DOCSLIB.ORG

DARBUKA Volume 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DARBUKA Volume 1 Method for DARBUKA volume 1 Ruben van Rompaey Contents About the author 3 Foreword 3 • Darbuka 4 • Notation 6 • Side Instruments 6 Before we start (FAQ) 8 Positioning 10 Technique 11 • Düm 11 • Tek – Ring finger o Right Hand 12 o Left Hand (KA) 12 • Tek – Index finger 13 • Düm & Tek 14 • Slap 16 • Single Strokes 18 • Single Stroke Four 22 • Single Stroke Seven 24 • Drag 27 • Damping Techniques 29 • The Nail Roll 30 Solo patterns 31 Darbuka rhythms 32 Solos 37 Acknowledgements 44 Links 44 2 About the author Ruben van Rompaey (1978, Bergen op Zoom, Holland), fascinated by drums and percussion, started to play drums at a very early age. Along with his passion for Jazz and World Music, he immediately developed a strong interest in ethnic musical styles and sounds. After Ruben obtained his Master Degree (cum laude) in drums and percussion, he traveled to Istanbul, Turkey, where he lived and was classically trained by well known percussion masters over there. Ruben has won several awards, like the Tama Drummers Award (1999), the Erasmus Jazz Award (2000), a scholarship (2001), amongst others. He developed a series of workshops in Turkish Rhythms for the Dutch Magazine Slagwerkkrant. Currently, Ruben is a teacher in the Academies of Jazz Music and Turkish Music at Codarts School Of Music And Arts, Holland. He is also very active as a professional drums and percussion artist and has performed at a variety of international Jazz and Belly Dance festivals, which has brought him to countries like Turkey, West Africa, USA, Canada and Japan. As a special guest with Solace Live! he toured the Pacific Northwest of USA. Ruben currently has two world percussion releases on the American record label Eventide Music Productions. Foreword This book is written for everyone who is seriously interested in learning and mastering the basic technical skills of darbuka playing. It serves as an overview of different playing techniques, the so called darbuka rudiments which any serious student should master. I felt the urge of writing a method from a fresh, modern point of view, including a necessary theoretical and traditional background. In this book you will find a selection of solo ideas and rhythms, in order of getting familiar with the art of Middle Eastern rhythms and improvisation. Notice that a basic knowledge of music theory is requiered before starting with this method. After going through all of the exercises, the student should be able to play some basic rhythms and improvisations on the instrument. This method takes a closer look at several darbuka techniques, using creative approaches. ‘Being a percussionist as well as a drumset artist, I soon realized that both of these instruments perfectly complement each other, providing me clear insights within the inner aspects of these instruments, their possibilities and their functions. In this modern world where musical cross overs are quiet common phenomenals, and traditions tend to blend together with modern electronic developments on a regular base, a percussive instrument like the darbuka plays its own, special role. Due to the instruments’ particular and outspoken characteristic sounds, the darbuka can be adjusted to many imaginable musical styles, adding interesting rhythmical pallets of colors to the contemporary musical endeavours of nowadays world music. No matter which styles of music you are familiar with, try to search for and develop your own ‘voice’ on the instrument and feel free to blend it within any musical situation’. 3 Darbuka Being an ancient instrument, the darbuka is considered as one of the pioneers of the family of goblet drums. First of all, the name darbuka has many variations throughout the different areas and regions, like tabla (Egypt), dümbelek (Turkey), doumbek (USA) and tombak (Persia/Iran). The darbuka also seems to show some interesting similarities with the African djembe, although there are some significant differences as well. The goblet-shaped drum has been around for many ages and can be considered as being one of the prominent percussion instruments of the Middle East. To give you a rough idea of the area we are talking about, I have included a little historical map from the times of the Ottoman Empire: The map clearly shows us the most important areas in which darbuka is popular. Realize that, in order of getting the complete picture, we also should add Morocco and the rest of the Arabian peninsula. Nowadays, the position of the darbuka is still one of significant importance. The instrument can be heard in a large area throughout the Middle East as well as in Eastern Europe (Turkey, Balkan). Darbuka is being used in musical styles and genres like classical Middle Eastern music, modern Pop music, Folkloric music and a whole variety of Fusion genres. The technique is said to be originally derived from the basic techniques of frame drums, which have been around for ages already. This method deals with the technique of the Egyptian (Arabian) darbuka. Notice there are basically two types of darbuka’s; the Turkish models and the Egypt/Arabic models. The Turkish model has a sharp edge and is mostly made out of metal or aluminium. It has a slightly different body shape and the playing technique is different from the Egyptian darbuka technique. Since the Turkish darbuka has a sharp edge, the technique is based on finger snaps, somewhat similar to the snaps on a frame drum or a Persian tombak. The Egyptian model had a round edge, and can be made of aluminium, metal, clay, copper or even wood. This round shape of the edge allows the player to use a different finger technique. The picture on the next page shows a variety of Turkish and Egypt darbukas with different body decorations. 4 The body of the darbuka can be decorated with different ornamentations and embellishments such as mosaic inlays, hand paintings or hammered figures. Nowadays, synthetic skins are often used instead of the more traditional, natural skins like calf skin, goat skin or fish (shark) skin. There are several differences between those types of skins; Synthetic materials have the advantage of being weather resistant and water proof, while the natural skins need to be treated with more care and patience. As an example, the natural skins sometimes require to be heated by a lamp or a fire before getting in tune. However, many modern darbuka players still prefer the natural skins to the fabric ones, because of its characteristic, rich and warm sound and tone quality. Natural, animal skins need to be glued onto the body, using ropes to fixate the skin. Synthetic skins are adjusted by passing it over a metal/aluminium hoop and tuning using the tuning bolts (regularly six to eight). Speaking about technique, the possibilities seem to be endless. However, a structural basic knowledge is most important and will serve as a guide to your further musical explorations. In order of developing a good rhythmical vocabulary, I have incorporated some essential drum rudiments into the world of darbuka playing. As an advice, pay a lot of attention to the basic movements and motions, as they are being showed on the accompanying pictures. Subsequently, try to incorporate the exercise into your daily routine. Just like any technique, motion is a very important part of playing your instrument. Talking about the darbuka, we are dealing with the most important aspects, such as: body position and position of the instrument, position of the arms and hands. I would say that relaxation is the key word with every movement imaginable. Executing an exercise while having a lot of muscular tension can cause irritation and will definitely affect the smoothness of your playing. Therefore it is of significant importance, that you are in a comfortable and relaxed position before you start playing. This will eventually stimulate the smoothness and creativity. 5 Notation The ability of reading music is a very important aspect for the contemporary darbuka player (and any serious musician in general)! It will help you better to understand rhythmical structures and help you visualizing what you are playing. There are several slightly different approaches to darbuka notation. However, I personally prefer using the classical five line-system of notation. Example Side Instruments • Frame Drum/Bendir With regards to the darbuka, we may not forget to mention the importance of its close family member, the frame drum or bendir (also known as duff). The bendir is a circular frame drum, often with a resonating string tightened against the back of the skin. Together with its close family member the hollo, the bendir is commonly recognized as being one of the most prominent percussion instuments of the Middle East. The notation for this instrument is quiet similar to the darbuka notation. In my opinion, besides the darbuka, some minimal knowledge of the bendir is essential. Therefore I have included some pictures of this instrument, including some playing positions. Let me show you some basic positions of the bendir first, just as an illustration. There are two main positions for playing the bendir, and a few other possibilities which will be discussed in a later volume. Classical position Between the laps position (modern style) 6 Note : Where darbuka is merely a solo instrument, bendir can be considered as the basic pulse. It’s pretty hard to seperate those two instruments, since they have a lot of things in common. There are some basic essential differences in positioning and sounds of the instruments, yet together they represent the heartbeat of the (middle eastern) rhythm section. • Tef & zills The tef (also riqq (Middle East) and sometimes called def) and zills are two important secondary percussion instruments which are an important part of the Middle Eastern rhythm section.
Load more

Recommended publications
  • SILK ROAD: the Silk Road
    SILK ROAD: The Silk Road (or Silk Routes) is an extensive interconnected network of trade routes across the Asian continent connecting East, South, and Western Asia with the Mediterranean world, as well as North and Northeast Africa and Europe. FIDDLE/VIOLIN: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers (see below). Their two-stringed upright fiddles called morin khuur were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The morin khuur produces a sound that is poetically described as “expansive and unrestrained”, like a wild horse neighing, or like a breeze in the grasslands. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the Erhu, the Chinese violin or 2-stringed fiddle, was introduced to China over a thousand years ago and probably came to China from Asia to the west along the silk road. The sound box of the Ehru is covered with python skin. The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The violin family developed during the Renaissance period in Europe (16th century) when all arts flourished.
    [Show full text]
  • 7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
    7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field.
    [Show full text]
  • Relationship with Percussion Instruments
    Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument.
    [Show full text]
  • 2604Booklet.Pdf
    ENGLISH P. 2 DEUTSCH S. 5 DISCOVER MUSIC FROM Turkey with ARC Music Largely due to Turkey’s situation at the crossroads of Europe, North Africa, The Middle East and Central Asia, its traditional music has influenced – and been influenced by – numerous cultures throughout the ages. Turkey’s strong musical traditions range from its folk and classical repertoire to mosque music and Sufi, among others. Perhaps most famously, the spectacular Whirling Dervishes of the Mevlevi order brought worldwide attention to Turkish Sufi since the 1970s when they began to tour outside of Turkey. This collection highlights various forms of traditional Turkish music. Details of the albums from which these songs are taken follow. These and more can be found at our website, arcmusic.co.uk Discover Music from Turkey!! 2 1. Babam – Saba Oyun Havası 5. Bekri From EUCD2236 Turkish Gypsy Music – Ahmet Kuşgöz & Ensemble From EUCD2451 Cyprus, Traditional Songs and Dances An ARC Music Production. – Famagusta Municipality Magem Folkdance Group An ARC Music Production. A rich collection of authentic and traditional Turkish gypsy music including Saba dance, Karcihar dance and Çiftetellis from all over Lively and vibrant traditional songs and instrumental pieces from Turkey. The instruments are: taragot (Eastern oboe), clarinet, kanun Northern Cyprus, the Turkish part of this beautiful Mediterranean island. (zither), violins, oud (lute), darbouka, davul, bendir (various drums), def (tambourine) and percussion. 6. Dolap From EUCD2391 Popular Turkish Folk Songs 2. Halay – Vivienne Doğan-Corringham & George Hadjineophytou From EUCD2391 Popular Turkish Folk Songs An ARC Music Production. – Vivienne Doğan-Corringham & George Hadjineophytou See track 2 for information.
    [Show full text]
  • SOUNDSCAPES: the Arab World Vocabulary
    SOUNDSCAPES: The Arab World Vocabulary ADHAN The Islamic call to prayer. MAFRAJ A window‐lined room at the AL‐ANDALUS Around 1000 CE, the area now top of a house. called Spain and part of North MAGHREB The North African dessert. Africa. MAQAM Scales and notes that define AL‐QAHIRAH The Arabic name for Cairo, Arabic music tonality. Egypt. MINARET Part of a MOSQUE, a tower ARDHA A traditional Arabic dance, used for communication. common in Saudi Arabia. MIZHWIZ A double‐pipe double‐reed AS‐SANTOOR A multi‐stringed instrument wind instrument. played with wooden sticks. MIZMAR A single‐pipe double‐reed wind BEDOUIN Nomadic people of the Arabian instrument. and North African desert. MOSQUE An Islamic place of worship. BENDIR A round, flat, wooden‐framed NAY An end‐blown wind instrument. drum. OSTINATO Italian musical term for a BERBER Indigenous people of the North repeating pattern. African desert OUD/AL‐‘UD A pear‐shaped string CHA’ABI/SHA’ABI A style of dance and music instrument, similar to a lute. popular in some poorer Arab QANUN A large, flat multi‐stringed communities. instrument. DABKE A traditional line dance, RABABEH A single‐stringed bowed fiddle. popular in Lebanon. REBEC The European version of the DALOONAH Improvised music often used REBABEH, precursor to the with DABKE. violin. DERVISH Devout SUFI Muslims, similar to RIQ/TAR A round, flat, wooden‐framed Christian monks. drum with jingling plates DJELLABA A tunic, often worn by BERBER around the rim, similar to a men. tambourine. DJEMBE A West African drum, similar to SAWT A bluesy style of Arabic music, a DUMBEK.
    [Show full text]
  • KORG WAVEDRUM ORIENTAL Dynamic Percussion Synthesizer
    KORG WAVEDRUM ORIENTAL Dynamic Percussion Synthesizer The Limited Edition WAVEDRUM ORIENTAL boasts a massive infusion of popular, unique, and accurate Arabic percussion sounds, all eminently playable from the dynamic rim and real drum head surface. Arabic percussion – indispensible to belly dancing, world music, and other popular genres – owes its groove and exotic atmosphere not just to its non‐western musical theory and unique performance techniques, but also to the distinctive sound of specific percussion instruments including the darbuka; the riq, def and tar, even the bendir. The striking surfaces of these Arabic percussion instruments are extremely simple, yet they are able to produce a wide range of timbres, one of the essential requirements for playing these inimitable Arabic sounds. The WAVEDRUM is distinguished by its revolutionary synthesis technology, and by an interface that allows a direct physical method of performance, making it the ideal instrument for replicating and articulating these exacting Arabic sounds. To the award‐winning WAVEDRUM, the new WAVEDRUM ORIENTAL adds a full range of algorithms and PCM samples dedicated to Arabic percussion. All of these sounds faithfully simulate the distinctive ways in which the tone is affected by subtle nuances in playing technique and the position of the strike on these acoustic instruments – the Darbuka with its thin single skin, the Riq with its single skin and jingles, and the dual‐skinned Bendir. The number of preset programs has been increased from the previous 100 and now stands at 150 preset programs. Together with the 150 user programs, you can now choose from a total of 300 variations.
    [Show full text]
  • Mozart Mehter P…
    DÜNYA in collaboration with The Suffolk University Centennial Partnership Series presents European Travelers and the Ottomans A concert dedicated to W. A. Mozart in the 250th year of his birth featuring The Boston Camerata, Joel Cohen, director Dünya and The New England Drum and Winds Mehterhane Mehmet Ali Sanlıkol, director, zurna, ney, saz, voice Eylem Basaldı, violin, kemençe / Engin Günaydın, davul, bendir, voice Kei-chi Hashimoto, trumpet, boru / Robert Labaree, çeng, zil, bendir Panayiotis League, davul, kemençe / Jerry Leake, nakkare Bertram Lehmann, nakkare / Cem Mutlu, kos, bendir, voice Dan Nissenbaum, trumpet, boru / Kareem Roustom, ud, guitar Noam Sender, zurna, voice / Bill Shaltis, cymbals The Boston Camerata Joel Cohen, director, baritone, lute Anne Azéma, voice / Hazel Brooks, vielle, violin Michael Collver, voice, cornetto / Carol Lewis, vielle, viola da gamba Stephen Lundahl, recorders, sackbut, slide trumpet Suffolk University, C. Walsh Theatre, Friday, October 27, 8:00 pm A dialogue between the music of Europe from the 15th to the 18th centuries and Ottoman Turkish music of the same period, inspired by the notations and accounts of early European travelers. The concert culminates in the music of Mozart himself, the most famous of the “alla turca” composers. Honoring Mozart! Since this is the 250th year of W. A. Mozart’s birth, we have decided to join with the rest of the world in honoring him in DÜNYA’s Fall 2006 season. Although it is not clear how much direct contact Mozart himself had with Turkish music or musicians, what is clear is that a long tradition of incorporating imitations of Turkish ceremonial music (mehterhane) into European opera and instrumental music extended at least a century before Mozart and at least a generation after him.
    [Show full text]
  • DISCOVERY SERIES MIDDLE EAST - Manual - 4 Table of Contents
    MANUAL Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu- ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru- ments GmbH. Mac, Mac OS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows, Windows Vista and DirectSound are registered trademarks of Microsoft Corporation in the United States and/or other countries. All other trade marks are the property of their respective owners and use of them does not im- ply any affiliation with or endorsement by them. Document authored by: Adam Hanley Software version: 1.0 (06/2018) Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Contact NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc. Schlesische Str. 29-30 6725 Sunset Boulevard D-10997 Berlin 5th Floor Germany Los Angeles, CA 90028 www.native-instruments.de USA www.native-instruments.com NATIVE INSTRUMENTS K.K. NATIVE INSTRUMENTS UK Limited YO Building 3F 18 Phipp Street Jingumae 6-7-15, Shibuya-ku, London EC2A 4NU Tokyo 150-0001 UK Japan www.native-instruments.co.uk www.native-instruments.co.jp NATIVE INSTRUMENTS FRANCE SARL SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 113 Rue Saint-Maur 203B & 201B, Nanshan E-Commerce Base Of 75011 Paris Innovative Services France Shi Yun Road, Shekou, Nanshan, Shenzhen www.native-instruments.com China www.native-instruments.com © NATIVE INSTRUMENTS GmbH, 2018.
    [Show full text]
  • ANATOLIAN PERCUSSION Rastsound ABOUT ANATOLIAN PERCUSSION
    ANATOLIAN PERCUSSION rastsound ABOUT ANATOLIAN PERCUSSION Among the middle east percussion instruments, Anatolian Percussions are widely known/learned by percussionists all around the world. Percussion instrument set in this package contains two types of Bendir, two types of Kudum and a Darbouka. These are the core elements of Anatolian Percussion culture. Bendir is a special rhythm instrument which various forms have been used in sacred & tribal ceremonies for long years. Today you may hear it almost in every ethnomusical context. The instrument can be made of natural leather or stretched plastic. The diameter is generally 52 cm which adds a powerful low end to the sound it produces. Kudum is widely used in Mevlevi rituals and sacred drumming sessions along with Ney. The instrument has a copper body with a half spherical shape to it. The surface of the instrument is generally leather but plastic material might be used as well. Two 15 cm diametered instruments are played together like a bongo. The darbouka (goblet drum) is first seen in Babylonia and Sumeria. It has a goblet shaped body and a membrane surface. The instrument name comes from the darba word which means strike in arabic. rastsound CONTENT This is a session recording package of Anatolian Percussion instruments. The recorded content is edited and produced to this final product by Rast Sound. There are total of 453 mb of 24 bit wav files and 251 samples of 5 different percussion instruments. Package contains such samples: Loops Every percussion instrument folder contains a loops folder. The loops are bpm matched. There are total of 185 loops in this package.
    [Show full text]
  • How to Shop the Catalog
    How to Shop the Catalog Click on the musical instrument title or picture to quick link to it’s location in the online store. a season for giving F WINTER COLLECTION Like the skills needed to create these handcrafted musical instruments, these gifts will be passed from generation to generation G MOUNTAIN DULCIMER New Design These Mountain Dulcimers are one of our brand A new designs. They feature a scroll peghead, an improved strum hollow, and arches on the underside of the fretboard for improved sound. • DMARSH4 $259 D CUTAWAY DULCIMER The CutAway Dulcimer is very similar in B appearance and sound to the standard dulcimer except it is thinner on one side. This allows it to be played “guitar style”. It can also be played in the lap position like a traditional mountain dulcimer. • DMCRT4 $259 WILDWOOD DULCIMER Fun, lightweight, and easy to play, our Wildwood C C Dulcimer has the rich sound of a mountain dulcimer with just a little bit of banjo twang. The body style of the Wildwood allows it to be played like a guitar instead of the traditional “flat in the lap” position of the mountain dulcimer. • DMW $200 • DMWFS $259 BOWED PSALTERY The Bowed Psaltery creates an ethereal and D mysterious sound. This zither’s ancestry dates back to the ancient lyre, but the modern derivation is less than 100 years old. • PSSRR $170 • PSARR $229 • PSBRR $289 KANJIRA H E A South Indian frame drum, the traditional Kanjira E was made using skin of the now endangered Monitor Lizard. The 7” Skyndeep lizard graphic drum head creates a similar look and feel.
    [Show full text]
  • Detailed Instrument List & Descriptions
    DIRECTORY OF INSTRUMENTS IN GARRITAN WORLD INSTRUMENTS 66 THE WIND INSTRUMENTS ARIA name: Description: Controls: Africa Arghul The Arghul is a reed woodwind instrument that Vel (attack), MW consists of two asymmetrical pipes. One pipe, (vol/eq), Porta, a chanter with between five and seven finger Lgth, VAR1, holes, is dedicated to the melody. The second VAR2, FiltLv, pipe, longer than the first, produces a drone. FiltFq, VibSpd, Arghuls come in different sizes and are played in Vib Amt, AirNs, Egypt and surrounding regions. Fluttr, Auto- • Range: C3- C6 Legato, BndSpd, Keyswitches Mijwiz 1 The Mijwiz is a traditional instrument of Egypt Vel (attack), MW and is one of the oldest wind instruments. Its (vol/eq), Porta, name means “dual” as it consists of two short Lgth, VAR1, bamboo reed pipes tied together. Instead of hav- VAR2, FiltLv, ing a separate reed attached to a mouthpiece, FiltFq, VibSpd, the reed in the Mijwiz is a vibrating tongue Vib Amt, AirNs, made from a slit cut into the wall of the instru- Fluttr, Auto- ment itself. Legato, BndSpd, • Range: C3 - C6 Keyswitches Mijwiz 2 Another Mijwiz instrument with a different Vel (attack), MW range and character. (vol/eq), Porta, • Range: C4 - C6 Lgth, VAR1, VAR2, FiltLv, FiltFq, VibSpd, Vib Amt, AirNs, Fluttr, Auto- Legato, BndSpd, Keyswitches A User’s Guide to Garritan World Instruments THE WIND INSTRUMENTS ARIA name: Description: Controls: China Bawu The Bawu is a side-blown wind instrument Vel (attack), MW found throughout China. Although it re- (vol/eq), Porta, Lgth, sembles a flute, it is actually a reed instrument.
    [Show full text]
  • Garritan World Instruments Complete Instrument List
    Garritan World Instruments Complete Instrument List Garritan: World Instruments Complete Instrument List Africa: Sakara India: Sangban Arghul Bansuri 1 Sanza Mijwiz 1 Bansuri 2 Sistrum Mijwiz 2 Pungi Snake Charmer Tama (Talking Drum) Adodo Shenai Televi African Log Drum Shiva Whistle Tonetang (Stir Drum) Apentima Basic Indian Percussion Udu Drums Ashiko Chenda Begena Balafon Chimta Bolon Basic African Percussion Chippli Domu Bougarabou Dafli Kora Dawuro Damroo Ngoni Djembe Dhol Dondo China: Dholak Doun Ba Bawu Ghatam Atoke Di-Zi Ghungroo Axatse Guanzi Gong (Stinging Gong) Gankokwe Hulusi Hatheli Kagan Sheng Kanjeera Kpanlogo 1 Large Suona Khartal Kpanlogo 2 Medium Xiao Khol Kpanlogo 3 Combo Basic Chinese Percussion Manjeera Sogo Bianzhong Murchang Fontomfrom Bo Mridangam Gome Chinese Cymbals Naal Gyil Chinese Gongs Nagara Ibo Datangu Lion Drum Pakhawaj Kalimbas Pan Clappers Stir Drum Kenkeni Temple Bells Tablas Kpoko Kpoko Temple Blocks Tamte Krin Slit Drum Choazhou Guzheng Tasha Likembe Erhu Tavil Mbira Guzheng Udaku Morocco Drum Pipa Electric Sitar Nigerian Log Drum Yueqin Sarangi Sarangi Drone Thai Gong Uilleann Pipes Sitar Tibetan Cymbals Bone Flute 1 Tambura Tibetan Singing Bowls Bone Flute 2 Japan: Tibetan Bells Irish Flute Tingsha Shepherds Folk Pipe 1 Hichiriki Dan Tranh Shepherds Folk Pipe 2 Knotweed Flute Dan Ty Ba Bodhran Shakuhachi Gopichand Hang Drum Chanchiki Jaw Harps Chu-daiko Europe: Rattle Cog Daibyoshi Double Flute Hira-Daiko Dvojnice Double Flute Latin America: Hyoushigi Double Flute Drone Andean Panpipes Ko-Daiko
    [Show full text]