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-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 [Page 147] 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.) 12. Even still more extemporaneous and rustic than any of these is a modest contrivance called by the Hawaiians _pú-la-í_. It is nothing more than a ribbon torn from the green leaf of the _ti_ plant, say three-quarters of an inch to an inch in width by 5 or 6 inches long, and rolled up somewhat after the manner of a lamplighter, so as to form a squat cylinder an inch or more in length. This was compressed to flatten it. Placed between the lips and blown into with proper force, it emits a tone of pure reedlike quality, that varies in pitch, according to the size of the whistle, from G in the middle register to a shrill piping note more than an octave above.