Using the GarageBand Jam Pack:
World Music Instruments
GarageBand Jam Pack: World Music contains over 40 new Software Instruments
featuring sounds from around the globe. You can use these instruments to create your
own world music compositions or add an ethnic flavor to songs in any style.
This document contains the following information about using the instruments
included in World Music:
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“Introducing the World Music Instruments” on page 1
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“Performance Tips” on page 46
Introducing the World Music Instruments
World Music gives you a collection of instruments from around the world, including
both traditional folk instruments and modern popular instruments. The instruments
included in World Music span the musical cultures of Africa, Asia, India and the Middle
East, Europe, and the Americas, including instruments in the following categories:
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Bass,
featuring a Latin “baby” bass, Mexican guitarron, and Russian balalaika.
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Choir,
featuring South African choral singers and voice effects.
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Guitars,
lute, Spanish flamenco guitar, and two Turkish lutes: the oud and the saz.
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Mallets,
ensemble, and a set of Tibetan singing bowls.
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Pianos and Keyboards,
tango accordion.
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Strings,
guzheng zither, Indian sitar, Irish bouzouki and fiddle, Japanese koto, and Persian
santoor.
featuring a Chinese ruan “moon guitar,” Hawaiian ukulele, European medieval
featuring an African kalimba and marimba, an Indonesian gamelan
featuring an Afro-Cuban upright piano, polka accordion, and
featuring a Celtic hammered dulcimer and harp, Chinese erhu violin and
1
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Woodwinds,
bagpipes, Indian bansuri flute and shehnai oboe, Japanese shakuhachi flute,
European medieval recorder, Native American flute, and Peruvian panpipes.
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Drum Kits,
percussion kits. Each kit contains a variety of instruments.
This document describes the software instruments included in World Music, lists
controller information for each instrument, and provides some performance tips for
using the instruments.
featuring a Celtic tin whistle, Chinese di zi and xiao flutes, Highlands
featuring African, Asian, European, Indian and Middle Eastern, and Latin
Bass
Every musical style based on harmony makes use of bass instruments to set the
harmonic as well as rhythmic foundation. World Music includes two bass instruments
from Latin America and one from Russia.
Latin Baby Bass
The Latin “baby” bass is an upright electric bass guitar with a compact body that has
become widely used in salsa bands around Latin America, particularly in Cuba. The
baby bass is played through an amplifier, but has a tone similar to an upright bass.
Afro-Cuban music makes frequent use of cross-rhythms, and the punchy sound of the
baby bass allows it to cut through as it interweaves with the drummer’s rhythms.
The baby bass is made of wood and metal, and uses metal strings tuned in the
standard E-A-D-G bass guitar tuning.
2
Mexican Guitarron
The guitarron (also called “chitarrone”) is used as the bass instrument in mariachi bands
in Mexico and throughout Central and South America. It is a large, fretless bass guitar
with very deep sides which create a large resonant chamber to amplify the sound. In
addition to its traditional role, the guitarron has been used by pop and rock groups.
The open strings are usually tuned to the notes A-D-G-C-E-A, with the high A string
tuned below the C string. This allows the bass line to be played in octaves, with the
player’s thumb picking the lower note and the index and middle fingers alternately
plucking the higher note. The three lowest strings are steel, while the higher strings are
nylon. The action is quite high, requiring great strength to play the instrument.
3
Russian Balalaika
The balalaika is a Russian folk instrument with a long history. In the 19th century, the
balalaika was expanded to include families of instruments in several sizes from soprano
(called “prima”) to bass, and music was created for balalaika ensembles using innovative
strumming and picking techniques. In 1888 the first balalaika orchestra debuted to
popular acclaim, and the balalaika became a favorite of both the court and the public.
Ensembles toured Europe and visited America in the early 20th century.
All balalaikas have a triangular body, with the top usually made of spruce or fir, and a
long neck across which three strings are stretched. Prima and alto instruments are
played with the fingers, while bass balalaikas are played with very thick leather picks.
The Russian Balalaika Software Instrument includes both a bass and a prima
instrument, enabling you to perform across the range of an entire balalaika orchestra.
Bass
Instrument Controller Info
Latin Baby Bass Â
Mexican Guitarron Â
Russian Balalaika Â
Mod wheel adds vibrato.
Highest velocity adds slide up to note.
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Mod wheel adds brighter tone.
Velocity increases attack and volume.
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Mod wheel adds tremolo to notes above A3.
Highest velocity adds slide up to note.
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Choir
World Music includes two instruments featuring the sounds of a South African choir:
one singing common syllables and the other performing voice effects.
South African Singers
South African Voice Effects
Music-making in Africa belongs to all people, and Africa’s many musical styles are all
folk styles that developed from local cultures. While its history is not recorded, the
sound of the South African choir is believed to have developed in migrant labor camps
in the early 20th century. It provided workers with one of the few means for both
communal recreation and personal recognition. The singers often perform intricately
choreographed dance steps along with the singing. In the past two decades, the sound
of the South African choir has become known to Western audiences through its use by
popular artists and in movie soundtracks.
Contemporary South African choral groups are usually divided into the standard four
voice-parts: soprano, alto, tenor, and bass. The South African Singers Software
Instrument features the voices singing four commonly used syllables; the South African
Voice Effects instrument features three additional syllables, one in both long and short
versions. In both instruments, the four parts are distributed and blended across the
keyboard range.
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Choir
Instrument Controller Info
South African Singers Â
South African Voice Effects Â
Mod wheel gives four different syllables:
“Ooh,” “Hemm,” “La,” and “Ah.”
Velocity increases volume.
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Mod wheel gives four different syllables:
“Ti,” “Timo,” “Mo,” and a short “Mo.”
Velocity increases volume.
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Guitars
World Music includes a Chinese ruan moon guitar, a Hawaiian ukulele, an Irish
bouzouki, a Spanish flamenco guitar, and two Turkish lutes: the oud and the saz.
Chinese Ruan Moon Guitar
The ruan “moon guitar” (also called the yueqin) is a fretted stringed instrument that has
been a part of Chinese music for more than 2000 years. The instrument is named for a
fabled musician of the third century known as one of the “Seven Sages of Bamboo
Grove,” and has changed little since its ancient beginnings.
The ruan has a circular wooden body and a short neck that holds four strings. The neck
has 24 frets divided into semitones, similar to a European guitar. The strings are tuned
in fifths like those of a violin, commonly to the notes G-D-A-E or A-D-A-D. The ruan
produces a delicate, mellow tone, and is used both for accompanying singers and as a
solo instrument. In modern times, orchestras of ruan have been created with
instruments of different sizes and ranges.
6
Hawaiian Ukulele
The ukulele was developed on the islands of Hawaii in the late 19th century, based on
instruments brought to the islands by Portuguese immigrants. It quickly spread
throughout the islands, and became Hawaii’s most popular instrument. The word
ukulele
means “jumping flea,” and some believe the name comes from the islanders’
first impression of the player’s hands flying across the fingerboard.
The shape of the ukulele is like a smaller version of a Spanish guitar, with a figure-eight
body and a round sound hole behind the strings. Ukuleles exist in many different sizes,
but the soprano and concert-sized ukuleles are the most common. Both are most often
tuned to the notes G-C-E-A. The soprano is sometimes tuned a whole step higher, and
other tunings, such as Bb-Eb-G-C, are sometimes used to enable the ukulele to
accompany singers in different keys.
7
Irish Bouzouki
Although the bouzouki (sometimes called the octave mandolin) is of Greek origin, it is
the modified Irish bouzouki that has become popular in the recent revival of Celtic
music. Bouzoukis were introduced to Irish traditional music in the 1970s, and have
become an important part of the contemporary Celtic sound. The bouzouki is often
used to give definition to the lines below the melody.
The Irish bouzouki is a long-necked instrument with a pear-shaped body and three or
four courses of metal strings. Bouzoukis are typically tuned to the notes G-D-A-E. The
lower courses are tuned in octaves, while the upper courses are tuned in unison. The
player frets notes with the left hand and plucks notes with a pick held in the right
hand. The tone of the Irish bouzouki is penetrating and metallic.
8
Medieval Lute
The European lute evolved from ancient Middle Eastern stringed instruments, and was
widely used during the Medieval and Renaissance periods to accompany singers and as
a solo instrument. The word
lute
derives from the same root as
oud,
an Arabic word
meaning “wood.”
The lute is a plucked stringed instrument with a deep, pear-shaped body and a flat top.
The top features a soundhole that is typically intricately carved in the shape of a knot
or vine. The neck is made of light wood, and necks became wider as the lute developed
to accommodate a greater number of strings. The strings are typically doubled, with
each pair tuned in unison. The upper strings could be tuned in fourths, similar to a
guitar, or could be tuned to the notes of a chord (for example, D-A-D-F). The lower
courses were tuned in steps, allowing the player to play bass lines without having to
fret each note.
The lute was originally played using a quill to pluck the strings. As European music
became more polyphonic, players began to perform using their fingers, allowing
greater freedom for playing counterpoint.
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Spanish Flamenco Guitar
The passionate style of music and dance known as flamenco originated in Andalusia, at
the crossroads of Gitano (Gypsy), Moorish, and Jewish cultures. Originally, flamenco
consisted of unaccompanied singing, but soon the singers were accompanied by the
guitar, as well as hand clapping, foot stamping, and dance. Today, traditional flamenco
has absorbed influences from jazz, salsa, and popular music, leading to a new offshoot
called “Nuevo Flamenco” (New Flamenco).
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The flamenco guitar shares the same lineage as the Spanish classical guitar. Both
evolved from earlier Arabian and Moorish instruments, and are made of wood, with a
figure-eight shape and a central sound hole. Both use six gut or nylon strings tuned to
the notes E-A-D-G-B-E.
However, the manner of performing flamenco is quite different from that of classical
music. Rather than re-creating music composed in advance, flamenco players have
room to improvise and express individual emotions. In order to express “the heat of the
moment,” flamenco guitarists use a variety of playing techniques, including:
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Picado:
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Pulgar:
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Rasgueado:
Plucking the strings alternately with the index and middle fingers.
Plucking the strings with the thumb.
Quickly strumming up or down the strings, sometimes with the index
finger, sometimes with the right-hand fingers moving one after the other.
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Tirando:
“Free stroke” with the first three fingers playing the upper strings and the
thumb playing the bass notes.
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Harmonics:
Stopping the string with one hand while plucking with the other to
produce a higher harmonic of the note.
The Spanish Flamenco Guitar instrument gives you the ability to use all these playing
techniques, accessed using different note velocities and the mod wheel.
Turkish Oud Lute
The oud is a stringed instrument common to Turkish and Arabic civilizations. An
ancient legend claims that the oud was created by one of Adam’s grandsons. However,
modern historians believe that it was invented in Mesopotamia in the second
millennium B.C.
The front of the body is flat, with a central sound hole, while the back is pear-shaped,
creating a resonant chamber to strengthen the sound. The neck is fairly short, and
supports from five to eight sets of strings. Each string except for the lowest is doubled
in unison. The player uses a pick (called the “mizrap” in Turkish), originally made from a
bird’s feather, to pluck the strings. There are four-, five-, and six-course ouds, each with
its own tuning.
Turkish Saz Lute
The saz is descended from earlier long-necked lutes which can be traced back to
Babylon and Sumeria. These instruments, including the kopuz and cogur, played a
historic role in Turkish music. Today, the saz is the most commonly found folk
instrument in Turkey, with distinct regional playing styles and techniques.
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The saz has a long, thin neck and a teardrop-shaped body. The neck is traditionally
made of fir and the body carved from a single piece of mulberry wood. Small
soundholes are carved into the top and also sometimes the sides of the body. The
strings are metal, usually steel or brass, and the player uses a long pick to pluck them.
There are several sizes of saz, ranging from the smallest, the cura (with three sets of
strings) to the medium-sized baglama (with six sets of strings) to the larger divan or
meydan (with nine strings).
Guitars
Instrument Controller Info
Chinese Ruan Moon Guitar Â
Hawaiian Ukulele Â
Irish Bouzouki Â
Medieval Lute Â
Spanish Flamenco Guitar Â
Turkish Oud Lute Â
Turkish Saz Lute Â
Mod wheel adds a short tremolo.
Velocity increases attack and volume.
Â
Highest velocity adds slide up to note.
Â
Velocity adds attack and volume.
Mod wheel adds tremolo.
Velocity increases attack and volume.
Â
Highest velocity adds slide up to note.
Â
Velocity adds attack and volume.
Mod wheel adds harmonics an octave above the note played.
Velocity increases attack and volume; changes strummed chords
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on notes below B1.
Highest velocity adds slide up to note.
Â
Notes below B1 play strummed chords; notes above B5 play body
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taps and knocks.
Mod wheel adds pull-off down to note.
Velocity increases attack and volume.
Â
Highest velocity adds wavering to note.
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Mod wheel adds tremolo.
Velocity increases attack and volume.
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Highest velocity adds short trill to note.
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Lowest octave plays the first, fifth, and octave.
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Mallets
World Music includes mallet instruments from the African continent, the islands of
Indonesia, and the mountainous nation of Tibet.
African Kalimba
The kalimba (also called the “thumb piano”) was invented by African slaves in the
Caribbean, using ingenuity to create an instrument from extremely limited resources.
It consists of a small wooden box with a central sound hole, with a row of metal bars
suspended above. The player presses the bars with either thumb to sound different
notes. The player can change the tone by changing the amount of pressure used to
press the bars. Kalimbas can be found in a variety of sizes and tunings.
African Marimba
The marimba is a large instrument consisting of a set wooden bars laid out like the
keys of a piano. Below each bar is a resonating tube that amplifies its sound. The player
strikes the bars using mallets—typically wooden sticks with heads made of felt, rubber,
or other materials. The sound of the African marimba is richer and fuller than that of
the concert version of the instrument.
13
The Indonesian islands are home to a unique form of ensemble music-making using
mallet percussion instruments. The gamelan has fascinated composers and listeners
since being brought to the West at the beginning of the 20th century.
Indonesian Gamelan
Gamelan is the name for the traditional music ensemble of Indonesia. Both Bali and
Java have both produced distinctive styles of gamelan playing with histories extending
over many centuries. The word
gamelan
means “ensemble” or “orchestra.”
The sound of a gamelan is produced by a combination of metallic percussion
instruments, including the xylophone-like
reyong.
Gangsa are struck with hammer-shaped mallets, while reyong are struck with
gangsa
and sets of suspended gongs called
wooden sticks wound with rope. Both instruments can be muted by the player’s free
hand; with the Indonesian Gamelan Software Instrument, you can play ringing and
muted notes on both the gangsa and reyong using the mod wheel.
The characteristic shimmering sound of the gamelan is produced by slight differences
in tuning between instruments playing interlocking patterns. Another technique of
gamelan performance involves playing the same melody at several different rates
simultaneously, creating intricate, interweaving patterns.
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Tibetan Singing Bowls
Tibetan singing bowls (also called “Himalayan bowls”) have been used by monks as
part of Buddhist meditation for hundreds of years. The bowls, which are handmade of
metal and come in a variety of sizes, are played by striking the edge or rubbing (or
“stirring”) the inside surface. According to tradition, singing bowls produce no sound if
they are played incorrectly, but, when played correctly, produce a smooth, relaxing
sound that is beneficial to the chakras of both player and listeners.
Mallets
Instrument Controller Info
African Kalimba Â
African Marimba  Mod wheel adds vibrato.
Indonesian Gamelan  Mod wheel controls whether notes ring or are stopped.
Tibetan Singing Bowls  Mod wheel adds vibrato.
Mod wheel adds vibrato.
 Velocity increases attack and volume.
 Velocity increases attack and volume.
 Velocity adds attack and volume.
 Notes below B1 play reyong gongs; B1 and above play gangsa.
 Velocity increases attack and volume.
15
Pianos and Keyboards
World Music includes an Afro-Cuban upright piano and two accordions: a polka
accordion and a tango accordion.
Afro-Cuban Upright Piano
Cuban music has long been an intense melting pot of cultures and styles, mixing
Spanish and West African influences with those from France, Jamaica, the United States,
and other countries. In the 1940s, Chano Pozo and Dizzy Gillespie brought the AfroCuban sound into the world of jazz, and this potent combination has given birth to a
variety of new styles including salsa, merengue, songo, son, mambo, and cha cha.
16
The Afro-Cuban Upright Piano instrument provides a brighter, sharper sound than the
other pianos created for GarageBand, conjuring the sound of a well-worn piano heard
in a late-night club setting.
Polka Accordion
Polka is a form of dance music that originated in Bohemia (now part of the Czech
Republic) in the 19th century. It quickly spread throughout Europe, Russia, and the
Americas. Several distinctive styles have evolved in North America, including the "Polish
style" with roots in Chicago, the “Slovenian style” associated with Cleveland, and the
“Conjunto style” of Texas and Northern Mexico (also called “Norteno”). In the 1980s and
1990s, adventurous bands combined polka with contemporary rock styles, producing
“punk polka” and “alternative polka.” Polkas can be played on many different
instruments, but the accordion is common to nearly all these polka styles.
The accordion (sometimes called the “squeezebox”) was invented in Austria in the 19th
century, and its use spread through Europe and the rest of the world along with the
spread of the polka. The accordion consists of a bellows that the player expands and
contracts to vibrate a set of metal reeds that produce the sound, and a keyboard that
triggers which reeds to set in motion. Some accordions also have buttons used to play
chords that accompany the melody. The instrument is held against the player’s body
with a strap, allowing the player to move freely while performing.
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Tango Accordion
In addition to its use as a polka instrument (described in the previous section),
the accordion has also been frequently used in performances of Argentine tango.
Tango accordions are typically larger and have a tone quality and voicings different
from polka accordions, but are constructed and played in the same manner.
Pianos and Keyboards
Instrument Controller Info
Afro-Cuban Upright Piano  Velocity adds attack and volume.
Polka Accordion  Pitchbend controls volume.
 Velocity controls speed of attack.
Tango Accordion  Pitchbend controls volume.
18
Strings
Stringed instruments are common to all musical cultures, and both bowed and plucked
strings can be found in nearly every corner of the globe. Variations of the two types of
plucked instruments, the lute (with a neck projecting from the body that holds the
strings) and the zither (with a large trapezoidal body across which the strings are
stretched) likely came into being as different cultures traveled and intermingled.
Examples include the oud, the lute, and the bouzouki (all lute-like instruments), and the
guzheng, santoor, and hammered dulcimer (all zithers).
Celtic Hammered Dulcimer
The gentle sounds of the hammered dulcimer are familiar to fans of Celtic music and
the folk music of the British Isles. The name comes from a Latin phrase meaning “sweet
sound.” Its origin is uncertain, but it has been widely used as a folk instrument
throughout Europe for more than six centuries. Recent decades have seen a revival of
interest in both the building and playing of the instrument.
The hammered dulcimer consists of a trapezoidal sounding board made of wood, with
the strings stretched across bridges mounted on the top. The player strikes the strings
with hammers held in both hands. Hammered dulcimers exist in a variety of sizes,
which are distinguished by the number of strings that cross each bridge.
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Celtic Harp
The history of the Celtic harp extends back many centuries. Early forms of the harp
were widespread throughout Ireland, Scotland, and Wales as early as 1000 A.D., and
visitors to the area often commented on the natives’ skill in performance. The harp was
popular both in court and country villages, where virtuoso harpists were revered and
their instruments prized and highly decorated.
The tone of the Celtic harp is softer and brighter than that of a concert harp. It is
smaller but shares a similar triangular shape. The strings are made of wire, and are
stretched from the top to the bottom of the instrument. The player plucks them with
both hands, and can use the pad of one or both hands to mute strings as well. Each
harp is tuned to a particular key. Celtic harps do not use pedals, but contemporary
instruments have small knobs, used to retune the strings between songs, across the
top of the body.
20
Chinese Erhu Violin
The erhu violin developed from earlier string instruments, including the huqin. Little is
known about its history before it was popularized in the early 20th century by the
musician Liu Tianhua, who composed many original pieces for it.
The erhu is a bowed instrument with two strings stretched over a long neck. The base
of the neck is attached to a resonator that consists of a hollow wooden box covered by
an animal skin (traditionally the skin of a python). The tip of the neck can be ornately
carved, sometimes in the shape of an animal’s head. The strings are tuned in fifths,
often to the notes D-A or C-G. The player never lifts the bow from the strings, but
instead passes it between them, producing a hypnotizing, voice-like sound. The
instrument’s playing technique includes bending notes up and down, and the Chinese
Erhu Violin Software Instrument gives you this playing style, accessed using the mod
wheel.
Chinese Guzheng Zither
The guzheng (sometimes called the “zheng”) is a traditional Chinese instrument dating
back to the Qin and Han dynasties. It was historically associated with the Qin state,
from which it migrated to many other parts of China. Ancient poems and stories relate
the instrument’s popularity and the pleasing effect its tone produced on audiences. It is
the parent instrument of the Japanese koto.
21
The guzheng has a semi-circular wooden base over which a set of strings is stretched. It
has twelve or thirteen strings, which are commonly tuned to the notes of the
pentatonic scale, covering a range of four octaves. Players pluck the strings with picks
attached to their right-hand fingers while touching the strings with their left hand.
Playing techniques include bending notes and strumming the strings; the Chinese
Guzheng Zither Software Instrument includes both techniques, accessed using velocity
and the mod wheel.
Indian Sitar
The sitar is one of the most familiar instruments in Indian classical music. It developed
from earlier Indian and Persian instruments in the 18th century. Its singing tone made it
ideal for the Hindu style of playing extended, improvised melodies known as “raga.”
The word raga literally indicates the scale being used, but can also imply a piece with a
particular mood, intended for a particular purpose, or even meant to be played at a
specific time of day.
The sitar consists of a deep curved body, usually made from a gourd, and a long neck.
It has two sets of strings, one for playing melodies and one that vibrates in sympathy
with the played notes. Players pluck the melody strings with their right hand while
pressing them against the raised frets with their left hand. The sympathetic strings
below the frets resonate with different notes, giving the sitar its characteristic lush
sound. An instrument can have six or seven melody strings and twelve sympathetic
strings, and has a range of three octaves. The tuning of the melody strings can vary, but
usually consists of fifths, fourths, and octaves, for example: C#-G#-C#-F#-G#-C#. The
sympathetic strings are tuned to fit the notes of each raga.
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Irish Fiddle
The fiddle has long been one of the chief instruments of traditional Irish folk music. It is
ideally suited to playing the long, lilting melodies characteristic of the style, and to the
reels, jigs, and other lively dance pieces played throughout the British Isles. Over the
centuries a rich tradition of fiddle-playing developed, with recognizably different styles
in different regions of the country. Today, those regional styles have merged together
into the modern Celtic style of playing.
The Irish fiddle is identical in construction to a concert violin, but is played using a
slightly different bowing technique that produces a louder, harder sound. The strings
are tuned to the standard G-D-A-E concert tuning. The playing style includes a wide
variety of trills and ornaments; the Irish Fiddle Software Instrument gives you both
upper and lower trills, accessed using the mod wheel.
Japanese Koto
The koto came to Japan from China, and is likely descended from the Chinese guzheng.
It was originally played exclusively in the royal court, but in the 17th century was
popularized by a virtuoso who played both original compositions and popular
melodies on it.
The koto has a long, hollow wooden body. The strings, traditionally made of silk, are
stretched over bridges that the player moves to produce different notes. The koto
typically has thirteen strings that are tuned to the notes of the particular song, and that
the players pluck using picks attached to their fingers.
23
The playing technique for the koto includes the “tsuki” style, in which the string is
plucked, pressed, and then released, causing the note to first bend up then return to its
original pitch. Another common technique uses double-struck notes, with the string
forcibly plucked in alternate directions. The Japanese Koto Software Instrument
includes both these playing styles, with the “tsuki” style produced at the highest note
velocity level and double-struck notes played using the mod wheel.
Persian Santoor
The santoor (the name comes from a Sanskrit phrase meaning “100-stringed lute”) is a
classical music instrument of Persia and Arabia, and was also played in India by Sufi
sects founded by the poet Rumi. Many musical cultures have similar instruments,
including the santour in Iran, Iraq, and Turkey, and the santoori in Greece.
The wooden body is trapezoidal, with narrow sides and a wide soundboard. The strings
are stretched across wooden bridges that sit on top of the soundboard. On the right
side of the instrument are tuning pins which the player uses to retune the strings. In
the instrument’s upper and middle range there are three strings for each note; all three
are always struck together. In the lower range each note has two strings, and the
lowest notes have only a single string. The strings are struck with angled mallets held in
both hands. The notes are allowed to ring and are not muted.
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The playing technique of the santoor includes a tremolo attack, in which the mallet is
bounced across the strings producing quick repetitions of the note, adding intensity,
and also includes a longer tremolo that is often played softly. The Persian Santoor
Instrument gives you both of these styles, accessed using the mod wheel.
Strings
Instrument Controller Info
Celtic Hammered Dulcimer  Mod wheel at mid setting adds tremolo; at high setting strums
the first, fifth, and octave.
 Velocity adds attack and volume.
Celtic Harp  Velocity adds attack and volume.
Chinese Erhu Violin  Mod wheel at mid setting adds slide up to note; at high setting
adds slide down to note.
 Highest velocity adds trill to note.
Chinese Guzheng Zither  Mod wheel at mid setting adds bend down to note; at high
setting plays strums.
 Velocity adds attack and volume.
 Highest velocity adds bend up then down.
Indian Sitar  Mod wheel adds vibrato.
 Velocity adds slide up to note.
 Notes C-1 and C#-1 sound tampura drone; notes D-1 to B0 sound
tampura notes; notes above C5 sound sympathetic strings.
Irish Fiddle  Mod wheel at lower mid setting adds upper trill; at upper mid
setting adds trill down; at high setting plays vibrato.
 Velocity adds attack and volume.
 Notes sustain with change of bow direction.
Japanese Koto  Mod wheel plays double-struck notes.
 Velocity adds attack and volume.
 Highest velocity adds “tsuki” bend up and down.
Persian Santoor  Mod wheel at mid settings adds a short tremolo; at high settings
adds a continuous tremolo.
 Velocity adds attack and volume.
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Woodwinds
Producing musical tones by blowing into a reed or tube is one of the oldest forms of
music-making and is found in nearly every culture. At first each tube yielded only a
single note (as on the panpipes), but then holes were cut so the player could produce
different notes, and the first flutes and whistles came into being. As wind instruments
developed, some had their mouthpiece on the end (such as the tin whistle, the
recorder, and the Chinese xiao); on others the mouthpiece was along the side of the
instrument (such as the Indian bansuri and the Chinese di zi). End-blown and sideblown flutes produce somewhat different kinds of tone, and also involve different
playing techniques.
Celtic Tin Whistle
26
The tin whistle (also called the “pennywhistle”) is a small whistle often made of tin,
brass, or another inexpensive material. It typically has six finger holes and a metal or
plastic mouthpiece. The tin whistle is widely used as a melody instrument in Irish
traditional music. The holes in the sides of the tin whistle produce the notes of a
diatonic scale, but a player can produce accidentals by half covering them. Tin whistles
exist in a variety of sizes and keys, the most common key being D (above middle C).
Fingerings are often referred to in relation to the D instrument. Although a simple
instrument, in the hands of a skilled player the tin whistle can play trills,
fluttertonguing, and highly ornamented melodies.
Chinese Di Zi Flute
The Chinese di zi (also sometimes called “ti-tzu” or “hengdi”) is a transverse flute, like
the Western classical flute. It has been used in both court and folk music, and is prized
for its simplicity, small size, and beauty of sound. Di zi are commonly made of bamboo,
but can also be made using other types of wood and even stone, including jade.
Di zi typically have a range of two and a half octaves. Each instrument is tuned and
played in a specific key, so a player may have several instruments in order to play
different songs. In addition to the finger holes used to play notes, the di zi has a special
hole called “Muo kong,” over which a very thin piece of bamboo is stretched, creating
its characteristic penetrating tone. The Muo kong adds to the brightness and loudness
of the instrument, and also adds harmonics which make the sound more nasal.
Playing techniques for the di zi include vibrato and non-vibrato playing,
fluttertonguing, and a rapid unpitched trill used as an ornament at the beginning of
notes. The Chinese Di Zi Flute Instrument gives you all of these playing styles, accessed
using the mod wheel.
27
Chinese Xiao Flute
The xiao (also called “Di xiao” or “Dong xiao”) has been used in Chinese music for over
2000 years both as a solo instrument and in small chamber ensembles. Some historians
believe the xiao was the predecessor to the Japanese shakuhachi flute.
The xiao is an end-blown flute made of bamboo, with six finger holes pitched to the
notes of the pentatonic scale. Its tone is softer and lower than the di zi, and is suited to
expressing peaceful or melancholy moods.
Highlands Bagpipes
28
The bagpipe has a long and varied history. It is thought to have originated in ancient
Mesopotamia and traveled to early Greece and Rome as well as east to Persia and India.
It is part of the musical heritage of many European countries, including Spain and
Croatia, but is primarily associated with Scotland and Ireland.
The bagpipe is a a single or double reed instrument that uses a bag, traditionally made
from animal skin, to hold the air used to vibrate the reeds. Players press the bag with
their arm, sending the air through a reed or reeds on a fingered pipe called a chanter
to produce the notes.
The bagpipe can also produce a drone, usually a bass note two octaves below the
chanter’s keynote, which provides a harmonic background for the melody. Some
bagpipes can produces multiple drones in octaves, fourths, or fifths; a few even include
keyed pipes (called regulators) by which the player can sound a countermelody or
accompanying chords.
Indian Bansuri Flute
The flute is one of the oldest instruments in the Hindu tradition, and the god Krishna is
often shown playing a side-blown flute. The bansuri was originally a folk instrument,
but later joined the sitar as one of the main melody instruments used in North Indian
classical music.
The bansuri is a side-blown flute made of bamboo or reed, with six or seven finger
holes tuned to the notes of the diatonic scale. Each bansuri has a range of slightly over
an octave. The Indian Bansuri Flute Software Instrument includes samples of several
instruments of different sizes, allowing it to be playable over the entire keyboard range.
Playing techniques for the bansuri include both vibrato and non-vibrato playing,
fluttertonguing, and a short unpitched trill used as an ornament at the beginning of
notes. The Indian Bansuri Flute Software Instrument gives you all of these playing
styles, accessed using the mod wheel.
29
Indian Shehnai Oboe
The shehnai is descended from the nay, found in ancient Persia and Egypt. In India it
was historically used in royal music ensembles. The shehnai is believed to bring good
luck, and so is widely used in North India today for weddings and festivals, as well as in
Hindu temples.
The shehnai is a double-reed instrument (similar to a Western oboe) with a wooden
body and a brass bell. The reeds are attached to a brass tube which is wrapped with
string. The instrument can have from six to nine finger holes, some of which can be
stopped with wax. Like the oboe, the tone can be varied by controlling the player’s
breath.
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Japanese Shakuhachi Flute
The shakuhachi is historically associated with Zen Buddhist monks (called “komuso”)
who used it for meditation and spiritual development. When the komuso were
granted special travel privileges by the shogun (the Emperor), their skill in playing
the shakuhachi was often used as a test of a monk’s authenticity. As a result, they
developed a high degree of technical excellence and created many virtuoso pieces
for the instrument.
The shakuhachi is a bamboo end-blown flute (the name refers to the size of the
instrument, although now instruments can be different sizes). The finger holes are
pitched to the notes of the pentatonic scale, but skillful players can bend notes and
partially cover the holes to produce additional notes and extend the instrument’s
range, and can blow into the mouthpiece at an angle to add inflection to notes.
Medieval Recorder
The recorder (called “Blockflöte” in Germany, “flûte à bec” in France, and “flauto dolce” in
Italy) is believed to have developed in the Medieval period from whistles and other
simple flutes. In the Renaissance, recorders of many different sizes were made and
played together in recorder ensembles as well as with other instruments. Further
developments in the Baroque period led to virtuoso players and a large repertoire of
solo music for the instrument.
The recorder is an end-blown flute with a range of around two octaves. Traditionally,
recorders are carved from wood, but today they can also be molded of plastic. There
are seven finger holes on the front of the instrument, and one hole on the back
stopped by the player’s thumb. Each instrument is pitched in a particular key, the most
common keys being C and F.
31
Native American Flute
Native American tradition holds that music was given to people as a way of
communicating with the supernatural, and Native American folk music was mainly
used to convey a spiritual meaning, to pray for good luck, and to relate stories of
heroes. The origins of the Native American flute are unknown, but some believe it was
developed by the ancient Pueblo peoples who used it for meditation, courtship, and
religious rituals. The instrument saw a revival in the 1960s, and has since been widely
used in New Age and ambient music styles.
The Native American flute is the only flute with two air chambers. A wall inside the
flute separates the top and bottom chambers; the finger holes are on the bottom. The
top chamber acts as a second resonator and gives the flute its distinctive sound. A
carved bird is tied to the top of the flute, forming a thin, flat airstream for the whistle
hole. Native American flutes can have either five or six finger holes, pitched to the
notes of the pentatonic scale, often to the keys A or D. Modern Native American flutes
typically span a range of 3 1/2 octaves.
32
Peruvian Panpipes
The panpipe (also called “panflute” or “syrinx”) is an ancient musical instrument, found
in Europe, Asia, and South America. Its name reflects its association with the god Pan
by the ancient Greeks, for whom the panpipe was a popular folk instrument. Panpipes
have long been a part of the music of Peru and other Andean cultures, and have seen
renewed interest in the world music and New Age movements.
The panpipe consists of a series of reeds of increasing length which are tied together in
a row. Each pipe sounds a single note; players move the instrument across their mouth,
placing the pipe for the desired note in front of their lips. Panpipes come in variety of
sizes, usually with ten or more pipes.
Woodwinds
Instrument Controller Info
Celtic Tin Whistle  Mod wheel gives vibrato, non-vibrato, and a short slide
up to the note.
Chinese Di Zi Flute  Mod wheel gives vibrato, non-vibrato, and a short trill.
 Velocity increases volume.
Chinese Xiao Flute  Mod wheel gives vibrato, non-vibrato, and a short trill.
 Velocity increases volume.
Highland Bagpipes  Velocity increases volume.
Indian Bansuri Flute  Mod wheel gives vibrato, non-vibrato, a short slide
up to the note, and fluttertonguing.
 Velocity increases volume.
Indian Shehnai Oboe  Mod wheel gives long or short notes.
 Velocity adds a slight wavering to notes.
 Highest velocity adds a short trill to notes.
Japanese Shakuhachi Flute  Mod wheel gives vibrato, non-vibrato, and a short trill
down to the note.
 Velocity increases volume.
Medieval Recorder  Mod wheel gives vibrato, non-vibrato, a short slide
up to the note, and fluttertonguing.
 Velocity increases volume.
33
Instrument Controller Info
Native American Flute  Mod wheel gives vibrato, non-vibrato, and a short slide
up to the note.
 Velocity increases volume.
Peruvian Panpipes  Mod wheel gives soft and hard attack, short slide up to
the note, and fluttertonguing.
 Velocity increases volume.
Drum Kits
World Music includes African, Asian, Indian and Middle Eastern, European, and Latin
drum kits. Each drum kit contains a selection of percussion sounds, with each note on
the keyboard producing a different sound, featuring both common and exotic
instruments for each region.
Organization of Drum Kit Sounds
In the Drum Kit instruments, each note on the keyboard sounds a different instrument
or different version (playing method) for an instrument. The instruments are organized
across the keyboard using the layouts listed below.
African Kit
The African Kit includes a variety of African percussion instruments, including the
djembe, conga, log drums, talking drums, and sabar.
Note range Instrument Playing method
C-1 FronTonFrom Blanket
C#-1 FronTonFrom Open Bass
D-1 FronTonFrom Open
D#-1 FronTonFrom Open Hand
E-1 FronTonFrom Stick Mute
F-1 FronTonFrom Stick
F#-1 FronTonFrom Shell Sticks Left
G-1 FronTonFrom Shell Sticks Flam
G#-1 Low Djembe Open
A-1 Low Djembe Closed
A#-1 Hi Djembe Open
B-1 Hi Djembe Closed
C0 Berkete Open
C#0 Berkete Closed
D0 Sabar Bass (Processed)
D#0 Sabar Bass
E0 Sabar Open Slap Flam
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Note range Instrument Playing method
F0 Low Djembe Bass Left (Processed)
F#0 Low Djembe Closed Slap
G0 Low Djembe Open Left
G#0 Afro Conga Open Hand
A0 Hi Djembe Open Right
A#0 Afro Conga Slap
B0 Hi Djembe Closed Bass (Processed)
C1 Hi Djembe Bass Left (Processed)
C#1 Hi Djembe Closed
D1 Hi Djembe Open Right
D#1 African Metal Shaker
E1 Hi Djembe Slap + Grace
F1 Talking Drum Low
F#1 Y-Rattle
G1 Talking Drum Medium
G#1 Y-Rattle Roll A
A1 Talking Drum Medium High
A#1 Y-Rattle Roll B
B1 Talking Drum High A
C2 Talking Drum High B
C#2 African Metal Shaker
D2 Talking Drum High C
D#2 Oghene 2 Open
E2 African Metal Shaker Roll
F2 Oghene 2 Mute
F#2 African Wooden Shaker
G2 Alo 2
G#2 Gankoqui 2 Open
A2 Alo 2 Sidestick
A#2 Gankoqui 2 Mute
B2 Alo 1 Open
C3 African Bongo High
C#3 African Bongo Low
D3 Afro High Cajon Slap
D#3 Afro High Cajon Open Slap
E3 Afro Low Cajon Open Left
35
Note range Instrument Playing method
F3 Sakara High Open
F#3 Sakara Low Open
G3 Gankoqui High Open
G#3 Gankoqui Low Open
A3 Shekere 1
A#3 Shekere 2
B3 Oghene 3 FX
C4 Oghene 1 FX
C#4 Ekpiri Roll A
D4 Ekpiri Roll B
D#4 Sabar Stick Closed
E4 Sabar Open Hand
F4 Sabar Stick Open
F#4 Talking Drum Bend Down
G4 Talking Drum Bend Up
G#4 Oghene 2 Mute
A4 Oghene 2 Open
A#4 African Small Shaker
B4 Udu Slap Left
C5 Udu Slap Left
C#5 Udu Open 1
D5 Udu Open 2
D#5 African Bombshell
E5 Log Drum Low
F5 Log Drum Hi A
F#5 Log Drum Hi A
G5 Log Drum Hi B
G#5 Log Drum Hi B
A5 Log Drum Hi C
A#5 Log Drum Hi C
B5 Log Drum Hi C
C6 Log Drum Hi C
C#6–A6 Log Drum Hi C
36
Asian Kit
The Asian Kit includes a variety of percussion instruments found throughout the Far
East, including several sizes of taiko drum, Chinese cymbals, and Chinese and
Indonesian gongs.
Note range Instrument Playing method
B0 Taiko Tom Low Open
C1 Large Taiko Open
C#1 Large Taiko Shell Stick
D1 Shimi Daiko Rim Stick
D#1 Ensemble Claps 1 High 1
E1 Ensemble Claps 2 Low 1
F1 Taiko Tom Low Open
F#1 Chinese Cymbals Hi Hats Stick Closed
G1 Taiko Tom Low Open
G#1 Chinese Cymbals Hi Hats Open Stick
A1 Taiko Tom Medium Open
A#1 Chinese Cymbals Hi Hats Open Stick
B1 Taiko Tom Medium Open
C2 Taiko Tom High Open
C#2 Chinese Wind Gong Soft/Medium/Hard
D2 Taiko Tom High Open
D#2 Medium Gong Stick Open A
E2 Medium Gong Mallet Open
F2 Medium Gong Stick Open B
F#2 Chang Chang Open
G2 Chinese Gong Open Brush/Stick
G#2 Chinese Temple Block Low Mallet
A2 Chinese Cymbals Large Marching Strike
A#2 Chinese Tam-Tams Brush Roll
B2 Chinese Gong Open Mallet/Stick
C3 KenDang Small Closed
C#3 KenDang Small Flam
D3 KenDang Large Slap
D#3 KenDang Large Edge Hit
E3 KenDang Large Open
F3 KenDang Small Edge Hit
F#3 KenDang Small Open
37
Note range Instrument Playing method
G3 Indonesian Tuned Gong Mute Stick
G#3 Indonesian Tuned Gong Mute Stick
A3 Chinese Cymbals Medium Closed/Open
A#3 Chinese Cymbals Small Closed/Open
B3 Chinese Cymbals Small Open
C4 Chinese Cymbals Medium Closed
C#4 Wood Frog Medium Scrape/Hit
D4 Wood Frog Large Scrape/Hit
D#4 Wood Frog Small Scrape/Hit
E4 Chinese Temple Block High Stick
F4 Chinese Temple Block Low Stick
F#4 Indonesian Small Gong 1 Soft Mallet/Rubber Mallet/Edge
Hit
G4 Indonesian Small Gong 2 Soft Mallet/Rubber Mallet/Edge
Hit
G#4 Chinese Hard Gong 1 Stick
A4 Chinese Hard Gong 2 Stick
A#4 Chang Chang Closed
B4 Chinese Hard Gong 3 Brush Open
C5 Chinese Tam-Tams Open Roll Crescendo
C#5 Chinese Tam-Tams Open
D5 KenDang Large Flam
D#5 Chinese Tam-Tams Mallet Open
E5 Shimi Daiko Stick Mute
F5 KenDang Large Closed
F#5 KenDang Large Bass Tone
G5 KenDang Small 2 Open
G#5 KenDang Small 2 Slap Mute
A5 Chang Chang Ruff
A#5 Chinese Tam-Tams Roll Long/Short
B5 Shimi Daiko Open
C6 Ensemble Snaps 1 Open
38
European Folk Kit
The European Folk Kit includes a variety of percussion instruments used throughout
Europe, including timpani, the waterphone, several tambourines, sleigh bells, bodhran,
wind chimes, and darbuka.
Note range Instrument Playing method
E-1 Waterphone Bowed
F-1 Waterphone Bowed
F#-1 Waterphone Bowed
G-1 Waterphone Bowed
G#-1 Waterphone Bowed
A-1 Waterphone Bowed
A#-1 Waterphone Bowed
B-1 Concert Bass Drum 36 Open
C0 Concert Bass Drum 28 Open
C#0 Concert Snare Drum 1 Side Stick
D0 Concert Snare Drum 1 Open
D#0 Concert Tenor Drum Open
E0 Concert Snare Drum 1 Short Press Roll
F0 Timpani E Open
F#0 Power Toms Open 1
G0 Timpani A Open
G#0 Power Toms Open 2
A0 Timpani G Open
A#0 Timpani C Open
B0 Bodhran Open
C1 Tapan Open
C#1 Bendir Bass Mute
D1 Mediterranean Tambourine Open
D#1 German Tambourine Open
E1 Mediterranean Tambourine Finger
F1 Concert Tom Low Open
F#1 Concert Cymbal Stick Closed
G1 Concert Tom Low Medium Open
G#1 Concert Cymbal Extended Stick
A1 Concert Tom Medium Low Open
A#1 Concert Cymbal Open
B1 Concert Tom Medium Open
39
Note range Instrument Playing method
C2 Concert Tom Medium High Open
C#2 Suspended Cymbal Small/
Medium
D2 Concert Tom High Open
D#2 Suspended Cymbal Medium Stick Ride
E2 Thunder Sheet Side Hit
F2 Suspended Cymbal Large Stick Bell
F#2 Darbuka Large Shell Hit
G2 Concert Cymbal Closed/Open/Mute
G#2 Wah Wah Bell Wah
A2 Egg Shakers Long Roll 2
A#2 Tambourine Shake Roll
B2 Suspended Cymbal Small Stick/Jclaw
C3 Darbuka Small Small/Finger
C#3 Darbuka Small Open
D3 Darbuka Large Finger
D#3 Darbuka Large Mute
E3 Darbuka Large Bass Tone
F3 Bendir Finger
F#3 Bendir Open
G3 Brake Drum Edge
G#3 Brake Drum Open
A3 Egg Shaker Medium Shake
A#3 Egg Shaker Small Shake
B3 Ratchet Short
C4 Racket Long
C#4 Whiny Tube Small Sus
D4 Whiny Tube Large Sus
D#4 Bones Open
E4 Boom Wacker Hi Open
F4 Boom Wacker Low Open
F#4 Italian Tambourine Mute
G4 Italian Tambourine Open
G#4 Air Tank 1 Open
A4 Air Tank 2 Open
A#4 Egg Shakers Roll
Open
40
Note range Instrument Playing method
B4 Sleigh Bells 1 Shake
C5 Sleigh Bells 2 Shake
C#5 Thunder Sheet Cres/Mid Hit/Top Hit
D5 Large Frame Drum Mute
D#5 Thunder Sheet Bowed
E5 Tapan Stick
F5 Large Frame Drum Finger Mute
F#5 Large Frame Drum Finger
G5 Bodhran Mute
G#5 Bodhran High Mute
A5 Italian Tambourine Slap
A#5 Wind Chimes Up/Down
B5 Large Frame Drum Open
C6 Mediterranean Tambourine Mute
C#6 Wind Singer 1 Wurl
D6 Wind Singer 2 Wurl
Indian and Middle Eastern Kit
The Indian and Middle Eastern Kit includes a variety of percussion instruments found in
India and on the Arabian peninsula, including large and small tabla, ankle bells, kanjira,
dumbek, udu, and elephant bells.
Note range Instrument Playing method
C0 Tar Finger
C#0 Tar Harmonic Mute
D0 Tar Edge Mute
D#0 Tar Slap Mute
E0 Tar Edge
F0 Tar Harmonic Open
F#0 Tabla Large Finger Mute
G0 Tabla Large Slide 2
G#0 Tabla Small Tet
A0 Tabla Large Ka
A#0 Tabla Small Na
B0 Tonbek Bass Tone Open
C1 Udu Bass Tone Open
C#1 Tonbek Extended Technique
41
Note range Instrument Playing method
D1 Gaval Slap
D#1 Daf Side Hit
E1 Gaval Edge
F1 Tabla Large Slide
F#1 Tala Large Closed
G1 Tabla Large Ga
G#1 Tala Small Closed
A1 Tablas Dhin
A#1 Tala Large Open
B1 Tablas Dha
C2 Tabla Small Tun
C#2 Indian Ankle Bells Shake
D2 Tabla Small Tin
D#2 Elephant Bell Open
E2 Daf Side Hit 2
F2 Elephant Bell 2 Open
F#2 Riq Jingle
G2 Daf Quick Shake
G#2 Riq Bass Tone
A2 Riq Slap Mute
A#2 Riq Small Jingle/Open
B2 Riq Side Hit
C3 Kanjira Small Mute
C#3 Kanjira Medium Mute
D3 Kanjira Small Open Mute
D#3 Kanjira Medium Open
E3 Kanjira Small Open
F3 Daf Finger Edge
F#3 Daf Bass Tone
G3 Riq Small Finger Edge
G#3 Riq Finger Edge
A3 Indian Ankle Bells Shake
A#3 Indian Ankle Bells Low Shake
B3 Riq Small Edge Jingle
C4 Riq Small Jingle Open
C#4 Riq Small Mute Ruff
42
Note range Instrument Playing method
D4 Dumbek Ruff
D#4 Dumbek Slap Mute
E4 Dumbek Bass Tone Open
F4 Dumbek Bass Tone Extended
F#4 Dumbek Finger Mute
G4 Dumbek Finger Edge
G#4 Tala Closed
A4 Tala Open
A#4 Riq Small Jingle Mute
B4 Gaval Edge Hand
C5 Elephant Bell Open
C#5 Tar Open
D5 Pakawaj Din
D#5 Pakawaj Open Tone
E5 Udu Slap Mute
F5 Udu Bass Tonbe Bend
F#5 Pakawaj Tin
G5 Pakawaj Closed
G#5 Pakawaj Tak
A5 Tar Harmonic Slide
A#5 Indian Ankle Bells Low Long Shake
B5 Gaval Open
C6 Rig Jingle Mute
43
Latin Kit
The Latin Kit includes a variety of percussion instruments from both Spain and Latin
America, including the surdo, bongos, timbales, agogo, guiro, Brazilian whistles, and
large and small berimbau.
Note range Instrument Playing method
C0 Repique De Mao Mute
C#0 Repique De Mao High Edge
D0 Repique De Mao Open
D#0 Repinique High Edge Finger
E0 Repinique Stick Open
F0 Repinique Open Hand
F#0 Zabumba Stick
G0 Zabumba Mute
G#0 Zabumba Open
A0 Small Surdo Open
A#0 Small Surdo Mute
B0 Snare Cajon Bass Mute
C1 Snare Cajon Bass Open
C#1 Repique De Mao Shell
D1 Snare Cajon Slap + Grace
D#1 Repinique Rim Open
E1 Snare Cajon Mute Slap
F1 Latin Roto Tom F
F#1 Small Recko Recko Up
G1 Latin Roto Tom E
G#1 Small Recko Recko Accent
A1 Latin Roto Tom D D
A#1 Large Recko Recko Accent
B1 Latin Roto Tom C C
C2 Latin Roto Tom B B
C#2 Large Recko Recko Open A
D2 Latin Roto Tom A A
D#2 Flextone Up
E2 Pandeiro Roll
F2 Flextone Up
F#2 Tambourine
G2 Flextone Down
44
Note range Instrument Playing method
G#2 Cowbell
A2 Large Recko Recko Open Vibrato
A#2 Vibraslap
B2 Small Recko Recko Open Vibrato
C3 Bongo High
C#3 Bongo Low
D3 Low Conga Mute Slap High
D#3 Low Conga Open High
E3 Afro Conga Open
F3 Timbale Open High
F#3 Timbale Open Low + Mute
G3 Agogo High
G#3 Agogo Low
A3 Cabasa
A#3 Maracas
B3 Brazilian Hi Whistle Short
C4 Brazilian Low Whistle Long
C#4 Guiro Short
D4 Lo Guiro Long
D#4 Claves
E4 Afro-Latin Woodblock High
F4 Afro-Latin Woodblock Low
F#4 Cuica High
G4 Cuica Low
G#4 Triangle Mute
A4 Triangle Open
A#4 Caxixi Medium
B4 Pandeiro Heel
C5 Pandeiro Open
C#5 Pandeiro Slap
D5 Large Surdo Mute
D#5 Large Surdo Open
E5 Rebolo Open
F5 Rebolo Stick Hand Left
F#5 Rebolo Mute
G5 Large Cajon Bass Mute
45
Note range Instrument Playing method
G#5 Large Cajon Mute Slap
A5 Small Berimbau Buzz Strike
A#5 Large Berimbau Buzz Strike
B5 Large Berimbau High Open
C6 Large Berimbau Low Open Vibrato
C#6 Small Berimbau High Open
D6 Small Berimbau Low Open
D#6 Small Berimbau Low Open Vibrato
The following diagram gives a reference of the range of the keyboard.
c0 c1 c2 c3 c4 c5
Note: On most smaller music keyboards, you can access higher and lower octaves
using the keyboard’s octave up and octave down controls. See the instructions that
came with your keyboard.
46
Performance Tips
The Software Instruments and Apple Loops in World Music represent the state of the
art in sample-based digital audio technology. They are designed to provide an
extremely high level of sound quality while using your computer’s processor, memory,
and hard disk resources as efficiently as possible. By their nature, however, high-quality
samples like the ones in World Music require a certain level of processor power,
available memory, and hard disk speed for optimal performance.
This document provides tips on how to get the most out of the World Music
instruments and loops, and tells you what aspects of your computer setup might
produce the greatest effects on performance, depending on how you use World Music.
Add Memory
In general, Real Instrument loops (blue) are extremely efficient and require the least
amount of resources from your computer. The Software Instruments and Software
Instrument loops (green) in World Music require more processing power, as the sound
is being processed in real time. This is why Software Instruments and Software
Instrument loops require a computer with at least a G4 processor, and why Apple
recommends you have at least 1 GB of RAM to use World Music.
The simplest way to increase performance—that is, to be able to play songs with more
tracks and with more Software Instruments—is to install more RAM in your computer.
For GarageBand and Logic users, adding RAM is an affordable investment that will
improve the performance of the high-quality instruments in World Music.
Convert Software Instrument Loops to Real Instrument Loops
As stated above, Software Instrument loops require more processing power than Real
Instrument loops. If your computer has 512 MB or more of memory, the performance
impact of using Software Instrument loops is much higher than with Real Instrument
loops. Whenever you use Software Instrument loops that you don’t intend to edit later,
converting them to Real Instrument loops can increase performance.
You can convert a Software Instrument loop to a Real Instrument loop by Optiondragging it from the loop browser to the timeline. You can change the default behavior
in GarageBand Preferences so that Software Instrument loops are always converted to
Real Instrument loops when you drag them from the loop browser to the timeline.
Lock Tracks
When you lock a Software Instrument track, the track is rendered to your computer's
hard disk. Playing the rendered track requires less processing power and less memory
than playing the Software Instrument track. By locking tracks, you trade processor
usage for hard disk usage. This can provide an increase in performance (especially on
computers with slower processors, or when you are using many instruments or effects,
which consume processing power), but locking many tracks can have an impact on
performance, especially on laptops or other computers with slower hard disk speeds
(or on computers with nearly full hard disks).
© 2006 Apple Computer, Inc. All rights reserved.
Apple and the Apple logo are trademarks of Apple Computer, Inc., registered
in the U.S. and other countries. GarageBand is a trademark of Apple Computer, Inc.
019-0578/01-2006
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