The first of the mea ke glyphs in Q is Qa2-136 and a comparison with the parallel texts of P and H reveals that a variant of ihe tau (Pa2-59) can be used instead of mea ke: Qa2-133 Qa2-134 Qa2-135 Qa2-136 Pa2-56 Pa2-57 Pa2-58 Pa2-59 Ha3-3 Ha3-4 Ha3-5 Ha3-6 The three texts certainly tell somewhat different stories, but the preceding vae glyphs indicate the end of the old year. The variant of ihe tau in Pa2-59 resembles the one in Aa1-12: Pa2-59 Aa1-12 Both these powerfully drawn glyphs evidently signify the 'death' of the old year.

We have seen from the parallels between G and K that the flow of ordinal numbers and the sequence of glyph types develop in parallel only partially. The sequence of glyph types are not bound to the flow of the ordinal numbers. This important discovery could not have been made without parallel texts.

If the flow of ordinal numbers is compared with a melody, then the sequence of glyph types are like the words of a song. The melody is the more or less rigid fundamental structure but the song text can be adjusted by the creator.

The rongorongo texts should be possible to read out - or to sing - is the conclusion.

The song texts seem to be different between H, P, and Q too. Let us begin to find out more about it:

I have here listed 8 'qualities' easily observed. Some of them are correlated, e.g. should a powerful upper limb exclude a powerful lower limb. Ha3-3 has been drawn with a tall lower limb, and cannot at the same time be drawn with a tall upper limb.

Pa2-56 does not emphasize either the upper or lower limb. Maybe that would have interferred with a wish to allude to viri:

The few viri glyphs in P are drawn rather open compared with the prototype chosen by me for viri.

Ordinal numbers are counted from Pa1-1 (109 and 1016) but maybe the glyphs on side b should be counted from Pb1-1, which gives 417 for Pb9-24.

1016 - 109 = 907.

417 - 109 = 308 = 11 * 28. And 2 * 56 = 4 * 28.

But the shape of viri does not explain why both the upper and lower limbs are bent forwards.

Furthermore, any conclusion must consider differences in what is 'normal' for respective text. P is peculiar for instance in having manu rere glyphs with an eye. The bird in Pa4-30 is therefore heavily marked by not having this standard (in P) eye:

Pa4-26	Pa4-27	Pa4-28	Pa4-29	Pa4-30	Pa4-31

We can guess the missing eye is alluding to sun being below the horizon. Because the right part in Pa4-31 is similar to what we can read at the beginning and at end of the daytime calendar:

Pa5-32	Pa5-33	Pa5-34

Pa5-60	Pa5-61	Pa5-62	Pa5-63

These are the vae glyphs in H, P, respectively Q:

It can be established that the three vae variants we have scrutinized above belong in pairs with the 2nd of the pair having maro strings marking 'end'. These three pairs of vae glyphs are drawn so as we can see the similarities between the first and second glyphs in each of the three pairs:

Ha3-3	Ha3-34
Pa2-56	Pa3-26
Qa2-133	Qa3-21

All the other vae glyphs in each of the three texts are drawn distinctly different.

Let us now 'listen to the melodies':

	2		27
Ha3-3		Ha3-6		Ha3-34
111		114		142
	2		25
Pa2-56		Pa2-59		Pa3-26
109		112		138
	2		27
Qa2-133		Qa2-136		Qa3-21

I cannot present the ordinal numbers in Q, the text is not intact. But the agreement in 'melody' is clear. Pa2-59 is the last glyph in its line which distinguishes P from H and Q. Maybe this is related to the choice of ihe tau in P? Counting from the first of the vae glyphs up to and including the last of the pair, H and Q say '32', while P says '30'. If two glyphs are needed for a day, then H and Q say '16', while P says '15'.

The choice of ihe tau instead of mea ke in P, together with its ordinal number (in the glyph line), 59 (= 2 * 29.5), and together with 15 for the distance measured above (suggesting full moon), indicates P is concerned with moon, while H and Q relate to the sun:

sun		2		27
	Ha3-3		Ha3-6		Ha3-34
	111		114		142
moon		2		25
	Pa2-56		Pa2-59		Pa3-26
	109		112		138
sun		2		27
	Qa2-133		Qa2-136		Qa3-21

The bent shape of the vae pair in P therefore could allude to the shape of the moon crescent. When sun is declining moon is waxing and south of the equator the shape of this vae pair describes waxing moon.

In H and Q the mea ke glyphs include henua signs, and in Qa2-136 henua is cut off obliquely upwards in a way which reminds us about the last kiore-henua glyph in K:

29
	Kb4-10	Kb4-11	Kb4-12	Kb4-13	Kb4-14

We could say that P is written in another 'key' than H and Q. But the melody and the song text is the same.