or sixty years ago it was not uncommon to see
bamboo flutes of native manufacture in the hands of Hawaiian
musicians of the younger generation. These instruments were
avowedly imitations of the D-flute imported from abroad. The
idea of using bamboo for this purpose must have been
suggested by its previous use in the nose-flute.

"The tonal capacity of the Hawaiian nose-flute," says Miss
Jennie Elsner, "which has nothing harsh and strident about
it, embraces five tones, [=f] and [==g] in the middle
[Page 146] register, and [==f], [=g], and [==a] an 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
intuitions and judgment.

I--Range of the Nose-flute

[Music]

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 wild profusion, often apparently 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.[306]

[Footnote 306: The writer is indebted to Miss Elsner not only
for the above comments but for the following score which she
has cleverly arranged as a sample of nose-flute music
produced by Keaonaloa.]

II--Music from the Nose-flute
Arranged by JENNIE ELSNER
[Music]

9. The _pu-a_ 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
[Page 147] was blown, while the others were controlled by t