to hold the primary tones, and secondary rows have the function of enriching tonal resonance. The length of a tube has no absolute relationship to pitch or tone, which are also variably dependent on the thickness of a reed and its diameter. As a practical matter, the ratio of tube characteristics, pitch consistency, and tonal variety is balanced by the skill of instrumental crafters and musicians.
As Chacon uses the term, bipolar siku comprises sikus played by two musicians who are in tonal dialogue, with one using the (male) lead or ira instrument, and the other using the (female) complementary resonant or arca instrument. For purposes of clarity, Chacon employs the Spanish word for panpipe, zampona, in conjunction with the indigenous-language designators, to describe the instruments that constitute each half of the bipolar siku. Hence the bipolar siku is made up of an ira zampona and an arca zampona. This instrumental configuration is important to note for two reasons. First, primary Andean musical forms are communal and typically consist of orchestra
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