In his phonemic analysis of Lhasa Tibetan in Love songs of the sixth Dalai Lama Jaw Yuanrenn (Y. R. Chao) notices ‘variations’ of some of the phonemes, and ascribes some of these ‘variations’ to differences in tempo or to chance: of the phoneme that he writes as ‘e’ he says ‘ i, 10 3 khrel gzhung tş'ilcuῃtş'ilcuŋ’ [it may sometimes change to l, e.g. in song 10, line 3, khrel gzhung tş'cuῃ is pronounced tş'ilcuῃ]; of the phoneme ‘a’, ‘ә 1 2 lam buhi lamp'ø lәmpø’ [it may change to ә in rapid speech, e.g. in song 4, line 2, lam buhi lamp'ø is pronounced lәmpø]; and of the phoneme ‘o’, ‘u, 36 3 rlung po luŋpo luŋbu’ [it may occasionally be pronounced u, e.g. in song 36, line 3, rlung po luŋpo is pronounced lunbu]; but a phonological analysis of the speech of Rinzin Wangpo (rig-'dzin dbang-po) (R.), a Lhasa-dialect-speaking Tibetan, overwhelmingly suggests that vowel alternations such as these should be attributed to vowel harmony.