A flute (_chitoliro_) is made out of a piece of bamboo about a foot long, cut off immediately above and below the joints, so that it is closed at both ends, and from three to six holes bored in the side, some of which are closed with the fingers while playing. Bvalani, the boy with the coronet, used to play on this flute a pretty, though somewhat monotonous, little tune, consisting apparently of three or four notes, repeated over and over again; but neither I nor any other _mzungu_ has yet succeeded in getting a sound out of the one in my possession. It has one hole at one end, to blow into, and three at the other. Whistles, made out of a small goat’s or antelope’s horn, and used for calling dogs and perhaps for signalling to each other on the road, are worn round the neck by Angoni and Chipetas; and Pan-pipes are made of reeds. Trumpets are made of gourds, sometimes fixed with wax on a long reed; the same word, _lipenga_, is used for a horn employed in the same way, or for a European key-bugle, or (in hymns) for the _Tuba mirum spargens sonum_ of the Last Day. Some of the people near the south end of Tanganyika have huge trumpets cut out of a large tusk of ivory, like those used on the Upper Congo and elsewhere. One such is figured in Sir H. H. Johnston’s book, p. 465. The instrument above referred to as the ‘Kafir piano’ is, in a modified form, very popular throughout the Shiré Highlands and on the Lake, and may often be seen in the village _bwalo_. The Delagoa Bay _timbila_ is portable (see the figure in M. Junod’s _Chants et Contes des Baronga_, p. 27), with the wooden keys fixed on a flat frame—elsewhere, the frame is curved into the arc of a circle, so that the performer can easily reach all the keys when the instrument is slung round his neck. In both cases, resonators, made of gourds, or the hard shells of the _matondo_ fruit, are attached to the keys. I once saw a very elaborately made and beautifully finished specimen which had come either from Delagoa Bay or Inhambane, and had polished iron keys padded with leather; but this was a sophisticated _timbila_, scarcely the genuine article. The Nyanja form of it, variously called _magologodo_, _mangondongondo_, _mangolongondo_, and _mangolongodingo_, usually has to be played _in situ_, or, if removed, must be carried away in pieces. Two logs of soft wood (banana-stems are the best), perhaps a yard long, are laid on the ground a certain distance apart, and on these are arranged six, or sometimes seven, cross-bars (the Ronga ‘piano’ has ten) cut from the wood of certain trees, and carefully trimmed to shape. Sometimes they are merely laid on the logs, sometimes there are short pegs to keep them in place. The keys on the Ronga instrument are carefully tuned, and each one is cut away underneath in such a way as to make it give a different sound; but some of those I saw at Blantyre seemed to be merely rough bits of wood which fulfilled no condition beyond that of making a noise when struck.