Indonesia has a wide variety of ethnic, language and culture, is no exception with its traditional music instrument one is toleat, traditional music instrument from West Java Indonesia corms city
Toleat is one kind of wind instrument (Aerophone) Subang regional specialties. Toleat usually played by shepherds in the area north coast while waiting gembalaanya. Originally toleat made of straw because the times and the durability of the material it is now toleat made using bamboo material Tamiyang, toleat have salendro basic tone and has eight holes tone and has a unique voice resembles a saxophone, flute shape is similar to but have rit made of wood Crescentia cujete.
Toleat can be combined with some other types of instruments that can generate the kind of good music. Toleat usually combined with harp and drums, even today toleat dikolaburasikan with modern instruments such as keyboards.
If you want to know more about this toleat music instrument, you can go to town earrings because in stores Musil traditional tool in earrings, a lot of selling and often at his watch.


The alphorn is the Swiss national instrument and symbol of dairy farming. The alphorn is crooked like a fir grown on a hillside it resembles. The wooden mouthpiece facilitates the generation of natural sounds, which are touching and heart-warming. Since 1910, the Swiss Yodeling Association has promoted the alphorn tradition in courses.
Instruments similar to the Alphorn (Australian Didjeridu, Bibilcal Shofar) have been in existance for nearly 100,000 years. The early instruments were used to signal warnings often for military use, but in the mountainous area of the Alps, it was more commonly used to announce daily activities. Archaeological records of the Alphorn in Switzerland date back to the Celtic tribes on the northern slopes of the Alps about two thousand years ago. References to the modern Alphorn in Switzerland date to the early 16th century. By the 18th century, Alphorn melodies were written down by composers who incorporated them into their own compositions (Johannes Brahms, Symphony Number 1, in c minor). Today the Alphorn is not used by herdsmen for signaling, but primarily by amateur musicians.
The Alphorn is a hollow tube made with wooden strips (spruce) bound with birch bark or cane. It is conical bore with an upturned (or straight) bell and wooden mouthpiece similar to that of the modern horn. They range in length from 10.6 feet to 13.5 feet. The bells are often ornately decorated with painting or carvings. The instrument is supported by small feet located under the bell.
Not as the name suggests, this gigantic trumpet made ​​of wood, not horns. Anyway what animals have horns for this.

Harp Guitar

Harp Guitar
Greetings fellow guitar and harp guitar enthusiasts!

The harp guitar that started it all for me is a Dyer Brothers symphony harp guitar that belonged to my great-grandmother’s second husband – Edgar Pierce. They were married for 50 years so I think of him as my great-grandfather, even though there’s not actually any blood relation.

He played on Portland, Oregon’s first radio station in a band called the Hoot Owls. He also played in saloons in the Yukon during a gold rush earlyin the last century. Talk about a tough gig, imagine playing for a bunch of lonely miners in Alaska in 1915 or so; I bet he played whatever requests he was asked to do. Just imagine: some drunk miner asks you to play Misty – and to avoid trouble, you play it, even though it won’t be composed for another twenty years yet!

This harp guitar was built by the Larson Brothers in Chicago. (Dyer Brothers was a chain of music stores that ordered instruments from the Larsons and then put their store label on them). There is a handwritten date of 1909 on the label of mine. For lots of great information about the Larson instruments, please visit a website which features the work of my friend Bob Hartman –


The harp guitar is a wonderful, indeed magnificent, instrument and I feel quite fortunate to have inherited one. It is a regular 6-string guitar with an extended sound chamber arching up out of the top shoulder. There are 6 sub-basses, tuned (descending in pitch from the closest sub-bass to the regular 6th string E) G-D-C-B-A-G.

I did not discover until after I had the instrument for awhile that the original tuning of the bass strings of this particular harp guitar was pretty much a chromatic descent down to A. At the point that I discovered this, I was already very happy with the above tuning that I had worked out and I felt no need to change. Besides, I didn’t particularly care for the chromatic tuning. I do vary my tuning of these strings quite often in order to get particular notes or overtones, but I often start with the above tuning. My lowest sub-bass can be anywhere between a G# and the E a third lower, for example. The other sub-basses I don’t change the pitch of that much, generally only a half step either way. The B will go to Bb, for example, or the C to C#.

Mechanically, it is a bit like having a sustain pedal from a piano combined with a minimalistic, but dependable bass player. The additional strings start singing immediately, triggered by the sound of the regular 6 strings. Then, when the thumb reaches down and grabs the occasional bass note, you really have some extra depth to the sound.

I didn’t really know my great-grandfather – he lived in Oregon and I grew up in New York. Although I was born in Oregon, my parents moved East when I was 2. After that, we only went back twice, in 1963 and 1965. That last time, I was 9 years old, and although I can form a fuzzy picture in my mind of my great-grandfather (for whatever reason, he was called Gonky) playing the instrument, I really can’t remember what it sounded like. Anyway, I like to think that he would be delighted knowing that it continues to bring magic in people’s hearts, which I know beyond any doubt that it does.

I wrote a song for him some years ago (the one that’s playing now) entitled Sea Rose Beach. I had very little to do with the composition of this piece of music, it literally came through me and out the instrument. Sea Rose Beach is the name of the spot of Oregon coastline where my great grandparents lived the last years of their lives and it is a beautiful place indeed. The ocean is what you see out the front window and the Siuslaw National Forest rises out of the backyard.

On a few occasions, when I had not announced anything about the origin or title of this song, people have spontaneously told me that they heard the ocean in the music. I am moved by such things. And though I always strive for such communication on all of my guitars, I think the harp guitar really lends itself to magical sounds.

For several years, I also played a harp guitar built by Ron Spillers in Virginia. After recording many tunes and doing lots of shows with that instrument, I loaned it for a while to my friend Andy McKee, and eventually sold it to him.

Starting in 2001, I was usually seen playing a harp guitar that was made by Jim and Dave Merrill here in Virginia. It’s a fine reproduction of my great-grandfather’s Dyer.

A wonderful harp guitar I got in late 2007 was made by Kathy Wingert in California. This instrument wasn’t designed to be a reproduction of a vintage instrument at all; rather, it is Kathy’s vision of what a harp guitar should be. After a while I decided that the dimensions of this instrument didn’t suit me perfectly, so I traded it back in for another amazing Wingert instrument. This is the harp guitar I currently play.
This photograph of Pasquale Taraffo found in the National Archives.

For instruments in a more affordable price range, I’m also an endorser of Holloway harp guitars.

Don’t forget to have a look at and especially check out the pictures of The Harp Guitar Gathering. This is an event which I dreamed up back in 2002 and with the help of my friends and fellow harp guitarists Gregg Miner, John Doan and Andy Wahlberg, in 2003, this dream became a reality. The Gathering met for its seventh consecutive year in October 2009 in Williamsburg, Virginia. It’s a weekend-long celebration of the harp guitar and features concerts and various presentations by players, luthiers and scholars. Attendees came from all over the US, as well as from Europe and Canada. The Eighth Annual Harp Guitar Gathering was in Indianapolis, IN in 2010.  And the Ninth is in Milford, CT (where I now live) October 7-9, 2011.


I play my 1930 National Triolian at most shows.


My current 6-string guitar was made by Massimiliano Monterosse in Italy. Rosewood with a cedar top. The beveled top bout is very comfortable. I’ve been using silk & steel strings from LaBella lately and very much enjoying the sound and the feel of the reduced tension these strings provide.

Before that, my main 6-string was a Collings 000 style cutaway. It’s a mahogany guitar with a German spruce top and is a 12 fret model.

From mid-2003 until September of 2010, I exclusively played Morris guitars. The first was a mahogany body guitar with my initials on the headstock. It’s a slightly deeper body instrument and is featured on the Beatles For Acoustic Guitar, Everything Under The Sun, and Reflections cds. In 2006 I started playing a smaller body rosewood Morris. I’ve just started to play the original mahogany guitar again and am remembering all over again why I love this guitar.

Prior to 2003 I played a Merrill cutaway for 6 years and before that, a Gibson Nick Lucas reissue.


In late 2009 I got a wonderful baritone guitar made by luthier Tony Karol in Ontario.  Tony had brought one of these amazing instruments to a number of my Toronto shows for me to try.  He’d always invite me to use it in the concert and I invariably would, drawn by the great deep sound they produced.  Of course I knew he was hoping I’d buy one – and I’m glad I finally did!


Kalimba Africa
Kalimba Drum
The kalimba is a modern-day example of an ancient family of African musical instruments. Hugh Tracey, an Englishman who fell in love with African music over the course of his 50 year stay in Africa, started a company in the late 1950's called African Musical Instruments (AMI). AMI began shipping kalimbas with the western "Do-Re-Mi..." scale in the early 1960's, and now people all over the world are building and playing kalimbas.
Also known as a thumb piano kalimba (thumb piano) is a type of percussion instrument, a modern version of the traditional African instruments mbira music.

Let us see in this video how where Kalimba instrument is in play


First Look Inside (Kalimba Video)


 Arumba is one kind of folk music that are almost in every region in West Java . The device is made of bamboo options like awi friends , rope and wulung ( black bamboo ) In between there is a set of angklung waditranya bertangga diatonic scales , because arumba music is an outgrowth of the angklung music has long been found in West Java, Indonesia

What Equipment Do you require For Recording?

The development of technology and the capabilities within digital music not only makes for different sounds and formats to be available, but can also be setting up a space where musicians can record in their own business.  Should you be wanting to record, you'll be able to fix a space that works for which you need and begin moving towards getting the sounds on CD.  Following are a couple of great in order to get your recording studio up and recording

Software along with a computer.  There are many of options that exist with software, however you desire to make sure it is.  This can be the brain center of one's recording studio and will do more for you whilst your music than whatever else.  Using your computer, also be sure that you use a wide range of memory and power that may easily store and take care of the recordings. 

Foam.  One of the most important regions of your recording studio would be to make sure that it can be sound proof.  It's easy for your instruments or voices to bounce off the beaten track, causing an echo once you record.  Recording foam will deaden the sound and permit that you record what you require without worrying about recovery.  Take into account that, with regards to the size of room and the acoustics, you might not should foam the entire room. 

Mixer.  To obtain the sounds from the instruments into your computer, this is the tool.  Be sure that you have sufficient inputs and outputs to record all the instruments that you might want at a time. 

Pre-amps.  In the event you really would like some really good sound, don't just plug your instruments into the mixer.  Instead, you should get pre-amps in to the mix.  This can accommodate instruments, such as guitars and basses, to have their best sound, then go into the mix board.  For example, if you want a bass to possess a certain resonance, you are able to work it on the pre-amp, without it changing the leading sound from the guitar, since it would as long as they were both connected to this mixture board.  

Monitors.  You should have special speakers for following your recording in order to make certain you've everything set together right.  Monitors will assist you to hear the high and lows of the recording and be sure so it all blends together correctly.  Some prefer headphones over monitors; however, when you choose this program, ensure that they're recording head phones, coded in exactly the same as monitors. 

Microphone Equipment.  It would be nice if you could just set up a regular microphone for recording, nevertheless it does not work that simply.  You simply must receive a recording microphone, that can catch all the sounds on the voice on every side. Coupled to the microphone should be a popper, that will stop hard consonants from recording and muffling the recording. Compressor.  It is deemed an option for recording, but mustn't be overlooked.  That is specifically used for vocals, and allows the waves inside voice to not reach certain peaks.  Instead, it is compressed to equal all of those other waves.  After that you can adjust the voice to fit another instrumentation when you go. 

Beginning with this equipment will allow you to develop the basic boosts that you need so that you can cut your first recordings.  Of course, you could include extra equipment, or eliminate other equipment, but with the above mentioned, you can obtain a good start into a basic and take care of home recording studio. 

Musical instruments of traditional Chinese

Musical instruments of traditional Chinese
Traditional Chinese musical instruments can be played solo, or together in a large orchestra (such as the ancient royal palace) or in groups of small mandarin music. No ancient music ensemble conductor in China, or the use of sheet music during performances. Music usually has memorized by musicians, and then played without the tools, so teamwork is very much needed. But nowadays the score or conductor is required, if the musician is pretty much

Chinese musical instrument is distinguished by:
1. According to Traditional Chinese Musical Instruments How to Wear it

Stringed instrument
China is the erhu fiddle, his use of snake skin as a membrane, using two strings, which is swiped by the bow made of horse tail.
Gaohu is kind to the erhu, only a tone higher.
Gehu is a stringed musical instrument to a low tone, like a cello.
Rebab Banhu is China, with a body made from coconut shells with a wooden board as a membrane.

Stringed instruments
Liuqin is a small stringed instrument shaped like a pear with 4 strings.
Yangqin is this instrument has a lot of strings, how to play by hitting with a bamboo stick as a bat.
Stringed instrument pipe is pear-shaped with 4 or 5 strings.
Ruan is a stringed musical instrument with four strings are round.
Sanxian is a stringed instrument with a body made of snake skin and a long neck, has 3 strings.
Guzheng is a lute with 16-26 strings.
Harp Konghou is China.

2. China Musical Based Sources reads

Wind instrument
Flute dizi is using vibrating membrane.
China is the trumpet suona
Sheng is a musical instrument that uses a metal blade with bamboo tubes as a source of sound.
Xiao shaped like a flute.
Paixiao pipe shaped like a pen.
Gudi is shaped like an ancient flute made of bone

Percussion instruments (percussion)
Paigu shaped like a drum consisting of a set of 4 or more.
Tambour is shaped like a big chin.
Chazi shaped like a cymbal, cengceng.
Luo shaped like Gong.
Muyu shaped like Kecrek made of wood.

3. Functions Based on Musical Instrument China


Dizi-shaped transverse bamboo flute with buzzing membrane
Xiao shaped like a flute which is also called the dongxiao
Shaped like an ancient Chi transverse bamboo flute
Xindi shaped like a modern transverse flute with a total of 21 holes
Koudi shaped like a very small transverse bamboo flute
Suona shaped like a trumpet China


Yazheng shaped like a sitar is also called yaqin
Konghou China is shaped like a harp.
Guzheng is shaped like a lute with 16-26 strings.
Leiqin shaped like a violin with piano keys
Pipe stringed musical instrument shaped like a pear with a 4 or 5 strings.


Bofu shaped like an ancient drum that is used to set the tempo
Tanggu is shaped like a medium sized barrel drum played with two sticks; also called tonggu or xiaogu
Yaogu shaped like a waist drum
Bajiao gu tambourine eight square shape is used primarily in narrative singing of northern China
Paigu shaped like a drum consisting of a set of 4 or more.


Luo is shaped like a gong
Zhu shaped like a wooden box, played with a bang stick on the inside, used to mark the beginning of music in ancient ceremonial music

Yu shaped like a percussion instrument in the form of a carved wooden tiger with a serrated, used to mark the end of the music
Muyu shaped like a woodblock carved in the shape of fish, struck with a wooden stick; often used in Buddhist chanting
Paiban shaped like a clapper made of several pieces of flat wood.


Dangzi of the small, round, flat, tuned gongs suspended by silk tied with a rope in a circular metal frame mounted on thin wooden handle is also referred to Dangdang. Bianzhong bronze bells hung on a shelf, struck using poles, as set forward Fangxiang metal slabs
Bronze drum, shaped like Luo Gong.

History of Traditional Chinese Music

History of Traditional Chinese Music
China's historic old national music. Since the founding of the People's Republic of China in 1949, China's national music has experienced tremendous growth. Over the past dozen years, China's national musicians performing in a country other than, also often performed in foreign countries. Since 1998, China Central National Music Orchestra has a row for the five-year national concert held on the day of the Spring Festival of China in the Golden Hall of Vienna Austria, and this has become one of the important events in musical life in Vienna. In addition to the Golden Hall of Vienna, Chinese traditional music is also performed in many other stage in the world, among others, the U.S. Carnegie Music Hall and the Hall of the United Nations in Geneva. The show attracted national musician China lets the world appreciate the privilege of traditional Chinese music.

Assessment of both the audience at home and abroad are also encouraged composers to create more works of Chinese music and distinctively Chinese nation today. Traditionally, the national music performances are held mostly in the form of a concerto or solo, whereas now many young musicians in a creative and flexible hold musical performances by combining different kinds of musical instruments, so that the audience liked the show.

To learn Live Or even Utilize Computer

The digital age hasn't only triggered revolutions in new software and capabilities, but in addition an entirely new list of sounds for instrumentation.  For those who are acquainted with music in any respect, additionally they are aware that even now opt for longer needed to have live instruments to experiment with everything or even use a person present.  The information technology has the capacity of substituting for virtually every sort of instrumentation you would like.  However, before deciding to digitalize everything, you must think of the differences between playing live or having a computer. 

There are many sounds which have been now becoming capable of taking the site for real instruments.  MIDI was the primary set of sounds that were produced which were similar to real instruments.  The packages in MIDI were taken by recording live instruments on every note and turning them in to a digital sound wave.  As this particular kind of package has evolved, and so do the sounds and also the chance to result in the sounds seem more real and less electronic.  Most MIDI packages are employed only with Mac computers or as added on plug ins about what already exists. 

The 2nd form of digital effect is called VST's, or Virtual Sound Technology.  That is a generalized term that includes a wide selection of instrumentations, loops sounds and electronic effects which they can use in nearly every software.  Like MIDI, VSTs take live instruments, copy the sounds and reproduce them using digital effects.  The result can be a wide array of instruments, sounds and certain measures of general arrangements you can use almost anywhere. 

If you are recording, the question becomes if you should make use of the electronic capacities that are there as well as to move into recording live instruments.  While electronics progress, the sounds become better and somewhat capture what has been done.  However, there are items to listen for and understand before getting into using electronics. 

Part one with the electronics that is certainly missing from your picture would be the notion of resonance.  With live instruments, each note carries harmonics over it which could not heard, in addition to resonance from your strings and vibrations.  The vibrations range from strings or air hitting other air and striking the sound.  For the reason that MIDI and VST packages are digitalized, it's going to be missing this capacity and will not be competent to carry this same vibration.  This can be one of many largest cons of VSTs.  Despite the presence of the progressions in copying the sounds, it's impossible to find ones that add in the resonance of an real instrument. 

When you have no choice but to utilize a VST or MIDI package, you will need to consider finding ones that may play as closely for the real instruments as is possible.  Many of the older versions of electronic sounds carry the electronic sound for them and could be seen as synthesizers or manufactured instruments.  You ought not risk start using a package that does not use a resemblance for the genuine thing.  Most musicians and listeners can easily still tell the difference.  If you need your sounds to be electronic, than this will work fine.  However, should you be seeking to portray a real instrument, you need to be sure that it posesses a sound that closely resembles the live instrument. 

The key procedure by which you possibly can tell whether the packages are resembling live instruments is in the method that you hear the instrument.  You really should compare the way the packages sound towards the real things.  As an example, an electronic sound will sound muffled and will be closer sounding to your synthesizer than to an instrument.  Unless this can be the exact sound you want, you'll probably need to check newer versions or updates designed to use better technology options. 

Regardless of what you choose while using the instrumentation to make use of for the recording, the most important thing to bear in mind is the thing that you would like the finish sound for being like.  Because of this you should keep things planned for instance resonance, resemblance towards real instrument as well as the electronic same in principle as that instrument.  While both can remain in the same way effective inside your arrangement, it is the small differences in sound that will make a change in precisely what is being played.