At least there are two most common ways of playing a musical instrument Angklung, by digatarkan and beaten (pronounced dotted or centok). Here are presented bberapa techniques that can be used to play Angklung well.
thrilling Angklung

Angklung pronounced with a long vibrated according to the tone being played.

End-sounding break up, Beaten (Centok)

Angklung not vibrated, but hit end of the tube bottom (horizontal) by the palm of his right hand to produce centok (like the sound of blows). It is useful to play short tunes like Pizzicato musical mark.

Tengkep

Angklung pronounced with a long vibrated according to the tone being played, but not as usual tube is closed by one of his little finger left hand so it does not sound (which sounds just great yng tubes only). It is intended to be generated within their more subtle tone for the music to be played (eg to mark the dynamics of the piano).

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As presented by the teacher Mr. Daeng Soetigna diatonic angklung, then it is advisable to ring tone Angklung in disconnected. This dilkukan with the technique as follows: if there are two notes that are played consecutively, then connect it to sound a tone that sounded a little longer the first rung of the value of his tone, so that when the second tone starts playing, the first note was still ringing a little, so that the sound tone sound disconnected and not broken.

Dynamics (loud and soft)

Suit the needs of the song, angklung can be played softly (piano) on loud (forte). Recommended for both types of dynamics should be the frequency of vibrations per second angklung remained the same in number, while different is the distance by a right-handed swing angklung which in turn will determine the amplitude of vibration and cause hard or soft tone that is played.

How to Play the Melody and Akompanyemen Angklung

How to play Angklung Angklung akompanyemen intended for melody. Besides angklung melody, there is angklung akompanyemen consisting of chord tones. Angklung is played according to chord songs, and can be played in two ways, namely vibrated and ditengkep.

To play the Angklung akompanyemen technique with a method centok (o'clock), it can be done together with less bass instrument (like a cello can be stringed bass / fiddle with the large size) or bass o'clock (from the tube angklung very large). The technique follows the pattern of rhythmic play songs such as poila waltz (0 XX) or Mars (0x 0x 0x 0x), with captions 0 to play the bass and X to play Angklung akompanyemen.

As a side note, most major akompanyemen Angklung consists of four tubes with included tone septime (7) her, so if dibutuhkn to play a major chord then the pure tone septimenya should not be played (ditengkep) as required track.

Angklung Angklung co-akompanyemen is akompanymen with the composition of tones an octave higher. Usually this Angklung played Meandering akompanyemen or simultaneously with angklung akompanyemen, or played specifically to certain types of music such as keroncong.

GUIDE TO PLAY Angklung
preliminary

prologue

Angklung music instrument itself according to the historical record has been played for a long time in Indonesia, particularly in Java and Bali with the arrangement of five-tone tone (pentatonic). Angklung dimaikan reputedly used as both a musical instrument or for the festival. However, since 1938, Father of Angklung Daeng Soetigna have rearranged the order angklung in tone diatonic (seven-tone) chromatic scale, so from that time can play music Angklung naional and internationally. And can be tailored to the tastes of the players so it can be more fun to play Angklung besides forming a group of characters (character building) through: Discipline, mutual aid and cooperation, as stipulated in the Decree of the Minister of Education and Culture of the Republic of Indonesia Number 082 of 1968 on Angklung Music as a tool music education.
Angklung devices

Angklung music devices are generally referred to the unit and sets, by convention the following details:

one unit of the unit (for example) consists of:
Angklung small melodic numbers 0 to 30 as many as 3 sets.
Angklung great melody  #G  to # F as much as 2 sets.
Angklung akompanyemen (chord) a total of 12 pieces.
Angklung co-akompanyemen (chord) a total of 12 pieces.

How to Playing Angklung

How to Play Angklung
As in general, Angklung played by vibrated. To produce a good sound, then there are several techniques that can be applied as follows.
How to Hold Angklung
Angklung be held in the following way (this applies to normal, if left-handed then treated otherwise):
The left hand holds the duty and the right-hand man in charge Angklung Angklung thrilling.
The left hand can hold angklung knot by holding the meeting of two vertical and horizontal poles angklung (which are in the middle), so Angklung is held right in the middle. This can be done either by hand with the palm of the hand mengahdap upwards or downwards.
Angklung held positions should be upright, parallel to the body, with a distance far enough from the body angklung (elbow left hand almost straight), so that can be vibrated with a good Angklung and maximum.
The next right hand holding the bottom end of the tube angklung (horizontal) and ready to thrill angklung.
How to Hold More Than One Angklung

For the player who holds more than one angklung, can be done by holding angklung as follows:

Angklung a size larger on the left hand held a position closer to the body, whether by means inserted into the sleeve (if large or angklung melody that goes into the player's arm) in the position of the forearm, or finger is inserted into the left hand so that angklung the rest can be held also by the other left hand fingers and each angklung can be played perfectly well.

How to Ring Angklung
Angklung is vibrated by the right hand, with the vibration to the left and right, with angklung stay upright position (horizontal), not angled to Angklung Angklung sound flat and tinny.
When angklung vibrated, the vibration frequency should be done with fairly frequent, so the sound is more smooth and flat angklung.
Despite playing Angklung can while sitting, but advised the players to play Angklung standing up to the game better.
Also suggested at the start of training, can start with warm-up exercise, which is sounding the angklung together with the train of short tones and long together for three to five minutes each workout.



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hi bloggers ... following my review a few tips if you want to buy a djembe,
may be useful

djembe size

The djembe drum size you require will depend on your own size, level of ability, and, of course, the musical purpose of the drum. Djembe drums can be played whilst sitting down and also standing up - with the aid of a djembe strap. Adults should, generally speaking, have larger drums where the heads are 12 inches or more. Young people should have the smaller drum, with head sizes of 7 to 10 inches. To work out what size drum head you should go for you will need to place the heel of your hand on the rim of the drum - your fingers should just cross the centre of the drum. If you go for anything smaller your hands will be too large and you will not be able to achieve clean and distinct sounds.

The positioning of the drum between the legs is an important consideration when determining the best size djembe. One should make sure that the drum they have selected can sit comfortably between their legs and that their arms can strike out and hit the head from various angles. Some of the very agile are able to control the position of the drum with their legs, and actually move it, with smooth, minute squeezing and loosening motions of the knees against the drum's body. It is possible to pick up the drum and beat it for an extra explosive resonance, by just using the knees.

Once the beginner has selected a drum, he or she should spend a few days to allow their body to get use to drumming. One should play the drum from different positions, in the comfortable position of sitting down, to the awkward position of standing up. Doing this would help one fathom out if they have selected the right size drum. This brings forth the idea of the "Suzuki" method of learning music that was once popular. Little children learned how to play the violin and become familiar with the instrument by walking around with it while playing. The point here is simply that one's body must get familiar with the drum. This is why size is important. The djembe is truly a spiritual instrument and one does not want to start off with it in an awkward relationship.

Size is an important factor to take into consideration when deciding on a djembe drum. Once this has been established you can then go on to decide if you would prefer a wooden djembe or a fibreglass djembe, roped tuned of mechanically tuned and finally the style of the djembe.

in buy selecting a djembe, you should be aware of which of the two species in terms of how the djembe own sounds. There are two settings Djembes - rope tuned and adapted to large systems. A brief description of each type of system and construction:

Rope Tuned

Traditional djembes are all lined with ropes, so it is really the original form of the drum. A rope tuned djembe placed increased or decreased in height by a thin rope over the edge of the djembe. These strings of horizontal metal rings that hold the skin. Two or three rings around the head of a djembe, and are generally thinner than the main drum tuned.

If the drummer wants to set the djembe, he or she pulls the strings in a way to set up the tension, the rings move around the drum head to bind them closer together. This increases the voltage increase on the skin of the drum and the tone. The term "draws a diamond" refers to the buttons to adjust the height of the drum. Weave Mali is a kind of knot in the rope control of these drums.

Key Tuned

Main-tuned drum, use a different setting and modern. In this system, very similar to how traditional drum snares and toms, the bolts around the head djembe joked with a key. This in turn reinforces the huge metal rim around the head drum, which in turn increases the no battery.

The Snail and the General Assembly are listening to Djembe keys quite large and some think they are clumsy on the side. Be aware that if you buy this kind of djembe a good amount of shiny metal and seeing that little bit more weight on a rope tuned djembe.

Tuning system should you choose?

The main advantage of a monitoring system is that it is easy to understand and implement. However, it is up to the individual, djembe player many believe that the benefits to be there to stop. The control wheel on a test system is very listening and some believe it may even get in the way of playing the instrument. However, some do not mind the hardware that comes with this system and appreciate the convenience of easy to tune the drum.

Rope tuned djembes are authentic in the building in which they were so djembes are made originally by West African states such as Mandika in times of antiquity. So if you want to be faithful to its origins, the drum will go with a rope tuned djembes. These traditional forms of djembes are to learn a bit more complicated to set properly, but they are simple and comfortable, but once you learned how. Some also believe that the placement hange thin and discreet and easier to play the drums. Tuned on some levels can rope Djembes are the better choice. But again, it really is the drummer.

Traditional musical instruments from Chinese

 
Fu Xi Cut the stem of the Wu-Tong in three segments. He knocked on the premium segment and found the sound was too bright. He knocked on the bottom and found the sound was too thick. So he took the middle segment that is not a tone too much and not too thick.

Suona

Suona, a very expressive reed instrument with a conical metal bell, is very popular in China's vast countryside in funeral, wedding, and other celebrative occasions. Meanwhile, it is also an indispensable part of a number of local operas in Hebei, Shandong, Liaoning, Shandong, Shaanxi, Shanxi, and Guangdong provinces. 

Pipa

Pipa, a four-string lute in pear shape, is an instrument that witnesses the cultural communication. The Pipa tunes have very diverse styles, and are traditionally classified as either Wen Qu (civil and mild tone) or Wu Qu (martial and fierce tone).

Erhu

Erhu, a two-stringed fiddle, is one of the best-known traditional Chinese music instruments. Its music is usually very expressive and touching, especially when you feel down and blue. 

Banhu

Banhu is mainly an accompanying instrument for various local operas in North China. Its construction is basically the same with Erhu, and the most noticeable difference is that Banhu uses a thick wooden board to cover the soundbox instead of snakeskin.

Guzheng

Zheng, or Guzheng is a kind of Chinese zither with movable bridges and 16 - 25 strings. It is one of the best-inherited ancient music instruments, and relatively more popular. What's more, Guzheng has been successfully incorporated in a lot of modern music like Chinese rock'n'roll. 

Guqin

Guqin, literally meaning ancient ancient music instrument, is a seven-stringed zither without bridges. With a history of more than 3,000 years, Guqin music has been enlisted as a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO in 2003.

Xun

Xun, with a history of six to seven thousands years, is an earthen musical instrument, which can be categorized as a kind of ocarina. Its tamber similar to human voice, but emitting a very distant and primitive feeling, thus suitable for performing some lamenting aria. 

Dizi
Is a Chinese traverse flute. Normally made of bamboo. There is also Dizi made of jade.

Xiao
Pronounced as "Shyiao", a Chinese vertical end-blown flute. Normally made of bamboo. Its sound is thick, serious and peaceful. 

Thanks For:

Traditional music is the term used increasingly (eg the Grammy Awards) for folk music, folk music, not contemporary. More information can be found in the Terminology Section of products of world music. Other organizations have made similar changes, although it has been customary, traditional music remains as "folk" to refer.

Before the twentieth century, ordinary workers and factory workers were illiterate. They acquired their songs by heart. First, it was not through books, recorded or transferred the media convey. Singers may extend their repertoire with pamphlets, hymn books or CDs, but they are secondary expansions experienced by the same character as the primary songs in the flesh.

It was determined by culture - a region or a particular culture. As part of a group of immigrants who acquires an extra dimension to folk music for social cohesion. It is particularly striking in the United States, where Poland and the Americans, Irish-Americans and Asian Americans are trying to highlight deviations from the general public. They learn songs and dances that originated in the country where their grandparents came from.

On certain days of the year, like Easter, Christmas, May and a hoe, especially the songs celebrate the yearly cycle. Weddings, birthdays and funerals can also be observed with songs, dances and special costumes. Religious holidays are often a component of folk music. Choral music at these events brings children and non-professional singers to participate in a public space, so the emotional connection that is not related to the qualities aethetic music.

children playing Angklung

Angklung

Angklung is a traditional musical instrument from West Java Indonesia, made of bamboo, which sounded shaken by (the sound caused by the clash of bodies bamboo pipes) so as to produce a sound that vibrates in the arrangement of tones 2, 3, and 4 tones in every size, large and small. Barrel (tone) musical instrument Angklung as Sundanese traditional music is mostly salendro and pelog.
UNESCO, THE UN Educational, Scientific and Cultural Organization, has recognized “Angklung” the Indonesian bamboo musical instrument and music as “World Heritage”, after this world body’s recognition of Batik, the Wayang puppet and the Keris dagger as uniquely Indonesian, said Wardiyatmo, Secretary General of the Ministry of Culture and Tourism, as reported by Antara.
UNESCO’s official announcement to include “Angklung” in the Representative List of the Intangible Cultural Heritage of Humanity will take place on 18 November 2010. Angklung is the bamboo musical instrument of West Java, where each instrument when shaken produces a specific tone. An entire set played by a group of people can produce beautiful music together. UNESCO has recognized a total of 890 world sites, said Wardiyatmo, in which 689 are in cultural heritage, 176 are natural heritage, and 25 are a blend of culture and natural heritage. Of these, Indonesia has thus far attained 11 sites, with 4 in natural world heritage, 3 in cultural heritage, and 4 in intangible heritage.
Four recognized in Indonesia as World Heritage in Nature are the Ujung Kulon National Park in Banten, the Komodo National Park in East Nusatenggara, the Lorentz National Park – South East Asia’s largest protected area – in Papua, and the tropical Rainforests of Sumatra, that include the Mount Leuser National Park, the Kerinci Seblat National Park and the Bukit Barisan. While UNESCO recognized Cultural World Heritage sites are the Borobudur temple, and the Prambanan temple complexes, in Central Java and Yogyakarta, both recognized in 1991, as well as the prehistoric site of Sangiran also in Central Java. While UNESCO recognized Intangible World Cultural Heritage of Indonesia are the Wayang (2003), the Keris (2005), Batik (2009), to be followed by the Angklung instrument and music in 2010.

Traditional musical instruments from Indonesia

Saluang is a traditional musical instrument Minangkabau, West Sumatra Indonesia. Which wind instrument made of thin bamboo or chamfer (Schizostachyum brachycladum Kurz). Minangkabau people believe that the best material to be made Saluang derived from the gutters to clothesline fabric or gutters that are found drifting in a river. These tools include the class of musical instrument flute, but it is simpler to make, simply by punching holes in the gutter with four holes. Saluang length approximately 40-60 cm long, 3-4 cm in diameter. As for other uses of the gutter is the place to make lemang, a Minangkabau traditional food.

Players named Idris Sutan Saluang legendary singer Sati with Syamsimar.

The virtues of the players are able to play Saluang Saluang by blowing and breathing together, so that blower Saluang can play the instrument from the beginning of the end of the song without interruption. This way of breathing exercises developed continuously. This technique is also called as angok manyisiahkan technique (aside breath).

Each village in the Minangkabau develop Saluang blowing, so that each village has its own style. Examples of the style that is Singgalang, Pariaman, Solok Salayo, Koto Tuo, Suayan and Pauah. Style Singgalang considered quite difficult to be played by beginners, and usually Singgalang tone is played at the beginning of the song. Style is the saddest sound of Ratok Solok Solok area.

Formerly, ...Mmm.... The Saluang player has its own a useful spell to hypnotize the audience. Pitunang spell called the Prophet David. The contents of the spell approximately: Aku malapehkan pitunang Nabi Daud, buruang tabang tatagun-tagun, aia mailia tahanti-hanti, takajuik bidodari di dalam sarugo mandanga buni saluang ambo, kununlah anak sidang manusia......etc

Saluang Performance Video

 

Kulintang

Traditional musical instruments from Indonesia

Kulintang also Kolintang, Kulintangan, Totobuang is a percussion instrument that belongs to the idiophones and consists of small, horizontally lined up humpback gong. During this decisive carry the melodies of the songs, they are accompanied by larger, hanging gongs and drums. As part of a widespread gong and chimes culture in Southeast Asia Kulintang music groups play for centuries in the regions of the eastern Indonesian archipelago, in the areas of the southern Philippines, eastern India, as well as in East Malaysia, Brunei and Timor an important role .

Kolintang

The Kulintang originally developed from a simple local custom of the signal transmission. Reached its present form this music form by adding the sounds of gongs clunky that you took from the culture of the Sunda Islands and the instruments merged into a musical group. The relationship that exists between this form of music and the various indigenous cultures, is very pronounced and extends further back than the influence of Islam, Christianity or the Western world.
Basically Kulintang is a term people from Maguindanao, Ternate and Timor, which is used for several idiophones gong kettles which horizontally in a row on a board are to form a complete set Kulintang. It elicits from his instrument sounds by striking with two wooden mallets on the hump on the head of the gongs.
The spread of Kulintang expands across different linguistic and ethnic groupings. Thus, instead of the term Kulintang the Maranao and the designation used Kolintang Sulawesi, the peoples of Sabah and the Sulu Archipelago, however use the term Kulintangan while living in Germany at the Moluccas, the name is familiar Totobuang.
In the 20th Century extended the term Kulintang and became a term for a complete ensemble of Maguindanao, is composed of five or six instruments. Usually, such as basal or Palabunibuyan music group is called. The latter name refers to "music", "an ensemble of loud instruments" or in this case and "make music with a Kulintang."

Please Wacth This Video


Kolintang Performance 

There are no reliable sources stating the didgeridoo's exact age. Archaeological studies of rock art in Northern Australia suggest that the people of the Kakadu region of the Northern Territory have been using the didgeridoo for at least 1,500 years, based on the dating of paintings on cave walls and shelters from this period. A clear rock painting in Ginga Wardelirrhmeng, on the northern edge of the Arnhem Land plateau, from the freshwater period shows a didgeridoo player and two songmen participating in an Ubarr Ceremony.

A modern didgeridoo is usually cylindrical or conical, and can measure anywhere from 1 to 3 m (3 to 10 ft) long. Most are around 1.2 m (4 ft) long. The length is directly related to the 1/2 sound wavelength of the keynote. Generally, the longer the instrument, the lower the pitch or key of the instrument.

Arts and cultural space at this time very dynamic moves, rhythm rate of development of science and technology. It is undeniable artistic and cultural products are diverse in form, shape and medium to bloom and grow in a heterogeneous public spaces and interlinked with each other.