Ohe-hano-ihu, is the name for the Hawaiian Nose Flute. Instruments of this type are made of bamboo and are of undoubted antiquity long before contact with western civilization. The instrument consists of a simple joint of bamboo, with an embouchure placed about half an inch from the closed end, thus enabling the player to supply the instrument with the air of his left nostril. The left hand covers the three holes bored mid-way along the length of the instrument, and the right hand index finger is placed over the right side of the nose closing that nostril, while the thumb of that hand is placed under the instrument. Often these instruments were intended to accompany poetic recitation or as instrumental improvisational music played for members of the royal family upon waking or at other times for magic and religious rites. They were also used to serenade someone you were interested in courting. In making improvisational music the description of the music is as follows:
The player begins slowly with strongly accented, rhythmical melodic movement, which continues to grow more and more intricate. Rhythmical diminution continues in a most astounding manner until a frenzied climax is reached; in other words, until the player’s breath-capacity is exhausted.
I’ve learned to make all kinds of world flutes from Anthony Natividad. His website is at www.anthonynatividad.com he is also a gifted storyteller even if he doesn’t realize he is one. He would tell you, and I believe him, that the ancient Hawaiians believe the Ohe hano ihu speaks only the truth because you can not lie from the pure breath of your nostrils. (An important feature of trust for couples falling in love.) I’ve included an illustration of one of the many flutes I’ve made among my other pictures.
In my wood carving studio I’ve learned to make Japanese student Shakuhachi’s and Shinobue, Chinese Xaio’s and Tai pei Xaio’s, Tongan Fangufangu, Native American Plains Flutes, Vietnamese Sao Truc, Maori Nguru, and Bansuri of India. I’d like to make a world flute album with many of these flutes we have all over the house. They make great ideas and focal pieces for legends of flute players from those cultures, and there is always some further shore to look upon with my music.
Dave Sharp
Glastonbury duo
The player begins slowly with strongly accented, rhythmical melodic movement, which continues to grow more and more intricate. Rhythmical diminution continues in a most astounding manner until a frenzied climax is reached; in other words, until the player’s breath-capacity is exhausted.
I’ve learned to make all kinds of world flutes from Anthony Natividad. His website is at www.anthonynatividad.com he is also a gifted storyteller even if he doesn’t realize he is one. He would tell you, and I believe him, that the ancient Hawaiians believe the Ohe hano ihu speaks only the truth because you can not lie from the pure breath of your nostrils. (An important feature of trust for couples falling in love.) I’ve included an illustration of one of the many flutes I’ve made among my other pictures.
In my wood carving studio I’ve learned to make Japanese student Shakuhachi’s and Shinobue, Chinese Xaio’s and Tai pei Xaio’s, Tongan Fangufangu, Native American Plains Flutes, Vietnamese Sao Truc, Maori Nguru, and Bansuri of India. I’d like to make a world flute album with many of these flutes we have all over the house. They make great ideas and focal pieces for legends of flute players from those cultures, and there is always some further shore to look upon with my music.
Dave Sharp
Glastonbury duo
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