tone is sung about half way between B-flat and B-natural. There is some abandon in the rhythm also. The group of six notes marked with an asterisk are trilled on the semitone interval. Dawak This song is doubtless the invention of the singer.
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