No 2, is the kiemba-toetoe, or hollow reed, which is blown through the nostrils, like the nasal flute of Otaheite: it has but two holes, one at each end, the one serving to sound it, the other to be touched by the finger.
No 3, is the Ansokko-baina, which is a hard board, supported on both sides like a low seat, on which are placed small blocks of different sizes, which being struck with two small sticks like a dulcimer, give different sounds, that are not at all disagreeable.
No 4, is the great Creole drum, being a hollow tree, open at one end, and covered at the other with a sheep-skin, on which they sit astride, and so beat time with the palms of their hands; answering the effect of a bass-viol to the qua-qua board. [[286]]
No 5, is the great Loango drum, being covered at both ends, and serves the same purpose as a bass drum.
No 6, is the Papa drum, beaten as the others.
No 7, is the small Loango drum, beaten together with the great one.
No 8, the small Creole drum, for the same use.
No 9, is called coeroema; this is a wooden cup, ingeniously made, covered also with a sheep-skin, and beaten with two small rods or drum-sticks, after the manner of the qua-qua board.
No 10, is the Loango-bania. This I thought exceedingly curious, being a dry board, on which are laced, and kept down by a transverse bar, different sized elastic splinters of the palm-tree, like pieces of whalebone, in such a manner that both ends are elevated by two other bars that are fixed under them; and the above apparatus being placed on
No 11, which is a large empty callebash to promote the sound; the extremities of the splinters are snapt by the fingers, something in the manner of a piano-forte, when the music has a soft and very pleasing effect.