THE MUSICAL INSTRUMENTS OF THE INCAS. 17 
or, in other words, the pitch of a note produced, depends 
chiefly on the length of the column of air within the flute. 
In the flutes represented the vents or holes for changing the 
length of the vibrating column of air vary in number from three 
to seven. In those made of cane they are all on the upper side, 
while the bone flutes often have one of the holes on the under 
side, which was closed by the thumb. Nos. 4, 5, 6, 10, 11, 14 and 
17 to 26 are of the latter kind. 
All attempts to discover any rule or law governing the po- 
sitions of the openings or vents have been unsuccessful. <A 
first glance at several of these flutes, particularly those made of 
cane, gives the impression that an attempt at equal spacing had 
been made; but a second shows such a variation in distances 
that this seems doubtful. The bone flutes (figs. 25 and 26, Plate 
V) are of the same length, yet a great difference in the position 
of the holes is apparent at_a glance. We are led to the con- 
clusion that these ancient flute-makers were not governed by set 
laws, but that each made his instrument according to his own 
idea. That the tones produced are in false key-relationship is 
not to be wondered at when we consider the imperfections in 
their construction; in fact, the flutes are sadly out of tune. 
What the late John Comfort Fillmore wrote of the Omaha 
Indian flageolet applies equally to these flutes: 
“The imperfections are plainly due to the limitations, not of the 
Indian’s perception, so much as of his scientific knowledge. The 
flageolet is evidently built ‘by guess,’ and only remotely approxi- 
mates to the Indian voice in accuracy of intonation.”’ ' 
Those acquainted with the difficulties that beset the maker of a 
flute at the present day will see nothing strange in the lack of 
method in the location of the vents in the flutes of these ancient 
Peruvians. Mr. Wead remarks: 
“In practice these holes never can open so freely to the outside 
air that the portion of the tube beyond them may be considered as 
removed (the possibility or necessity of cross-fingering proves this 
* Omaha Indian Music, Alice C. Fletcher, Appendix, p. 73. 
