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Updated: June 28, 2025
It is not well defined on the record, and so is indicated in the transcription with an interrogation-mark beneath. Although not confined to the intervals of the pentatonic scale, the number is distinctly pentatonic in character.
The song is cast in the minor scale of G, but whether the natural minor or the harmonic, cannot be determined, as the singer does not use the 7th of the scale. It is not pentatonic in character. The song is given in the recitative style.
It is formed mostly of the four tones D-flat, E-flat, A-flat, and B-flat. All of these belong to the pentatonic major scale of D-flat. This gives a very marked pentatonic flavor, yet the song is not in the pentatonic scale, for the singer introduces half steps, and there are no such intervals in the pentatonic scale.
The appogiatura, shown with a tiny circle above, has the quality of falsetto. The singer yodles down to the principal tone B. The song is strictly pentatonic. Peculiarly enough, it may be considered as belonging to any one of the following tonalities, B minor, E minor, or G major, though there is no G in the melody.
Indeed, we may therefore formulate and apply to nations at large what Goethe has there suggested; and we shall find it can be arranged in what I may call a pentatonic scale of culture.
Record M. Sung by women while pounding rice out of the straw and husks. Only one voice can be distinguished in the record. It is that of a woman. Though strongly pentatonic in character, the song is cast in the diatonic scale of F major.
It is unique also in that each line has but five measures. Part 2 In this, the same number of voices is heard as in the first part. The performers seem to be the same ones who sang from the beginning. The scale is the same as that of part 1. The intonation is very distinct and the character unmistakably pentatonic. The tempo throughout this part is 80 and the rhythm strongly marked.
This tendency to avoid the half step and develop along the line of pentatonic character is sometimes seen in our own children when they follow their natural bent in singing. It has been my observation that children with some musical creative ability, but unaccustomed to hearing modern music with its half steps, almost invariably hum their bits of improvised melody in the pentatonic scale.
The singer never uses either the raised 6th or 7th in ascending, as do moderns in the melodic minor, but adheres strictly to the old normal or natural minor form. Although diatonic, in that both the G-flat and C-natural appear frequently, yet the number savors much of the pentatonic.
They gauged correctly from which direction the wind was blowing. They probably heard, faintly piping in the distance, the pentatonic scales of Moussorgsky and Debussy, the scales of Scriabine and Strawinsky and Ornstein, the barbarous, exotic and African scales of the future, the one hundred and thirteen scales of which Busoni speaks.
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