presentation of a song
which the author heard cantillated by a skilled hula-master.
They were taken down at the author's request by Capt. H.
Berger, conductor of the Royal Hawaiian Band:

IV--Song from the Hula Pa'i-umauma
Arranged by H. BERGER
[Music]

The same comment may be made on the specimen next to be given
as on the previous one: there is an entire omission of the
trills and flourishes with which the singer garlanded his
scaffolding of song, and which testified of his adhesion to
the fashion of his ancestors, the fashion according to which
songs have been sung, prayers recited, brave deeds celebrated
since the time when Kane and Pele and the other gods dipped
paddle for the first time into Hawaiian waters.
Unfortunately, in this as in the previous piece and as in the
one next to be given, the singer escaped the author before he
was able to catch the words.

V--Song from the Hula Pa-ipu
Arranged by H. BERGER
[Music]
[Page 154]

Here, again, is a piece of song that to the author's ear
bears much the same resemblance to the original that an oiled
ocean in calm would bear to the same ocean when stirred by a
breeze. The fine dimples which gave the ocean its
diamond-flash have been wiped out.

VI--Song for the Hula Pele
Arranged by H. BERGER
[Music]

Is it our ear that is at fault? Is it not rather our science
of musical notation, in not reproducing the fractions of
steps, the enharmonics that are native to the note-carving
ear of the Chinaman, and that are perhaps essential to the
perfect scoring of an oli or mele as sung by a Hawaiian?

None of the illustrations thus far given have caught that
fluctuating trilling movement of the voice which most
musicians interviewed on the subject declare to be impossible
of representation, while some flout the assertion that it
represents a change of pitch. One is reminded by this of a