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:[ (return) ] 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.
9. The pu-á 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 was blown, while the others were controlled by the fingers. This instrument has been compared to the Italian ocarina.
10. The íli-íli was a noise-instrument pure and simple. It consisted of two pebbles that were held in the hand and smitten together, after the manner of castanets, in time to the music of the voices. (See p. 120.)
11. The niau-kani—singing splinter—was a reed-instrument of a rude sort, made by holding a reed of thin bamboo against a slit cut out in a larger piece of bamboo. This was applied to the mouth, and the voice being projected against it produced an effect similar to that of the Jew’s harp. (See p. 132.)