146 BUREAU OF AMERICAN ETHNOLOGY [bull. 38 



octave above. These flutes are not always pitched to the same key, 

 varying half a tone or so." On inquiring of the native who kindly 

 furnished the following illustrations, he stated that he had bored 

 the holes of his ohe without much measurement, trusting to his intu- 

 itions and judgment. 



I — Range of the Nose-flute 



The player began with a slow, .strongly accented, rhythmical movement, 

 which continued to grow more and more intricate. Rhythmical diminution 

 continued in a most astounding manner until a frenzied climax was reached; 

 in other words, until the player's breath-capacity was exhausted. 



A peculiar effect, as of several instruments being used at the same time, 

 was produced by the two lower tones being thrown in in wild profusion, often 

 appai-ently simultaneously with one of the upper tones. As the tempo in any 

 one of these increased, the rhythm was lost sight of and a peculiar syncopated 

 effect resulted." 



II — Music from the Nose-flute 



Arranged by Jennie Elsner 



'^r^"~^^^ ~~ ^~^r *** — ' ^ — ^^ — '^'^ I 





,..\m-^w^^ 





0. The fu-cL was a whistle-like instrument. It was made from a 

 gourd of the size of a lemon, and was pierced with three holes, or 

 sometimes only two, one for the nose, by which it was blown, while 



"The writer is indebted to Miss Eisner not only^for the above comments but for the 

 following score which she has cleverly arranged as a sample of nose-flute music pro- 

 duced by Keaonaloa. 



