AwnprrsEn.—An Introduction to Maori Music. 749 
length of the forefinger. The position of the lowest hole was at the 
tip of the forefinger when that finger was laid on the flute, back upwards, 
so that the end of the flute touched the second joint. The finger was 
then pivoted on its tip until its back rested on the flute; the first joint 
then showed the position of the second hole, the second joint that of the 
top hole. The top hole was the width of the thumb from the top aperture. 
In the nose-flute (the koauau whakatangi ihu) the top hole was the width 
‘of the forefinger from the top aperture ; the second the width of the thumb 
from the first; the third the width of the first and second fingers from 
the second. 
The koauau was usually played in the evening, the experts often 
sitting on a special platform, where mats (whariki) might be spread for 
them, the people sitting round about the platform listening. Should a 
c at ni 
to the ear. Iehu agreed that there was no tune without words; as he 
put it, “there was no aimless playing of the koauau.” When he himself 
played, a note was sounded for every syllable, so that one could almost 
especially," as one remarked, “if you knew the song." 
Much of this information was obtained without questioning, the old 
is remarks. Another 
gr 
Ngati-Porou of the olden time ; he lived perhaps twenty generations ago. 
The koauau was made also of tutu or houhou, the hole being made by 
laying a red ember on the central pith, and gently blowing, causing the 
ember, renewed from time to time, to sink through the wood. 
The sound of the koauau, when played either with the breath of the 
lips or the breath of the nose, carried to a considerable distance, for all 
its softness. The distance between the home of Hinemoa, on Mokoia, and 
Aorangi—an old pa, of which now nothing remains but part of the trench 
and nds and a few lonely graves—on the top of a hill a mile distant 
down the river. ; х 
PAEST said that Tutanekai played the koauau whilst Tiki played 
the putorino. Grey reverses this, however: “ Ka Маш raua ko tona hoa 
ko Tiki, na he putorino ta Tutanekai, he koauau ta T iki " ( Tutanekai and 
his friend Tiki sat together, Tutanekai with a putorino, Tiki with a koauau 
(1885, p. 128, Maori part). When Hinemoa asks him what is to be the 
signal for her coming to him, he says, “ The sound of the pu. Ka mea 
g i с 
a Hine Моа, ‘ He aha te tohu mo a mai ? Ka mea а Tutanekai, 
* E tangi he pui katoa, ko ahau tena, hoe mar. (“ Then said Hinemoa, 
punga po , T 
‘What shail be the signal for my coming to you, e ө 
* The sounding of the pu* in the nights ; that will be 1; paddle to me 
(p. 129). Later on it says, * Na, no te turuawepo, ka piki a Tutanekai raua 
ko tona hoa ko Tiki ki типда ki te raua аата; i reira ka tango tetehi ki te 
torino, ko tetehi ki te koauau” (“ Then in the quiet night Tutanekai and his 
friend Tiki mounted to their platform ; there the one played on the torino, 
* Pu (? short for putorino) : Williams gives pu as meaning pipe, tube, flute. 
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