A User’s Guide to
GARRITAN
WORLD INSTRUMENTS
Including the ARIA™ Player
This guide written by Gary Garritan
Produced by: Gary Garritan
Programming: Chad Beckwith, Markleford Friedman
ARIA Engine Development: Plogue Art et Technologie, Inc.
Additional Programming: Eric Patenaude, Tom Hopkins
Document Editing: Jim Williams
MIDI/SFZ Programming: Chad Beckwith, Markleford Friedman
Art Direction: James Mireau
Project Management: Max Deland
Software Development: Je Hurchalla
Manual Layout: Adina Cucicov
Additional Samples: Herman Witkam, Doru Malaia, Jack De
Mello, Gene Nery, McGill University
Garritan World Instruments™ is a trademark of Garritan Corp. Use of the Garritan World Instruments library and
the contents herein are subject to the terms and conditions of the license agreement distributed with the library.
You should carefully read the license agreement before using this product. e sounds presented in Garritan World
Instruments are protected by copyright and may not be distributed, whether modied or unmodied. e Guide
to Garritan World Instruments and instrument lists contained herein are also covered by copyright. ARIA™ is a
trademark of Garritan and Plogue Art et Technologie, Inc. FINALE is a trademark of MakeMusic, Sibelius is a
trademark of Avid Technolgies, Inc., Endless Wave is a trademark of Conexant, Inc., and any other trademarks of
third-party programs are trademarks of their respective owners. No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose, without prior written permission from Garritan Corp.
e information contained herein may change without notice and does not represent a commitment on the part of
Garritan Corporation.
Garritan World Instruments
Garritan Corporation
P.O. Box 400, Orcas, WA 98280 USA
Visit us on the World Wide Web at: www.garritan.com
Copyright © 2011 by Garritan Corp. All rights reserved.
A User’s Guide to
GARRITAN
WORLD INSTRUMENTS
Including the ARIA™ Player
Table of Contents
Welcome to the Garritan World Instruments 6
Garritan World Instruments At a Glance 7
End User License Agreement 8
What the World Instruments Package Includes 9
How to Use is Manual 9
Further Documentation 10
Specications & Computer System Requirements 11
Regarding Soundcards & Speakers 13
INSTALLATION & ACTIVATION 15
Quick Reference Installation 16
Quick Reference Activation 18
ARIA PLAYER BASICS 21
Getting Around the ARIA Player Interface 22
Using ARIA Player as a Standalone 24
Using ARIA as a VST, AU, or RTAS Plug-in 24
Notation Version of Garritan World Instruments 26
A WORLD OF INSTRUMENTS 27
e Music and Instruments of Africa 28
e Music and Instruments of India 30
e Music and Instruments of China 31
e Music and Instruments of Japan 33
e Music and Instruments of Other Asian Regions 35
e Music and Instruments of Europe 36
e Music and Instruments of e Middle East 38
e Music and Instruments of North America 40
e Music and Instruments of Latin America 41
e Music and Instruments of Australia & Oceania 43
Studying World Music and Cultures 44
PLAYING GARRITAN WORLD INSTRUMENTS 47
Basic Performance Controls 48
1. Modulation Wheel Control 49
2. Note Velocity 51
3. Sustain Pedal 52
4. Keyswitching 54
5. Additional Controls 57
6. Instrument-Specic Performance Controls 60
Putting It All Together for a Real-Time Performance 61
Using Scala les—Ethnic and Non-Western Tunings 62
Performance Controllers Chart for Garritan World Instruments 64
ENSEMBLE PRESETS 63
Load Pre-set Ethnic Bands and Ensembles Easily 66
List of Ensemble Presets 66
Loading Ensemble Presets 70
4 A User’s Guide to Garritan World Instruments
DIRECTORY OF INSTRUMENTS IN GARRITAN WORLD INSTRUMENTS 71
Organization of Instruments 72
e Wind Instruments
Africa 73
China 74
India 76
Japan 78
Other Asian Regions 79
Europe (Flutes, Pennywhistles, Recorders, Shawm, Chanters, & Bagpipes,) 80
Latin America 90
Middle East 92
North America 92
Oceania 94
e Percussion Instruments
Africa 96
China 104
India 107
Japan (Complete Taiko Drum Collection) 112
Other Asian Regions 116
Europe 119
Latin America 120
Middle East 123
North America 126
Oceania (Complete Balinese & Javanese Gamelan, Hawaiian Percussion) 127
e String Instruments
Africa 134
China 136
India 137
Japan 139
Other Asian Regions 140
Europe 140
Latin America 143
Middle East 144
North America 145
Oceania 147
Other Instruments
Asia 148
Europe 149
Latin America 150
North America 151
Conclusion 152
Getting Help 153
e Garritan Community 154
Acknowledgements 155
About Garritan 156
e World of Sampling and Virtual Instruments 157
Downloadable Sounds and Other Garritan Libraries 158
5A User’s Guide to Garritan World Instruments
Welcome to World Instruments!
A New World Order of Music
Music is very important to all peoples around the world. It is an integral part of a people’s identity,
reects who they are, and distinguishes them from other cultures. Many cultures have created a rich
and beautiful musical heritage that they express through unique musical instruments. In the West we
experience only a small fraction of the number of instruments that grace this planet.
Today’s music incorporates cultural cues from all regions of the globe. Every day we hear a cross-pollination of musical instruments in blockbuster movies, television, popular games, Olympic sporting
events, ceremonies, and contemporary music. We are fortunate to live in a time where exposure to
such a diverse palette of sound is so easily accessible.
We produced this World Instruments library to celebrate the wonderful instruments from around
the world. We did our best to capture the essence of these enthralling instruments while providing
the necessary controls to play them expressively. e Garritan World Instruments collection oers
a large variety of beautifully sampled Native American and European utes, bamboo utes, Irish
utes, Chinese and Japanese utes, pan utes, and many other exotic winds from around the globe.
Included is a dynamic array of percussion instruments of all sizes and shapes—Taiko drums, Gamelan
instruments, Ewe and log drums, tablas, cymbals and gongs, mallet instruments, talking drums, steel
drums, a broad selection of Latin percussion, and much, much more. ere are numerous plucked
and bowed strings, including Indian Sitar, Japanese koto and shamisen, African kora, Middle Eastern
oud and santoor, and erhu, to name just a few. It took seven years of searching for these instruments
in order to provide this comprehensive collection, yet it by no means encompasses the vast number of
instruments throughout the world.
We think the world of you and your music. With Garritan World Instruments you need not be an
ethnomusicologist to produce world-class music. Our goal is to take you on a musical journey—to
explore new instruments and new types of music. ere is a world of instruments waiting for you to
discover. It is our hope that these diverse musical instruments from around the globe will allow you
to take your music in new and exciting directions.
Happy Musical Journeys!
6 A User’s Guide to Garritan World Instruments
Garritan World Instruments At a Glance
ank you for choosing Garritan World Instruments. Garritan World Instruments puts an entire
world of musical instruments at your ngertips. e following list presents some of the outstanding
features of the Garritan World Instruments library:
• A Comprehensive World Instrument Collection—Garritan World Instruments is a com-
plete collection of instruments from around the world, oering more individually sampled
instruments than any other ethnic sample library.
• No Sampler Required—e entire World Instruments library is integrated into the ARIA
Player and works as a virtual instrument. ere is no need to purchase a separate sampler. e
Garritan ARIA Player features Conexant’s EndlessWave™ technology for hard disc streaming.
• Intuitive Controls—e controls in Garritan World Instruments are streamlined and stan-
dardized, so that you can quickly become familiar with the library. Advanced functions such as
auto-legato, keyswitched bends and tremolos, alternation, air noises, rolls, arpeggios, and other
controls provide realistic results with minimal eort.
• Ensembles and Groups—Create various sections and groupings—from traditional Chinese
orchestras, Gamelan ensembles, Taiko groups, drumming circles—to eclectic Bollywood bands,
folk bands, or any group of your choosing. e Ensemble Manager makes it easy to load various precongured or user-created templates.
• Play from the Score of your Notation Program—You can create great-sounding World In-
struments sounds directly from the score of major notation programs. Check your notation
program for integrated support for the Garritan World Instruments library.
• Universal Format—Garritan World Instruments supports all popular formats, both on Mac
and PC, as a standalone program or as a plug-in (VST, RTAS, and OSX AudioUnits), and
works with supported notation programs. Garritan World Instruments can transform your
computer into an ethnomusicologist’s dream.
• World Tunings—A unique feature of Garritan World Instruments is its support for Scala les
to adjust to dierent temperaments and tunings. While many ethnic sample libraries use equal
temperament based on Western tuning, Garritan World Instruments supports Scala, a standard
le format for musical tunings supporting hundreds of dierent scales. With Scala support,
musicians can play an instrument in its native form.
• Suited for Every Musician—Professional composers can use this collection for quickly sketch-
ing parts involving ethnic instruments and to capture creative ideas. Hobbyists can use it to
explore the world of world instrumentation. Students can use it to score projects and to study
world music and ethnomusicology. e instruments in this collection can also be used to
supplement the Garritan Personal Orchestra and Jazz & Big Band libraries.
7A User’s Guide to Garritan World Instruments
End User License Agreement
Please read the terms of the following software licensing agreement before using this software. By installing and
loading these products on your computer you acknowledge that you have read this license agreement, understand the agreement, and agree to its terms and conditions. If you do not agree to these terms and conditions,
do not install or use the sounds contained herein. is is the complete agreement between you and Garritan
Corporation that supersedes any other representations or prior agreements, whether oral or in writing.
An important thing to understand is that YOU ARE OBTAINING A LICENSE FOR YOUR USE ONLY—
THE SOUNDS DO NOT BELONG TO YOU. e implications are described below. e sounds, samples,
and programming in Garritan World Instruments library remain the sole property of Garritan and are licensed
(not sold) to you.
What You May Do: You may use these sounds in recordings, music productions, public performances, and
for other reasonable musical purposes within musical compositions. You may use these sounds in your own
musical compositions as much as you like without any need to pay Garritan Corporation or obtain further
permission. If you do use these sounds, we ask that you include the following credits in any written materials
or credits accompanying your music that utilizes material from Garritan World Instruments (CD booklet, lm
credits, etc.): “Instrument samples used in this recording are from Garritan World Instruments”—or a similar credit
where practicable. You are allowed a maximum of four (4) installations per purchase.
What You May Not Do: e enclosed sounds may not be re-used in any commercial sample library or compet-
itive product. You are absolutely forbidden to duplicate, copy, distribute, transfer, upload, download, trade, or
loan this software or any of the contents in any way to anyone. You may not redistribute this product in whole
or in part through an archive, collection, through the Internet, a binaries group, newsgroup, or any type of media, or through a network. You may not resell the product without written permission from Garritan and payment of an additional fee. e sounds and samples contained within this software may not be edited, modied,
digitally altered, re-synthesized, or manipulated without direct written consent from Garritan Corporation.
ere are no refunds once installed and registered.
Disclaimers and Conditions: A right to use Garritan World Instruments is granted to the original end-user
only, and this license is not transferable unless there is written consent from Garritan Corporation and payment
of an additional fee. e sounds of Garritan World Instruments will only work with the bundled Garritan
ARIA Player and will not work with any other sampler. Licensor will not be responsible if the content of this
product does not t the particular purpose of the Licensee. Please make sure before installing this item that it
meets your needs, as there are no refunds. Information contained herein is subject to change without notice
and does not represent a commitment on the part of Garritan Corporation. e sounds are licensed “as is”
without warranties of any kind. Neither Garritan Corporation, nor any agent or distributor, can be held responsible for any direct or indirect or consequential loss arising from the use of this product in whatever form. e
ARIA Player is covered by the installer’s End User License Agreement and is incorporated by reference. Garritan
World Instruments may not be returned for any reason other than manufacturing defects. e terms of this
license shall be construed in accordance with the substantive laws of the United States of America and the State
of Washington. e user agrees to read the manual before seeking technical support and to make sure his or her
system meets or exceeds the recommended requirements. Garritan
any reason other than manufacturing defects. Again, there are no refunds once installed and registered.
8 A User’s Guide to Garritan World Instruments
World Instruments
may not be returned for
What the World Instruments Package Includes
is World Instruments library includes the following:
• e “Garritan ARIA Player” installer le that contains the ARIA Player software and the ARIA
User’s Manual in PDF form. *
• e “Garritan World Instruments” installer le that contains the Garritan World Instruments
sound library and World Instruments User’s Guide in PDF form.
• If you have not received an Activation Keycard by e-mail, a unique serial number is provided
so that you can register the product and receive a keycard. Don’t lose this—store it in a safe
place! You may have received this serial number through a reseller if you ordered a download
version through them.
* Note: Please make sure to get the latest ARIA Player update. Periodic updates are always being
made. Log onto your account at www.garritan.com to get the very latest.
Before you begin the installation, make sure you have read the End User License Agreement in the
preceding pages. By installing the software you are indicating you agree to the terms of the license.
How to Use is Manual
e goal of this manual is to help you learn how to use the various instruments contained in the
Garritan World Instruments library and use the controls to play the instruments. Although many
dislike reading manuals, if you wish to get the most out of this new library it is essential to read this
manual. Doing so will help you understand how to use this software library. e operation of many
of the essential features is not obvious and many of the conventions that ethnic music uses are dierent in this library.
e ARIA Player has a separate manual that can be found in the same directory as this le. Please
refer to the separate ARIA Player User’s Guide to nd out how to register, activate, and use ARIA.
e ARIA User’s Guide is an important part of the documentation.
We’ll do our best to make it easy for you to use this manual and to provide information about the
various instruments, playing techniques, and modes of control. And, of course, by no means can
playing organ music or specic techniques be taught from this or any other manual. Individual study
and research will enhance your ability to use this library.
9A User’s Guide to Garritan World Instruments
You can refer to this manual whenever you wish. It is provided in digital form as an Adobe Acrobat
document le (also known as a PDF) that can be viewed on a computer monitor or printed. If you
do not have the Adobe Acrobat Reader, it is available free from www.adobe.com. A digital manual is
eco-friendly and can be easily updated. If you need to have a paper copy, you can print this document
or order one at www.lulu.com. A printed copy can be a handy reference.
e easiest way to obtain the information you seek is to use the Bookmarks pane along the left side
of this PDF document. By opening the Bookmarks pane, you can go to the various topics from the
section names. With a PDF document, you can also zoom in to make the page larger to see more
details or zoom out to see multiple pages at once.
Further Documentation
For the latest information, including additional documentation and updates, visit our support pages
at www.garritan.com/support. ere you can nd updated information provided after the manual
was written, corrections or additions to this manual, FAQ pages with answers to common questions,
suggestions from the users of Garritan software, and news about upcoming Garritan releases. Please
also refer to the separate ARIA Player manual that contains important information about using the
ARIA Player. You can also visit the Garritan Forums for up-to-date information at: www.garritan.
com/forum.html.
10 A User’s Guide to Garritan World Instruments
Specications & Computer System Requirements
e following table lists the computer and hardware requirements for using Garritan World Instruments. You can use Garritan World Instruments on most modern personal computers that meet the
specications listed below. ese specications provide the minimum standards. For optimal functioning, we recommend you have a powerful enough computer with a fast CPU (Core 2 Duo or more
recommended), a fast hard drive, and a sucient amount of RAM. Please also observe the system
requirements of your host application, notation program, and/or sequencing program, if applicable.
See the Garritan forum or website if you are looking for recommendations or more information.
Computer System Requirements
Computer Operating System Hardware
Windows PCMicrosoft Windows 7
Microsoft Windows XP
(SP3 required)
Microsoft Windows Vista 32
Microsoft Windows Vista 64
• Core 2 Duo CPU or better recommended
• 1 GB Minimum, 2 GB RAM recommended to play the complex
ethnic ensembles. ere is a direct correlation between the number of
instruments that can be loaded and the amount of available RAM.
• 3 GB of free hard drive space
• Hard drive speed of at least 7200 RPM preferred
• Internet connection for download version, DVD-ROM drive required
for boxed version installation
• Monitor with 1,024x768 resolution or better
• A sound card compatible with ASIO 2
• Keyboard: A MIDI interface may be required if you are using a MIDI
keyboard. Many keyboards now use USB. e Mod Wheel on the
keyboard controls volume so make sure to move it up to an audible
level. If you do not have a Mod Wheel, then have the ability to assign
the controller within your music program or sequencer.
• High-quality speakers and amplier, or high-quality headphones.
• Internet connection for downloads, updates, and online registration.
Mac Mac OS X 10.6 minimum
• Mac Intel CPU or better, Mac OS X 10.6 minimum
• 2 GB RAM recommended to play complex ethnic ensembles. ere
is a direct correlation between the number of instruments that can be
loaded and the amount of available RAM.
• 3 GB of free hard drive space
• Hard drive speed of at least 7200 RPM preferred
• Internet connection for download version, DVD-ROM drive
required for boxed version installation
• Monitor with 1,024x768 resolution or better
• A sound card compatible with Core Audio
• A MIDI interface may be required if you are using a MIDI keyboard.
Many keyboards now use USB. e Mod Wheel on the keyboard
controls volume so make sure to move it up to an audible level. If
you do not have a Mod Wheel, then have the ability to assign the
controller within your music program or sequencer.
• High-quality speakers and amplier, or high-quality headphones.
• Internet connection for downloads, updates, and online registration.
11A User’s Guide to Garritan World Instruments
If you are using Garritan World Instruments within a host music program (such as a notation pro-
gram, DAW, and/or sequencing program), there may be additional resource requirements. Please also
observe the system requirements of your host application, if applicable. e demands of various other
processing software (including the sequencer, audio and eects processors, other plug-ins, and so on)
can aect functionality.
12 A User’s Guide to Garritan World Instruments
Regarding Sound Cards, Audio & MIDI Interfaces
e quality of the audio interface will have a signicant eect on the quality of the sound you will
hear from Garritan World Instruments. It will also have a substantial eect on performance (both
latency and polyphony). erefore, a good sound card is one of the most important components in
optimizing the sound and performance of Garritan World Instruments.
In theory, any audio or sound interface that the manufacturer supports for your operating system and
computer, and that has good drivers should work. However, you are unlikely to get the best sonic re-
sults from a sound card designed for computer games or system sounds. Most computers come with a
consumer-grade sound card, and we recommend that you get a good quality sound interface beyond
the one built into your computer. Older SoundBlaster sound cards (that do not support multiple
sample rates) and gamer-oriented or home system sound cards may be problematic. It is not possible
for us to test all built-in or third-party sound cards, and some interfaces do have problems on some
platforms, so please see the specications page on the Garritan website if you are considering buying
a new sound card to run Garritan World Instruments.
A low-latency audio interface with ASIO 2.0 or WDM/WaveRT drivers (Windows) or Core Audio
drivers (Mac) is required for World Instruments to work as a standalone program. ese drivers are
normally installed with the audio interface, or the most recent versions can be acquired from the
manufacturer’s website. Contact the manufacturer of your sound card for more information.
Any MIDI interface the manufacturer supports for your system should also work with Garritan
World Instruments.
Please note:
When Garritan World Instruments is running as a plug-in, it uses the audio driver selected by the
host’s setup. If the host (typically your sequencer or notation program) is set up properly and works
well, then the ARIA Player plug-in should pass through the same audio and MIDI setup. For this
information, please refer to your sequencer’s, notation program’s, or host’s manual.
13A User’s Guide to Garritan World Instruments
Regarding Speakers, Amplication, and Headphones
Ampliers and speakers or headphones are needed to listen to the audio output that Garritan
World Instruments produces through the computer’s audio or sound card(s).
e quality of the audio ampliers and speakers is extremely important; there is little point in ex-
pending a great deal on a high-end computer system and audio interface but using inferior personal
computer speakers.
Regarding 64-bit Computing
Garritan World Instruments with the ARIA Player is 64-bit compatible and takes full advantage of
the new 64-bit operating systems, processors, and hardware that are now available. e Garritan
ARIA Player is also fully 32-bit compatible. At the time of this writing, 64-bit computing is gaining
popularity, but 64-bit hosts, audio, and MIDI drivers have not fully penetrated the entire market. To
be true 64-bit the entire audio path must be 64-bit, including sampler, host, operating system, audio,
and MIDI hardware. As hosts, operating systems, and hardware become 64-bit enabled, Garritan
World Instruments will work with those 64-bit platforms. Please also consult the Garritan website
for further information and updated recommendations.
Updating to Latest Version
Be sure to check the Garritan website for any possible updates that have occurred since the time
your software was manufactured. Software is frequently updated and a more recent version may be
available. After the library has been installed, it needs to be activated. You are given a 30-day grace
period for each library before activation is required, but it is recommended that you activate as soon
as possible.
14 A User’s Guide to Garritan World Instruments
INSTALLATION
and ACTIVATION
Quick Reference Installation
Below is just a quick reference for installing Garritan World Instruments. For a complete reference
and guide to installing the ARIAPlayer, please refer to the separate ARIA User’s Guide included
with Garritan World Instruments.
Installing World Instruments is a three-part process:
3 Steps for Installing Garritan World Instruments:
• Step 1. ARIA Installation
• Step 2. Sound Library Installation
• Step 3. Activation
Installing the ARIA Player and the sound library are now two separate processes. ARIA rst is in-
stalled, then the World Instrument sound library.
PC Setup: To begin, extract the contents of the zip le you downloaded to a folder of your choos-
ing, then click on the .exe application icon and follow the on-screen prompts. If you have the
DVD version just double-click the .exe le.
Mac Setup: To begin, open up the mpkg installer from the installation zip le and follow the on-
screen prompts. If you have the DVD version, double-click on the installer icon.
You will be given the option to install several components:
• Standalone will load the Garritan ARIA Player as its own software program. You can play instruments,
record basic MIDI, and render audio les.
• VST Plug-in will let you load Garritan ARIA Player as a VST plug-in to use with sequencers such as
Cubase, Sonar, and Reaper, as well as notation programs such as Finale.
• AU Plug-in (Mac only) will let you load Garritan ARIA Player as an Audio Units plug-in within hosts
such as Logic and Digital Performer.
• RTAS Plug-in will let you use Garritan ARIA Player in Pro Tools M-Powered, LE, and HD.
Once you have selected your plug-in installation options, you can specify which parts of the library
you want installed. We recommend you install the entire library.
16 A User’s Guide to Garritan World Instruments
At this point, you can sit back and let the installer do the work. If you have the download version,
you can delete the extraction folder once Garritan World Instruments is successfully installed. Before
doing so, however, we suggest you make a backup copy of the installation zip le and put it in a safe
place. If anything happens to your computer, you can reinstall Garritan World Instruments from the
discs or the backup le.
IMPORTANT!
Please do not cancel setup after installation begins, otherwise a partial, broken installation may result.
17A User’s Guide to Garritan World Instruments
Quick Reference Activation
Garritan World Instruments features an innovative Drag and Drop authorization system. Upon
launching Garritan World Instruments for the rst time you will be asked to activate it. Clicking
yes will launch your browser and bring you to the www.garritan.com website. Here are the steps to
activate Garritan World Instruments:
• Create an account on www.garritan.com if you have not already done so, and log in to your
account. (Note: If you have purchased Garritan World Instruments directly through Garritan
you already have an account and received a keycard.)
• A unique serial number is provided by your reseller (if you did not buy direct), so that you can
register the product and retrieve your activation keycard PNG image. Follow the on-screen
instructions to enter your serial number and proceed to download your keycard.
• Save the keycard PNG to your desktop and launch the ARIA Player in standalone mode.
• With ARIA Player’s screen open, literally click and drag the PNG icon from the desktop onto
the ARIA Player screen. You will see the successful authorization!
Drag and Drop Keycard PNG icon from the Desktop onto the Garritan World Instruments ARIA Player
18 A User’s Guide to Garritan World Instruments
Another Alternative: Drag and Drop from the Browser
Another method would be to drag and drop the personalized keycard PNG image from your browser
(when logged into your account) onto the ARIA Player. Dragging and dropping your keycard may
not work with all browsers and you should rst try the previous method.
Another Alternative: Use the File Menu
You can also go to the File Menu, open the PNG le from there, and ARIA will activate.
Note: You can transfer your keycard PNG image le to a ash drive if your music computer does
not have internet access. It will also be e-mailed to you.
IMPORTANT!
e keycard has your personal information. Don’t lose this—we recommend saving your personalized
keycard to a safe place for future installations.
19A User’s Guide to Garritan World Instruments
20 A User’s Guide to Garritan World Instruments
ARIA PLAYER
BASICS
Getting Around the ARIA Player Interface
1. e active instrument light shows you which instrument’s parameters you are changing. Click
this area on another instrument to change the focus of the controls.
2. e instrument display features a drop-down menu for loading that appears when the eld
is clicked.
3. MIDI channel assignment is quick and clear.
4. Tuning controls help you to control ne tuning.
5. Stereo output assignment allows you to route instruments to as many as 16 unique stereo
output channels when ARIA Player runs as a plug-in.
6. Per-instrument sends let you apply the perfect amount of reverb to each instrument.
7. Mute and solo buttons allow you to silence or solo the individual channels so you hear only
certain parts in a mix.
8. A keyboard shows the range of notes that can be played on that instrument (indicated by the
white notes), keyswitches in pink, and the selected keyswitch in beige color.
9. Keyswitch window displays the active keyswitch.
22 A User’s Guide to Garritan World Instruments
10. Graphical faders give you a quick idea of an instrument’s presence in the mix. e faders re-
spond to CC#7 commands.
11. Window Selection allows you to select between the Mixer, Controls, Eects, and Settings
windows.
12. Ensemble Presets allow you to quickly load instrumental groups and ensembles. Please refer
to the section on Ensembles later in this manual for a list of presets.
For more information about the features of the ARIA Player, please refer to the separate ARIA
User’s Manual.
23A User’s Guide to Garritan World Instruments
Using the ARIA Player
Once installed and activated, you can load Garritan World Instruments into the ARIA Player. ere
are several ways to use Garritan World Instruments with the ARIA Player: you can play it “live” as a
standalone application, as a plug-in within a sequencer, or with a supported notation program.
Using ARIA as a Standalone
If you have installed the standalone version of the ARIA Player, you can nd it in your Applications
folder or Program menu. ARIA will attempt to determine the best audio playback conguration to
use on your machine. You can access ARIA’s playback system from the Tools > Preferences menu.
To use a MIDI keyboard with Garritan World Instruments, make sure to have the device drivers in-
stalled and the unit turned on before starting the ARIA Player Standalone. Your MIDI control device
should appear in the MIDI Input Devices menu of the Preferences dialog.
e Ensemble Manager allows you to use precongured or user-created templates, such as a regional
percussion ensemble or a large ethnic instrumental group. Using existing templates or creating your
own can save a lot of setup time. You can also load instruments yourself and use the File>Save com-
mand. e File>Save As Default command will automatically load all settings and instruments that
are currently present each time you start the program.
e Standalone program also features a MIDI and audio recording system located on the bottom of
the screen. With these controls you can load existing MIDI les for the ARIA Player to play back as
well as record yourself playing live.
Using ARIA as a VST, AU, or RTAS Plug-in
Depending on your system and the options you selected at installation, you may have one or more
of these plug-in formats available.
Conguring VST
At installation you will be prompted for the vstplugins folder directory. e installer will at-
tempt to locate an existing vstplugins folder, or you can specify your own. You can always
24 A User’s Guide to Garritan World Instruments
nd the VST in the Garritan/ARIA Player/VST directory. e VST plug-in ends in a .dll
extension. In your host’s VST plug-in conguration menu, ensure that the specied installa-
tion directory is included in the list of VST directories. You may need to re-scan the folders
to have ARIA Player VST appear in the list of software instruments.
From there, just load the ARIA Player and go! You will nd the VST listed as ARIA Player
VST.dll, which contains a single stereo output, and ARIA Player Multi VST.dll, which allows
you to assign up to 16 stereo outputs.
Important Notes for PC Users:
To use the ARIA Player with more than one VST application, you need to manually copy the ARIA
Player VST_x86.dll, installed into the chosen folder during installation of the library, to the appropriate VST-compatible host application’s VST folder. Please refer to your particular application’s user’s
guide and the Garritan support site for more information.
Regarding 64-bit hosts: Some hosts have one common VST folder for both x64 and 32-bit plug-ins;
please only use the version of the plug-in that is native to your host, e.g. for the x64-bit version of Sonar, use the ARIA Player VST_x64.dll. Mac OSX has standard folders for both VST and Audio Units
plug-ins and does not require this extra step.
Conguring AU (Audio Units—Mac Only)
e ARIA Player will install into the default Mac OSX AU plug-ins folder, after which it will
be readily available to your applications.
Conguring RTAS (Pro Tools systems only)
e ARIA Player will automatically install the RTAS plug-in to its proper location to work
with Pro Tools.
For more information about using the ARIA Player, please refer to the ARIA User’s Manual.
25A User’s Guide to Garritan World Instruments
Notation Version of Garritan World Instruments
Garritan World Instruments contains a separate Notation folder with instruments that are pro-
grammed with important dierences that make them more compatible with the way supported
notation programs such as Finale™ handle MIDI data.
e programming dierences are:
• Legato mode—controlled by CC#68 rather than CC#64. is dierence applies to all sus-
taining string and wind instruments.
• Pitchbend range—extended to +/-12 semitones for all instruments.
• Keyswitches—All notation version keyswitches consistently reside in the bottom octave of the
MIDI spec (between C-2 and B-2) for all instruments.
26 A User’s Guide to Garritan World Instruments
A WORLD of INSTRUMENTS
e Music and Instruments of Africa
Africa is the second most populous and second largest continent, and is believed to be the place where
mankind rst appeared. Anthropologists conjecture that it is also where music most likely originated.
As the ancient birthplace of mankind, Africa remains home to numerous cultures and peoples, and
its music reects its rich and varied heritage.
A characteristic of African music is that much of it is percussion-oriented. African music also often
uses polyrhythms, where dierent rhythmic patterns that are played together to create intricate met-
ric interactions. A master drummer often leads a group of drummers in a village.
Percussion instruments are also sometimes used to mimic words and to communicate. Most African
languages are tonal, so by producing dierent sounds at dierent pitches on the drum, the drummer
can imitate the tones of the language. is is heard in the various African “talking” drums. Call-
and-response is a popular form—with a leader calling, or playing a musical phrase, and the group
responding. In some cultures, percussion instruments carry actual messages from one village to an-
other. An entire community may join together to create rhythmic tapestries of sound – in Africa, it
takes a village to make music.
Musicologically, Africa can be categorized into ve regions: North Africa, West Africa, Central Africa,
East Africa, and Southern Africa. Within each region there may be many dierent styles and varia-
tions in music and instrumentation.
28 A User’s Guide to Garritan World Instruments
North African countries, including Egypt, Libya, Algeria, Tunisia, Sudan, Morocco, and Western Sa-
hara, are strongly inuenced by Middle Eastern culture, and their music and instrumentation reect
that. For example, the Arghul and Mijwiz are North African reed instruments that have similarities
to their Middle Eastern counterparts.
West Africa, or sub-Saharan Africa, is equally rich in its musical heritage. Mali, Senegal, Nigeria,
Ghana, and Guinea provide some of the most sophisticated and complex musical traditions in all of
Africa. e Ewe peoples of West Africa (Ghana, Togo, and Benin) are renowned for their experience
and excellence in drumming and have developed a deep tradition based on the Ewe drums. e deli-
cate 21-string Kora harp is also popular in West African communities, and the other-worldly sounds
of Udu drums can be heard among certain tribes in the region, particularly in Nigeria.
Central and Middle Africa, dominated by the Congo River, display a mixture of European and Cu-
ban inuences. Congolese rumba is quite popular, not only in Africa, but also throughout the world.
In addition to numerous drums, the gentler, more delicate side of the Congo is reected in the small
Donnu harp.
East African countries are strongly inuenced by Islamic traditions, yet also evolved their own unique-
ly avored styles. Ethiopia and the surrounding regions have musical traditions dating back well over
a millennium—and Kenya enjoys its own special Benga music. e begana, which resembles a large
lyre, is one of numerous instruments commonly heard in East Africa.
South Africa, long the economic center of the continent, has largely led the recording, broadcasting,
and media industries in Africa. e region has evolved a musical sound and style of its own by fusing
homegrown jazz, jive, gumboot music, the Soweto beat, Zulu choir, and many other stylistic and
formal elements.
29A User’s Guide to Garritan World Instruments
e Music and Instruments of India
With well over one billion people and ancient roots, India is profoundly endowed with a multiplic-
ity of musical traditions, the product of numerous ethnic groups, dialects, cultures and peoples. An
almost endless palette of types and forms and genres, the music of India includes folk, popular, Indi-
pop, traditional and, recently, Bollywood-style music. India’s rich classical music tradition, spanning
thousands of years, continues to this day to inspire students, composers, and listeners worldwide. e
array of instruments in India is equally varied. Some instruments are used in North Indian music
(Hindustani) and some are used in the music of Southern India (Carnatic). ere are also various
instruments used in Indian folk music.
Perhaps the most familiar form of Indian music is the Raga. A that is a seven-note interval pattern
based on twelve notes to the octave, although tuned dierently that the western chromatic scale.
Because of the uneven intervals, each that has a dierent feeling and avor. A single line melody is
established using a raga, which governs which notes from the that are used in the song and how scales
ascend and descend. A tala or rhythm is established to accompany the melody. e skill of a musician
is demonstrated by an ability to improvise on melodic ideas from the raga.
ere is a traditional system often used for the classication of Indian instruments. e ve classes of
instruments, including some representative instruments included in Garritan World Instruments, are:
• Wind Blown (Sushir): Bansuri, Harmonium, Nadaswaram, Pungi Snake Charmer, Shenai,
Shiva Whistle
• Non-Membranous Percussion (Ghan): Chimta, Chippli, Ghatam, Ghungharu, Hatheli, Khartal,
Maneera, Murchang
30 A User’s Guide to Garritan World Instruments
• Plucked Strings (Tat): Gopichand, Santur, Tanpura, Sitar
• Bowed Strings (Vitat): Sarangi (bowed and drone)
• Membranous Percussion (Avanaddh): Dai, Damroo, Dhol, Dholak, Khol, Maddal, Mridan-
gam, Naal, Nagara, Pakhawaj, Tabla, Tamte, Tasha, Tavil, Udaku
In addition to these traditional ve classes, a sixth class of electronic instruments has been created.
One such instrument in the Garritan World Instruments collection is the Electric Sitar.
e Beatles and Ravi Shankar popularized the sounds of India in the West. But more recently an
exploding lm industry, known as Bollywood, has emerged in India showcasing the subcontinent’s
broad range of traditional, folk and popular music.
e Music and Instruments of China
China is among the oldest civilizations, with a formal history dating to 2100 BCE or earlier. China
boasts the earliest musical scale in recorded history and China’s musical traditions were established
even before the ascendency of the Roman Empire. e oldest known written music is the “Solitary
Orchid,” believed to have been written by Confucius (551 BCE. – 479 BCE). Confucius conceived
of music as a way of calming passions and dispelling unrest.
Music has always held an integral role in Chinese culture and thought. e ancient Chinese believed
that sound inuenced the harmony of the universe. A vital duty of the emperor of each dynasty was
to seek out and establish that dynasty’s standard of pitch.
31A User’s Guide to Garritan World Instruments
Traditional Chinese music can be played on solo instruments or collectively in small ensembles or
larger orchestras. ere was no use of musical scores as music was orally transmitted and memorized
by the musicians. Typically, there is no conductor in traditional Chinese music, although in modern
times a conductor and scores are used.
Classical Chinese musical instruments comprise a wide variety of string, wind, and percussion instruments, and are classied by the “eight sounds,” according to the materials used in their construction.
• Silk: Guqin, Guzheng, Choazhou Guzheng, Pipa, Yueqin, Erhu, and other plucked or bowed
instruments
• Bamboo: Dizi, Xiao, Suona, Bawu
• Wood: Temple Blocks and Pan Clappers
• Stone: stone mallet instruments
• Metal: Tam-tam, gongs, cymbals (bo), (Bianzhong and Temple Bells)
• Clay: Xun and other ocarina-like instruments
• Gourd: Sheng, Hulusi
• Hide: Datangu Lion Drum and other drums
Unlike Western music, most instruments are melodic and not supported by chords, which is why
Oriental music does not contain the thicker, denser textures of Western music. Emphasis is given to
the proper articulation and nuance of each tone.
Chinese music is largely based on a pentatonic or ve-tone scale, though in some cases, the pentatonic scale is expanded to a seven-tone scale (notably in Northern Chinese folk music).
Chinese instruments often accompany a form of musical drama known as the Chinese Opera. Chinese Operas are stories with music about history and folk legends. Today there are several hundred
dierent styles of opera in China, such as the Beijing Opera style.
While retaining its classical musical traditions, the development of Chinese music was also inuenced
by other cultures. As the destination of the Silk Road, a major trade route, China had extensive
Middle Eastern and European contact and absorbed many of the concepts of these cultures into its
own traditions.
In modern China, musicians are trained in both traditional Chinese and Western styles. Many of the
foremost performers of Western classical music are Chinese. Today, China also manufactures more
musical instruments, both Western and Chinese, than any other country.
32 A User’s Guide to Garritan World Instruments
e Music and Instruments of Japan
e Japanese word for music is “ongaku,” meaning fun or comfort with sound. ere are several types
of traditional Japanese music (hogaku). Some of the more important ones are listed below:
• Gagaku: Gagaku, or “elegant music,” is the oldest form of Japanese classical music and has
been performed at the Imperial court for centuries. Gagaku also accompanied classical dance
and was used in religious ceremonies. It is the oldest continually played court music in the
world, introduced to Japan in the Nara period alongside Buddhism and is still performed to-
day. Traditional Japanese music was often improvised and is characterized as calm with no spe-
cic beat. Samurai warriors often listened to Gagaku music for tranquility and to enrich their
lives. Traditional Japanese music is based on a ve-note scale. Instruments in Gagaku music
include Hichiriki, Sho, Koto, Gong, Tsuzumi, and various other instruments.
• Nogaku: Music played during Noh performances. Noh, or Nogaku, is a form of classical Japa-
nese musical drama that has been performed since the 14th century. Noh theater is tradition-
ally accompanied by three drummers (Tsuzumi drum, Kotsuzumi, Shime-Daiko drum) and a
autist.
• Sōkyoku: Sōkyoku literally means “koto music” and represents music performed on the koto,
or by an ensemble of koto, shamisen and shakuhachi players. ere is a large body of Japanese
music played with the Koto.
• Shakuhachi-gaku: Japan has a unique tradition involving a particular wind instrument - the
Shakuhachi. Honkyoku were songs played on the Shakuhachi by Buddhist komosu monks
for enlightenment. Honkyoku involves the practice of suizen (“blowing Zen”) and the noises
33A User’s Guide to Garritan World Instruments
that make up part of the sound of shakuhachi are appreciated just as much as the note played.
e primary genres of shakuhachi music are: honkyoku (traditional solo), sankyoku (ensemble
with koto and shamisen) and shinkyoku (contemporary music composed for shakuhachi and
koto). Although the sect that originated this practice has disappeared, the shakuhachi has since
become the most popular Japanese wind instrument.
• Shamisenongaku: Music played with the Shamisen. Kabuki performances are often accompa-
nied by the shamisen.
• Min'yō: Japan also has a folk music tradition in which performers would play instruments to
accompany legend and story. Japanese folk songs included work songs, religious songs for gatherings (weddings, funerals, festivals, etc.), and children’s songs. In Min’yō, singers are often accompanied by the Shamisen, Taiko drums, Shakuhachi, Tsuzumi, Koto, or other instruments.
Okinawan folk music would often be accompanied by the sanshin. Japanese Puppet eater
also often had instrumental accompaniment.
• Taiko: e most popular musical form in Japan is the Taiko, which refers to the art of Japanese
drum ensembles. e Japanese Taiko Ensemble includes a variety of percussion instruments.
Taiko means “big drum” in Japanese. Taiko drums come in dierent sizes and some can be as
large as six feet (two meters) in diameter. Although Taiko originated hundreds of years ago (and
by some accounts as many as two thousand), they are more popular today than ever. ere are
reputedly over 8,000 Taiko groups in Japan alone, and a Taiko Ensemble movement has caught
on worldwide.
Western music has become very popular in recent years in Japan and has overshadowed traditional
music. Still, a revival of Japanese traditional music has been in vogue in recent years, not only in Japan
but throughout the world.
And not to be forgotten, another popular music craze in recent years has been Karaoke—a form of
entertainment in which amateur singers sing to well-known pop song instrumentals. Game music has
also seen explosive growth in recent years, and Japan has been in the forefront of this type of music.
34 A User’s Guide to Garritan World Instruments
e Music and Instruments of Other Asian Regions
Aside from the musical powerhouses of China, India and Japan, there are other regions of Asia that
have developed their own rich musical traditions. e remaining area in Asia accounts for a substantial
landmass and a very large population with a wealth of unique musical thought and culture… from
Tibetan temple music, to the nomadic music of Central Asia, to the Oriental hues of the Koreas.
As geography might suggest, there also many musical commonalities among Oriental cultures. e
inuence of Chinese and Japanese traditions is easily evident in Vietnam and the Koreas by their use
of pentatonic and ve-tone scales.
Chinese instruments were adopted early on and evolved within these cultures. e Vietnamese Dan
Tranh is similar to the Chinese Ghuzeng or Japanese Koto, and the Vietnamese Dan Ty Ba is similar
to the Chinese Pipa or Japanese Biwa. South Korea has its own cultural traditions of court music
and folk music. e Jang Gu drum, Chabara cymbals, and Kkwenggwari gong are percussion instru-
ments from the Koreas. More recently, Korea has developed its own style of pop music.
Bangladesh, Bengal, Myanmar (Burma), Cambodia, and ailand are more inuenced by Indian
classical music. Southeast Asia also has its own folk styles. Percussion instruments in the region
include ai Nipple Gong, Cambodian Luo gongs and cymbals (Kesi and Ching), and Kompang,
Gedul drum in Malaysia, and the Gopischand in Bengal.
35A User’s Guide to Garritan World Instruments
e music of the Himalayas (Nepal and Tibet) are primarily meditative—Tibetan singing bowls,
Tingsha and various other cymbals, and Temple Bells. e Jogi Baja, a reed instrument, can be heard
in ceremonies and rituals in Nepal.
Central Asia and Mongolia have a nomadic heritage and evolved the unique vocal traditions of Mon-
golian Long Song, overtone chanting, and Tuvan throat singing.
e Music and Instruments of Europe
Europe is known as the birthplace of traditional “Western” classical music, but the continent also has
vast folk and ethnic landscapes in its music traditions. e various folk traditions throughout Europe
are regional and musical styles are often reective of nation-states. ere are also variations within
regions, with each town or village having its own avor.
A quick tour of the European music tradition shows an impressive mix: Irish and Celtic music,
Spain’s ery Flamenco music, Swiss Alpenmusic, Basque music in the Pyrenees regions of France and
Spain, gypsy music from Eastern Europe, Slavic shepherd music, and many other styles that stretch
from the Atlantic Ocean to the Asian border, from the Baltic to the Mediterranean Seas.
36 A User’s Guide to Garritan World Instruments
European folk music has had a signicant impact on Western classical music. Many of the classical
music greats such as Chopin, Tchaikovsky, Bartok, Smetana, and other legendary composers have
borrowed generously from local folk music for their inspiration.
One particular avor of European folk music that has enjoyed a resurgence in popularity is Celtic
music. Irish and Scottish immigrants brought this unique musical tradition to the Americas and
other parts of the globe. More recently, the international successes of “Riverdance” and Enya have
exposed large audiences to the style. Today, Celtic and Irish traditional music is stronger than it has
ever been. Celtic instruments in the Garritan World Instrument collection include the Irish whistle,
Uilleann pipes, pennywhistle, bodhran, Celtic harp, and wire strung harp.
Another well-known avor is Eastern European music, particularly Gypsy music. Ever since nomadic
peoples arrived in Eastern Europe during the Middle Ages (from various places east), the Gypsies
have been one of Europe’s greatest musical treasures. Gypsies are well known for their songs that
celebrate all aspects of life. Klezmer music also originates in eastern Europe, drawing largely on the
traditions of Ashkenazi Jews as well as inuences from Gypsy and Romanian styles.
Whereas other regions of the world are more percussion-oriented, Europe seemed to have focused
more on wind and stringed instruments. Eastern European instruments in Garritan World Instru-
ments include the balalaika, mandolins, accordions, zitter, tambura, kaval, European bagpipes, chant-
ers, recorders, shawms, shepherd utes, and overtone utes.
European musical traditions spread throughout the globe and inuenced many other cultures. Colo-
nial expansion in the new world brought settlers, traders, and missionaries who brought their music
with them everywhere they went. In recent years, another settlement (or some might say, invasion)
occurred when Europe brought us the British sound (the Beatles) and all sorts of multiethnic fusions
and crossover music.
37A User’s Guide to Garritan World Instruments
e Music and Instruments of the Middle East
e Middle East is regarded as the cradle of human civilization and that distinction may also apply to
its music. Middle Eastern music can be traced back to the Bedouins of ancient times, whose caravan
songs reected nomadic life.
As the geographical crossroads between Africa, Europe, and Asia, there are many inuences that have
left their mark upon Middle Eastern music. From Arab folk song, to Persian classical music, to Su
“whirling dervish” music, to belly-dancing music, to religious chant, to Egyptian pop—Middle East-
ern music is as dierent from Western idioms as it is fascinating.
Here are some of the major dierences between Middle Eastern and Western music:
• Quarter Tone Scales—Some Middle Eastern music uses quarter-tones, whereby an octave can
have 17 notes, 19 notes, or 24 notes. us, there are notes that don’t exist in Western music.
• Vocal Emphasis—A common thread throughout the region is the connection between words
and music. Most Middle Eastern music is oriented towards vocalization. ere is also a high
regard for poetry, often accompanied by musicians.
• Melody and Ornamentation—Melodies are a main component in Middle Eastern music.
Melodies seem to progress by step with various instrumental parts moving independently. Musicians will often repeat what a singer or soloist plays and then improvise on the melody, but
with no harmony. A unique aspect is the focus on ornamentation by each instrument, rather
than from the combining of various tones.
• No Harmony and no Chords—Middle Eastern music is usually monophonic (one line at a
time) and does not typically employ harmony and chords. In contrast, Western music typically
includes harmonization and backing chords.
38 A User’s Guide to Garritan World Instruments
• Rhythm—Rhythms in Middle Eastern music are organized into patterns of emphasized and
non-emphasized beats, and the patterns can be quite complex and exciting. Rhythm often sets
the emotional tone of the song: energetic, romantic, sad, etc. ere are many dierent beat
styles in Middle Eastern music.
• Oral Rather an Written—Most Middle Eastern music traditions are passed on by ear. Be-
cause modern notation developed around a Western twelve tone scale, representation of Middle
Eastern scales and characteristic rhythmic embellishments can be dicult. Additionally, while
the transposed music reads left to right, accompanying Arabic text or lyrics is predominantly
read right to left.
Middle Eastern music traditions emphasize the soloist or small ensemble—most likely the outgrowth
of nomadic traditions. e instrument ensembles (called takht) that accompany the singers can range
from two to thirty instruments. Some of the instruments popular in a Middle Eastern takht can
include the Oud, the Quanun or Santoor, various utes, Da (tambourine), Dumbek, Darabuka,
Naqqara, goblet drums (Zarb), a variety of frame drums (Riqq), nger cymbals (Zills) and various
other instruments.
Like much of the region, music in the Middle East is in conict. ere is a struggle going on between
ideologies in the Middle East, and certain types of music (especially popular music) are frowned upon
by certain elements of society. Some regard music for pleasure, rather than for religious purposes, as
sinful. Nevertheless, Middle Eastern rulers throughout history have supported the musical arts. In
recent years, the rise of the oil economy has brought workers to the Middle East from Africa, India
and other areas, and these musical traditions are having an inuence upon modern music in the
Middle East.
39A User’s Guide to Garritan World Instruments
e Music and Instruments of North America
Before Columbus set foot in the new world, North America was inhabited by Native American
peoples who had a long and rich cultural heritage. Traditional songs among the Native peoples were
handed down from generation to generation. Music was a means of communicating with supernatu-
ral powers, commanding the elements (such as rain or wind), or healing the sick. Singing was usually
accompanied with dance and various instruments.
Traditional instrumentations consisted of ute and percussion instruments, such as drums, rattles,
and shakers. Various tribes had dierent types of drums. Powwow drums are played communally by
players who sit around them in a circle. ey also played various smaller drums such as the Cherokee
hand drum, Bualo drum, Native log drums, and Pueblo drum—made of hollowed logs with raw-
hide skins. e Native American Flute is also an important instrument used in courtship, healing,
meditation, and rituals. Recently, the Native American ute has achieved popularity for its unique
sound, featured in a variety of lms and recordings.
Ever since the Europeans began settling the New World, North America has been a melting pot of
musical styles, cultures, and thought from literally every part of the globe. e music of Early Colo-
nial America was very similar to the songs and styles of Britain, France, and Spain. As large numbers
of Europeans immigrated to America, they brought their instruments and styles with them. Enslaved
Africans brought their musical traditions and expressed them with newfangled instruments, such as
the banjo, and traditional African call and response form established a foundation for spirituals and
gospel music.
40 A User’s Guide to Garritan World Instruments
African-American spirituals gave rise to blues music reecting pain and oppression. Mixed cultures
also resulted in hybrid music forms—the French-African Creole music of New Orleans, for example.
is melting pot of America also brewed up a new musical genre, Jazz, that ignited the musical imagi-
nation of the entire world. e use of syncopation, asymmetrical rhythms, and free improvisation on
melodies reected the sense of freedom in the United States in the early nineteenth century.
Country music is believed to originate from a mixture of African-American spirituals, blues, and Ap-
palachian folk music. Rural Appalachian folk music was a mixture of British, Irish-Celtic, and African
inuences. Instrumentation included blow bottles and jugs, banjo, dulcimer, zither, washtub bass,
harmonica, and washboard (all of which are included in the Garritan World Instruments library).
Each successive wave of immigrants contributed a unique musical avor to North America. Whether
it was the Civil War, or the opening up of the frontier in the West, music mirrors the historical forces
that shaped America.
e Music and Instruments of Latin America
e music of Latin America is some of the most rhythmic and energetic in the world. Almost any-
where you go in Central and South America and the Caribbean Islands, music is close by.
41A User’s Guide to Garritan World Instruments
e music of Latin America is a fusion of indigenous peoples, Europeans (mainly Spanish and Por-
tuguese), and Africans. ese traditions have all meshed together to bring South America a feast of
musical expression—from bossa nova and samba, to tango, to vallenato and other unique styles.
People who have traveled to Brazil say it is the most musical country on the planet. Afro-Brazilian
music maintains styles close to African origins, with a dominance of percussion instruments driving
energetic syncopated rhythms. e combination of African and Portuguese inuences is also appar-
ent in Brazilian folk dances, including the samba, batuque, lundu, and the bossa nova.
Argentinian music was largely inuenced by Hispanic elements, as evidenced by the popular Tango.
e Bandoneon (Tango accordion) is a popular instrument used in Argentinian tango. Other musical
styles such as zamba, milonga and chamamé also originated in Argentina.
e music of Mexico also features various musical styles inuenced by a variety of cultures. Ranchera
music, originally consisting of a singer and guitar, has now expanded to include other instruments.
Mariachi is a popular musical genre from Mexico. Usually a Mariachi band consists of violins, trum-
pets, Spanish guitar, guitarrón, and sometimes the Veracruz harp.
e music of the Andes reects musical elements from the indigenous peoples of Bolivia, Ecuador,
Chile, and Peru. Music is part of everyday life in the Andes regions. Popular instruments in the Andes
today are the Andean panutes and siku, quena, tarka, and South American Harp.
In the nearby Caribbean, a host of styles also developed from African inuences—the Cuban rumba,
the biguine in Martinique, kaiso in Trinidad, reggae in Jamaica, calypso, and the Trinidadian steel
band.
Percussion plays a major role in Latin American music and there are far too many Latin percussion
instruments to list all of them here (but many are included in this library).
42 A User’s Guide to Garritan World Instruments
e Music and Instruments of Australia & Oceania
From the island continent of Australia to the small Polynesian and Hawaiian Islands, the music of the
Pacic is as great in scope as it is in geography.
e music of Indonesia reects the diversity of its more than 17,000 islands. e most popular and
well-known form of Indonesian music is Gamelan, which means orchestra in Balinese, and repre-
sents the traditional music ensemble of Indonesia. e instruments in a Gamelan ensemble include
a variety of tuned instruments including metallophones, bamboo utes (suling), xylophones, drums,
gongs, and chimes. Java and Bali have distinctive Gamelan ensembles. Balinese Gamelan is often
faster and more dramatic and intense, whereas Javanese Gamelan is more mellow and contemplative.
e distinctive ethereal sound of the Gamelan can be attributed to the dierences in tuning between
instruments while playing interweaving patterns.
e music of Hawaii is associated with a popular dance, known as the hula, and chant (mele). e
chant (mele) is typically accompanied by an ipu heke (a double gourd). Hula dance is often accom-
panied by the ipu (single gourd), kala`au (rhythm sticks) and Kaekeeke (long bamboo sticks). e
ukulele, a small guitar-like instrument, was brought to the Hawaiian Islands by Portuguese explorers.
e ukulele later became the instrument most associated with Hawaiian music.
43A User’s Guide to Garritan World Instruments
Studying World Music and Cultures
Mastering World Instruments requires study and practice, as does learning any instrument. Learning
more about the music and instruments of dierent peoples will benet your skills. ere are many
excellent resources on ethnomusicology and region-specic books and resources for learning more
about ethnic music styles. Understanding the musical traditions of other cultures will go a long way
and your performance will sound even more authentic. Of course, the best way to learn about how
world music should sound is to listen to ethnic recordings or attend live concerts.
Groups of Instruments in Garritan World Instruments
Wind Instruments
Blowing into a bamboo shoot or a grass reed is one of the most ancient forms of mak-
ing music. Wind instruments have been found in every culture since antiquity. Orig-
inally, wind instruments could play only one note but holes were added later to pro-
duce more pitches. Some instruments were blown on the side (like a Western ute,
Chinese Dizi or Indian Bansuri), others had a pple or mouthpiece at the end (like the Recorder,
Pennywhistle or Chinese Xiao). Other utes and reed instruments evolved over time producing a
wide array of musical colors.
Percussion Instruments
World Instruments includes a vast variety of percussion instruments from Africa,
Asia, India, China, Japan, the Middle East, Europe, Oceania, and Latin America.
ere are more percussion instruments around the globe than any other type of
instrument. In addition to individual percussion instruments there are Percussion
Ensembles such as Taiko Ensemble, Gamelan, Ewe Drums, etc. Each Percussion Ensemble contains
a selection of percussion sounds.
44 A User’s Guide to Garritan World Instruments
Stringed Instruments
Stringed instruments, whether bowed or plucked, can be found in every musical cul-
ture. Similarities and variations of the dierent types of stringed instruments evolved
as dierent cultures migrated and intermingled.
Other Instruments
Wind, percussion, and stringed instruments are just a few of the kinds of instruments
found throughout the world. ere are other types of instruments including key-
boards (such as the harmonium and accordion), mouth organs, and harmonicas.
45A User’s Guide to Garritan World Instruments
46 A User’s Guide to Garritan World Instruments
PLAYING GARRITAN
WORLD INSTRUMENTS
Playing Garritan World Instruments
Garritan provides stellar tools to transform high-quality instrument sounds into stunningly realistic
performances. e ARIA Player oers an easy, intuitive, and standardized control system to enable
you to play and shape the instrumental sounds, either in real time, or through a sequencer or notation program. e controls for one family of instruments generally carry over to other families so that
you feel at home with the entire soundset, and the system is streamlined so that you can make great
music quickly. With a little practice, you can perform several tasks simultaneously, as a real musician
does, so you can hear the musical results as you play. is chapter introduces you to the performance
controllers that oer you a wide range of possibilities for musical expression.
Basic Performance Controls:
e Real-Time Control System: (Wind and Bowed String Instruments)
With a MIDI keyboard it is possible to start making music within minutes of installing the Garritan
World Instruments library. e four basic controls are shown above. Play the keyboard with your
right hand. e sharpness of a sustaining instrument’s attack is controlled by how hard you strike the
key. With your left hand, use the modulation wheel to control dynamics and special keyswitch notes
that will alter the playing style of the samples (imparting bends or arpeggiations, for example). e
sustain pedal connects the notes, allowing you to make slurs and legato transitions.
48 A User’s Guide to Garritan World Instruments
In addition to these four basic controls, World Instruments features other means for greater control
over your instruments, all of which are user-adjustable. Automatic Variability imparts subtle changes
in tuning and timbre, and portamento controls let you continuously glide between notes. With this
controller-based approach, you play your articulations in real time in much the same manner as a
real player does. For even more authentic sounds, you can also load in ethnic scales and tunings.
Note:
Instruments that do not sustain their sounds, such as percussion instruments and plucked strings, follow the General MIDI convention of using note velocity for dynamics and sustain pedal for sustains.
1. Modulation Wheel Control
(Volume and Expression for Wind & Some Stringed Instruments)
Shaping Dynamics & Playing Expressively
One thing that makes many ethnic instruments sound unique is dynamic contrast. Every individual
note and phrase has unwritten dynamics and nuances that players interpret. Without dynamics,
music lacks its depth of expression. Dynamics and expression for the wind and sustaining string
instruments in Garritan World Instruments are achieved through the Mod Wheel. Normally, this
controller is mounted on the left side of the keyboard and is played with the left hand. In typical
General MIDI soundsets, the Mod Wheel is used to add modulation or vibrato to the sound. In
Garritan World Instruments, the Mod Wheel simultaneously controls both Volume (ppp to f) and
Timbre (brightness or tone) for all wind instruments. Especially with the wind instruments, louder
levels produce a brighter sound.
Get to Know Your Mod Wheel for expressive winds and bowed strings! e Mod Wheel controls
the dynamic ebb and ow of volume and timbre changes. In the case of a sequencer, make sure to record
a nudge of the Mod Wheel at the beginning of every MIDI track so that the selected instrument will
start with the correct volume upon playback. Remember that the Mod Wheel is not a “set and forget”
controller. It is intended to be used as an expressive controller that is in nearly constant motion, shaping
the volume and timbre of a passage. It is analogous to the air being blown through a wind instrument or
a bow being drawn across the string in a stringed instrument.
49A User’s Guide to Garritan World Instruments
You will discover that using the Mod Wheel control adds a new dimension of feeling and expression
to your performances, making them all the more believable. Try experimenting with the Mod Wheel
to develop control over the dynamics. As you play a melody, attempt a gradual crescendo or decre-
scendo, instead of going suddenly from soft to loud or loud to soft.
As shown above, the Modulation Wheel allows you to simulate a surging crescendo/diminuendo
Exercise: Play a melody with your right hand only and notice that there is little variation at all. It doesn’t
sing as it should. Now imagine how you would sing the tune. Where is the peak of the phrase? Where
would you make a crescendo and a diminuendo? Now, as you play the melody, attempt those crescendos
or decrescendos with the Mod Wheel. Listen to the eect as you make gradual changes, adjusting the
dynamics to suit your musical sensibilities.
IMPORTANT!
Even though instruments in ARIA load with a default value, it is best to always record Mod Wheel data
at the beginning of every MIDI sequence track in order to start with the correct initial volume.
Note: In addition to the Mod Wheel (CC#1) World Instruments will also respond to breath control
(CC#2) and MIDI expression (CC#11) to control the function of expressive volume/timbre. Be care-
ful to use only one at a time or the data between these controllers will cause interference. It is not neces-
sary for the user to take any steps to activate these extra controllers. ey are always active.
50 A User’s Guide to Garritan World Instruments
2. Note Velocity
(Attack for Sustaining Instruments—Volume for Percussive Instruments)
Virtually all keyboards made today support a feature called “Note Velocity” that refers to how hard
you strike a given key. e harder you press down a key, the harder and sharper the attack. e more
gently you hit the key, the softer the attack.
Applying proper accentuation brings clarity and emphasis to the notes being played. It also shapes the
rhythm and ow of a piece of music. e degree of force you apply to the keys will vary depending
on the instrument selected and the musical context. With wind instruments, accents are made by
forceful “tonguing” to emphasize the attack of certain notes. With bowed strings, like the erhu, notes
are emphasized by how hard the player digs the bow into the string. Whenever you feel that a note
should be accented, do it by striking the key harder.
It is important to note that this control relates to attack strength and is, for the most part, indepen-
dent of volume. Wind instruments in Garritan World Instruments have volume controlled by the
Mod Wheel. So, don’t always try to play notes louder by banging on the keyboard, or the result may
be a heavily accented note that you did not intend.
Percussive instruments use note velocity for volume and volume-related timbre changes, in addition
to attacks. Plucked strings will also use note velocity for volume and dynamic. e Mod Wheel has
no eect on these instruments.
51A User’s Guide to Garritan World Instruments
3. Sustain Pedal
(Legato for Sustaining Instruments)
Legato—Playing Smoothly and Evenly
So far, we have focused on aspects of performance that are controlled with your ngers, but an im-
portant part of your performance comes from your foot. Most keyboards include a sustain pedal.
Instruments that can play sustained notes (such as wind instruments) use the sustain pedal to activate
the legato playing techniques. “Legato” literally means connected, and directs the performer to play
smoother transitions between notes instead of accenting each one.
Legato is achieved by holding the sustain pedal down for the desired group of notes. Whenever you
depress the sustain pedal, the attack portion of the sample is removed to create much smoother transi-
tions between notes. As note velocity accents notes to make them sound detached, the legato feature
blends notes into an unbroken seamless musical phrase. To get an idea of what the legato sustain
function does, consider the following illustration. is is what a waveform of a musical phrase may
look like when played on a typical sampler:
Notice how disconnected the notes are. Depressing the sustain pedal removes the attack portion of
the sample and connects the notes for a smoother sounding eect.
In the case of wind instruments, notes are tongued when you have your foot o the sustain pedal.
Slurs between notes occur when you hold down the pedal. For instruments possessing sustain pedals
(pianos), it functions as you would expect.
52 A User’s Guide to Garritan World Instruments
Choosing Between Auto-Legato and Sustain-Pedal Legato (CC#64)
Since Garritan World Instruments gives two choices for legato creation, the question arises—which
should I use?
Auto-Legato is the most convenient method to use and can give good results when used as designed. It
has some limitations related to the way it handles polyphony. Its detection of overlapping notes, where
it automatically stops the rst of the overlapping notes in favor of the second, means that it functions
in what is commonly known as “mono mode.” is gives automatic transition control and the ability
to do easy trills, but it can only play one note at a time. It works well with any single line part.
All Standard instruments are, by default, in “mono” mode and can only play one note at a time under
any circumstances—just like a real instrument using standard performance techniques. So, with these
instruments it becomes a choice of convenience and one based on the relative smoothness of the note
transitions when comparing the two methods. e CC#64 method of manual legato is more exible
and usually provides smoother transitions, but requires more work on the part of the user. With the
manual approach it is up to the user to place the CC#64 “switch” data in the MIDI tracks as needed.
Most users will probably nd themselves using a combination of auto-legato and sustain-pedal legato, the choice dictated by convenience, the requirements of the track, and the specic instruments
being used in the composition. In the case of single-line parts the user may wish to begin by using
the convenient Auto-Legato and change the approach to CC#64 only if Auto-Legato is insucient
for the desired results. e two techniques have slightly dierent sounds.
53A User’s Guide to Garritan World Instruments
4. Keyswitching
(Changing Articulations and Techniques in Real Time)
Changing Articulations in Real Time
Keyswitching is a feature that allows you to change articulations quickly while playing. With the
simple touch of a key located on the keyboard below the playable range of an instrument, you can
move between dierent playing styles without having to load multiple patches. In World Instru-
ments, keyswitching is used for a variety of techniques, such as switching between single hits, various
rolls, triplets and ams (for percussion); bends, chis and nuances in the winds; and single plucks,
glisses and tremolo (for strings). ese keyswitch instruments are denoted by KS next to their name.
All patches initially load using the rst keyswitch as the default, and any keyswitch remains active
until another keyswitch message is received.
Here is an example of a typical Keyswitch layout for a percussion KS instrument:
In the ARIA player, the keyswitches are displayed below the instrument’s range using a dark pink
color. e selected keyswitch is displayed in yellow and the represented patch is identied in the
window to the left of the keyswitches.
Although it may be tempting to use your mouse to trigger one of the displayed Keyswitches in the
ARIA player, it is seldom recommended. e player’s graphic representations of keys, wheels, and
knobs are primarily there for convenient testing. Be advised that if you use the mouse to trigger a
54 A User’s Guide to Garritan World Instruments
keyswitch you want to record to a sequencer track or notation sta, the mouse action will not be
recorded. When recording a track or entering notation, use your external MIDI keyboard to record
the keyswitch note or manually enter the keyswitch note into your track.
Keyswitch Tips
• Always put the keyswitching note for the particular instrument before the rst note of the articulation
you want to play, not at the same time!
• If you transpose your score, you must be sure not to transpose the KS notes! Any transposition to
these notes will change (or eliminate) their function.
• Although it may be tempting to use your mouse to trigger one of the displayed keyswitches in the
ARIA Player, it is seldom recommended. e Player’s graphic representations of keys, wheels, and
knobs are primarily there for auditioning sounds.
Keyswitch Percussion Tips
• e Specialty Rolls for Percussion Instruments will end on Note Release; program your note duration
for the full roll or simply release the Note to end the Roll early.
• All of the Percussion Key Switch Rolls sync to your project’s tempo.
• Only trigger one Specialty Roll at a time; pressing and holding multiple notes will override previous
notes and Rolls.
Keyswitches for the Various Instrument Groups
Keyswitch assignments for Winds:
A1 = Gliss
G1 = Chi
F1 = Flutter
E1 = Bend Down
D1 = Bend Up
C1 = Default
55A User’s Guide to Garritan World Instruments
Keyswitch assignments for the Stringed Instruments:
B1 = Gliss Down (except ddle, erhu, and rebab)
A1 = Gliss Up (except ddle, erhu, and rebab)
G1 = Bend Down (or tremolo for bowed strings)
F1 = Bend Up (pizz for ddle and erhu), F#1 = mutes for ddle)
E1 = Tremolo2 (Bisbigliando2-harps, down bows - bowed strings)
D1 = Tremolo (on Release, Bisbigliando on harps, auto-alternating
for bowed strings) D#1 = forced up bows on bowed strings
C1 = Default (C#1 Mutes for some stringed instruments)
Keyswitch assignments for Percussion Instruments
B1 = Specialty Roll 6
A#1 = Specialty Roll 5
A1 = Specialty Roll 4
G#1 = Specialty Roll 3
G1 = Specialty Roll 2
F#1 = Specialty Roll 1
F1 = Triplet
E1 = Flam
D1 = Rolls (on Release)
C1 = Default
Keyswitch assignments for Other Instruments
G1 = Chi
F1 = Bend Down
E1 = Bend Up
D1 = Rolls (on Release)
C1 = Default
56 A User’s Guide to Garritan World Instruments
Note:
e Keyswitch assignments will vary between some of the instruments in each category, depending on
whether or not they are capable of producing the articulations and eects. Because of this, certain instruments will have more Keyswitches than others. e keyswitch labels will also vary to reect the proper
terms for the instrument’s articulations and eects ( e.g., hits, plucks, tremolo, bisbigliando, etc.).
5. Additional Performance Controls
In addition to the four basic controls, there are many other ways you can ne-tune your World In-
struments performances.
Pitch Bend Wheel: is control can be used to bend the pitch of a note at its start or while
it is sustaining. It is especially useful for trombone and guitar. For wind instruments, the
pitchbend range is limited to +/-2 semitones to give the user subtle control over scoops,
bends, and other important eects while avoiding such artifacts as formant displacement. Note that
the Notation folder instruments have a consistent pitchbend range of +/-12 semitones for compatibility with various notation programs.
57A User’s Guide to Garritan World Instruments
Pitch Bend Bypass: CC#19 can be used to turn o pitch bend so that bend data can be applied to
only one of two overlapping notes, if desired.
Automatic Variability Controls (CC#22 & CC#23): ese controls automatically create
tuning and timbre variability from note to note. e VAR 1 knob controls intonation with
random tuning variations, adjustable from a few cents to an entire semitone. e VAR 2
knob introduces random variations in timbre quality by adjusting a lter on the instrument. e
combination of both controls provides a more human result in the quality of the sound. e VAR 1
and VAR 2 controls can also be adjusted or varied throughout a piece by using MIDI controllers
CC#22 and CC#23, respectively.
Portamento Control (CC#20): is control is related to Pitch bend above and will allow
you to slide from note to note. is is particularly helpful with wind instruments that bend
pitches between notes in idiomatic usage. ere is a knob that adjusts the portamento for instruments
that use this function. Additionally, MIDI controller CC#20 can be assigned to an external MIDI
fader or drawn as graphic data in your sequencer of choice. In general, slides between smaller intervals
require greater values than slides between larger intervals. It is best to draw the data manually (for any
specic notes that require slides) in your sequencer or to assign this feature to a separate hardware
controller (CC#20) for real-time control. You can also add varying amounts of portamento for
smooth portamento eects (play two notes in a row and one will glide into the other).
Length Control (CC#21): e default length is the natural release/decay length of the
sample. As you adjust MIDI controller CC#21, the length of the release/decay of the
sample can be varied over a useful range. is can be used along with MIDI note length data and
velocity strength to give a wider variety of articulation types ranging from very short and light to ac-
cented and forceful. It can also give control of note releases in legato situations by lengthening re-
leases for smoother overlaps. With wind instruments, very short staccato notes can help create the
illusion of double- and triple-tonguing.
Vibrato Control: Wind, brass and bowed stringed instruments have vibrato control.
ere are two vibrato controllers: Aftertouch controls vibrato intensity and MIDI con-
troller CC#17 controls vibrato speed. Because these components are independent, vibrato can be
added to an instrument with natural variations in entrance timing, speed variations, and intensity.
58 A User’s Guide to Garritan World Instruments
• Hidden Aftertouch (Channel Pressure) Vibrato Intensity: Many keyboards send Aftertouch
data when nger pressure on a key is varied while the key is held. Aftertouch data is used to
adjust the vibrato intensity of a NonVib instrument. Aftertouch data can also be “drawn” into
MIDI tracks manually.
• Vibrato Speed Controller (CC#17): is controller, when used in conjunction with After-
touch, will vary the vibrato speed. CC#17 can be assigned to an available slider or knob on a
hardware keyboard to give real-time control. Vibrato speed controller data can also be “drawn”
into MIDI tracks manually.
It is important to be aware that the vibrato features do not apply to any instruments with natu-
rally recorded vibrato in the samples (such as most string instruments). Instruments that have
vibrato control will display a knob labeled “VibSpd(CC#17)” in the Instrument Controls on the
Controls tab of the interface.
Note:
M-Audio and some other keyboard manufacturers often use CC#131 as a substitute for Aftertouch
when the keyboard model doesn’t have Aftertouch sensitivity built in. A programmable slider on the
keyboard can be assigned to CC#131 and the keyboard will output Aftertouch data.
Bow Noise / Air Flow Noise (CC#12): MIDI controller CC#12 controls the sound of
the air column moving through wind instruments. MIDI controller CC#12 also controls
the level of bow noise for certain solo string instruments. is can be used for many things, from
creating a “breathy” sound to adding a little subtle “grit” to the tone. is sound is tied to the ampli-
tude portion of the Vibrato control so that the air ow pulsates in synchronization with the speed of
the vibrato. e default setting is o for wind instruments and low for bowed string instruments.
Bend Speed (CC#13): MIDI controller CC#13 controls the speed of the bend between
notes for the instruments that utilize Bend Up and Bend Down keyswitches.
Flutter Tongue/Growl sound (CC#18): MIDI controller CC#18 controls the level of
the utter tongue or “growl” eect. e default setting is o.
59A User’s Guide to Garritan World Instruments
Tone Quality control (CC#26 & CC#27): MIDI controller CC#26 controls the basic
warmth of the tone quality. It is set by default to a useful value, but CC#27 allows the user
to modify the center frequency of this EQ function, if desired. Be careful not to modify the center
frequency while a note is being sustained or you may get unnatural “sweep” artifacts. It is best set to
one value for an entire track.
6. Instrument Specic Performance Controls
Deep Percussion (Doun Doun Ba, Bombo, Powwow Drums, Gong & Gong Ageng):
Bass Drum Fundamental Control (CC#20): Certain deep-toned percussion instruments
in Garritan World Instruments have an adjustable fundamental tone that is controlled by a
knob designated ‘BDFund” in the controller section of the ARIA Player. is control can add
a great deal of energy to extremely low frequencies, so use it with care.
Fretted Stringed Instruments (Mandolin, Octave Mandolin, Banjo, Banjolele, Ukulele, Tenor
Ukulele, Oud, Guitarron, and also Wirestrung harp):
Muted Keyswitch (C#1): e Muted Keyswitch can be used for introducing damping to
the decay of the sound. Notes played with the Muted Keyswitch enabled will end abruptly
at note release. ey will sound Muted and diminished for sustained notes.
Accordions (Concert Accordion, Concertina, French Accordion, Italian Mussette Accordion):
Bellows Noise (CC#12): All accordion instruments include bellows noise. e “Bellows”
Control can be found in the controller section of the ARIA Player. is control lowers and
raises the volume and presence of the accordion bellows.
Bowed Stringed Instruments (Fiddle, Sarangi, Rebab):
Vibrato Control: e Fiddle and Rebab have vibrato control which is unique among
sampled solo strings. Pizz Keyswitch (B1): e Pizz Keyswitch will enable the pizzicato
articulation samples for bowed instruments within Garritan World Instruments.
60 A User’s Guide to Garritan World Instruments
Putting It All Together for a Real-Time Performance
e basic system is to use your Mod Wheel, Note Velocity, Sustain Pedal, Keyswitches, and other
controllers to play your instruments with nuances and expression. It couldn’t be easier! With the more
advanced controls you can ne-tune your performance. is approach lets you play your articulations
in real time in much the same manner as a player of the actual instrument does.
Using your hands and feet simultaneously to perform the dierent tasks requires some coordination.
e key is to start simple and to realize that you do not have to do it perfectly the rst time. e best
way to learn is to practice playing just the notes with one hand. Learn the ngerings for the notes and
apply the accents where appropriate. Once you are acquainted with the notes and the accentuation
scheme, gradually add the other controllers and use keyswitches. For example, play a wind instru-
ment melody with the right hand. After a few practice runs try riding the Mod Wheel for expres-
sion. en keyswitch a bend attack and add the sustain pedal for legato phrasing. Soon you’ll develop
coordination, and by combining the dierent controls in real-time you’ll have an unlimited amount
of expressive capabilities. Once you get the hang of it, you can play almost anything that comes to
your musical imagination.
Create ensembles of your choosing with individual instruments. With Garritan World Instruments,
you can build instrumental ensembles, one instrument at a time, exactly the way you want. You can
combine world regions and have a hybrid Hawaiian-Afro-Celtic ensemble, or any grouping of your
choosing. When you create a section from separate instruments performed individually, with varia-
tions in timing and expression, you can achieve a very realistic performance. You can assign instru-
ments of a section to dierent MIDI channels so that you can have individual parts for each player,
or you can assign multiple instruments all to a single MIDI channel to create automatic ensemble
unisons.
By using the real-time performance controls to play each instrument expressively and building en-
sembles, the nal result can be extraordinary.
61A User’s Guide to Garritan World Instruments
Using Scala les—Ethnic and Non-Western Tunings
A unique feature of the Garritan World Instruments is its support for Scala les to adjust to dier-
ent temperaments and tunings. Scales and tunings are very important in world music and Garritan
World Instruments supports Scala, a standard le format for musical tunings supporting hundreds of
dierent scales. With Scala support, musicians can play an instrument in its native form.
Many digital musicians are accustomed to Western equal temperament tunings, but there are many
hundreds of dierent tunings that are used in many dierent regions around the globe. While the
default tuning of the instruments in this library is Western equal temperament, you can also choose
from among various exotic and non-Western tunings and scales. ese non-Western scales will add
more realism to your ethnic instrumentation.
Scala is a powerful format used in musical tunings, such as just intonation scales, equal and historical
temperaments, microtonal and macrotonal scales, and non-Western scales. It supports scale creation,
editing, comparison, analysis, storage, tuning of electronic instruments, MIDI le generation, and
tuning conversion. A very large library of scales is freely available for Scala.
Scala Import Button:
e Import button provides a variety of other tunings that can be
imported and used with World Instruments. e Scala le import
feature enables the use of thousands of other tunings, if desired.
is is a feature that could be very useful in World Instruments
where non-Western scales are often used.
e following menu appears when the “Import” button is clicked:
62 A User’s Guide to Garritan World Instruments
e Scala Center box allows you to select the base note (or center) of your scale.
Notes:
Some of the Scala les were designed to match the preset instrument “ensembles”. When you load an
ensemble check to see if there is a corresponding Scala le that can also be loaded. Loading a matching
Scala le will impart more realism to your ethnic instrument ensembles. Try experimenting with dier-
ent tunings.
e ARIA player loads Scala les globally, so it applies to all of the instruments. Use multiple instances
of the ARIA player to handle instruments with dierent tuning requirements.
63A User’s Guide to Garritan World Instruments
Performance Controllers Chart for Garritan World Instruments
Below is a chart of the most widely used performance controllers for the various instruments in the
Garritan World Instruments library. e following chart gives the name and a brief description of
the instrument controllers and their abbreviations in the Instrument Directory.
CHART OF PERFORMANCE CONTROLLERS
MW (vol/eq) Mod Wheel for expression and volume control
Vel (attack) Note Velocity for accents and attack
Lgth
VAR 1 Automatic variability of intonation
VAR 2 Automatic variability of timbre
FiltLv Filter gain level
FiltFq Filter center frequency
Keyswitches/KS Keyswitches
VibSpd Vibrato speed control
VibAmt Vibrato intensity control
SusLeg Sustain Pedal legato control
Sus (sus) Sustain Pedal for normal sustain control
SusDp Sustain Pedal with damping control
Vel (vol) Note Velocity for Volume control
Fluttr Flutter tongue/ Growl
Porta Portamento control
AirNs Air ow noise
Bellows Accordion bellows noise
BowNs Bow Noise
BndSpd Bend Speed
BDFund Bass Drum Fundamental
Auto-Legato Auto-Legato Toggle
Length Control—Sample release time
64 A User’s Guide to Garritan World Instruments
ENSEMBLE PRESETS
Load Ethnic Bands and Ensembles Easily
e Garritan World Instruments installation includes a folder/directory called “Ensembles” that con-
tains a collection of useful pre-congured bands, ensembles, and other instrumental groups for your
convenience.
Loading an Ensemble presets can give you a quick head start to setting up a group of instruments.
Each le loads a selection of instruments along with pan, level, and eect settings. Ensembles do not
load tunings. e Ensembles folder can be found in the folder where the Garritan World Instruments
library was installed. e default location is: /Garritan/World Instruments/Ensembles.
Various setups of sections and instrument groupings are listed in the table below. e patch names of
the instruments are listed for each ensemble preset. Where appropriate, a local equivalent instrument
is given in parenthesis.
List of Ensemble Presets:
LIST OF ENSEMBLE PRESETS
Ensemble Name: Instruments Included:
African Orchestra Gyil, Balafon, Kalimbas,Doun Doun Ba, Kpanlogo 3, Ashiko, Sangban,
Apentima, Bougarabou, Televi, Kora, Ngoni, Begena, Bolon Bass
African Night Strings Begena, Bolon, Domu, Kora, Ngoni, Berimbau (Mbela), Gopichand
Akogo
umb Band
Andean
Highlands Ensemble
Appalachian Folk
Band
Balkan Folkdance
Band
Bluegrass Band Fiddle, Banjo, Banjolele, Mandolin, Octave Mandolin, Washtub Bass,
Kalimbas, Likembe, Mbira, Sanza, Domu, Kora, Begena, Bolon
Quena, Andean Panpipes, Peruvian Panpipes, Tarka, Ocarina 1 & 2,
South American Harp (arpa), Ukulele (Charango), Cajon, Bombo, Teponaxtli
Bottle blows, Banjo, Banjolele, Mandolin, Fiddle, Fretless Zither, Dulcimer,
Washtub Bass, Kashiklar (Spoons), Washboard, Accordion, Harmonica
Kaval, Double Flute, Dvojnice Double Flute, Dvojnice Drone, Gaida Bagpipes
Balalaika, Bulgarska Tambura, Fiddle, Mandolin, Octave Mandolin, Oud
Concert Accordion
Harmonica, Bass Harmonica
66 A User’s Guide to Garritan World Instruments
LIST OF ENSEMBLE PRESETS
Ensemble Name: Instruments Included:
Caribbean
Music Ensemble
Chinese Orchestra Bawu, Di-Zi, Guanzi, Hulusi, Sheng, Suona, Xiao, Erhu, Guzheng, Pipa, Yueqin
Celtic
Consort
Djembe Drumming
Ensemble
Down Under Berimbau, Didgeridoo, Bullroarer, Conch Shell, Rainstick, Jaw Harps, Kala’au
Ewe Drumming
Ensemble
Gamelan Bali
Orchestra
Gamelan Java
Orchestra
PVC Flute, Steelpan, Hang Drum, Latin Percussion1, Latin Percussion 2, Cuica,
Bombo (Tassa), Afoxê, Agogo Bell, Agogo Block, Atabaque, Balafon, Bolon Bass
or Guitarron
Bianzhong, Bo, Chinese Cymbals, Chinese Gongs, Datangu Lion Drum,
Tangku
Low Irish Whistle, Irish Flute, Clarke Pennywhistle, Pennywhistles in D, Bb,
Uilleann Pipes; Celtic Harp, Wire Strung Harp (Clarsach), Fiddle, Mandolin;
Bodhrán, Riqq or Da (Tambourine), Concertina
Djembe, Ashiko, Bougarabou, Shekere, Kpoko Kpoko, Dawuro, Axatse, Afoxe
Dun Dun Set: Kenkeni (smallest), Sangban (medium), and Dun Dun Ba
(largest).
(boomerangs)
Atoke, Axatse, Gankokwe, Kagan, Kpanlogo 1 Large, Kpanlogo 2 Medium,
Kpanlogo 3 Combo, Sogo
Suling 1, 2; Strings: Rebab; Angklung, Ceng Ceng, Gendér, Giying (Ugal),
Kantil, Kenong (Kemong) Kendhang, Pemade, Penyacah, Reyong
Suling 1, 3; Rebab, Bonang, Gong & Gong Ageng, Kempul, Kempyang,
Kenong (Kemong), Ketuk, Pelog Panerus, Saron Barung, Saron Demong, Saron
Panerus (Peking), Slendro, Panerus, Slentem
Global Village 1 Conch Shell, Duduk, Shakuhachi, Sarangi Drone, Koto, Guitarron;
Tablas, O-daiko, Tibetan Bells, Pelog Panerus, Washboard, Djembe, Chinese
Cymbals, Hang Drum, Harmonium, Concert Accordion
Global Village 2 Alphorn, Uilleann Pipes, Dizi, Peruvian Panpipes, Irish ute,;
South American Harp, Santoor, Fiddle, Washtub Bass, Tambura;
Tablas, Powwow Drums, Steel Drums, Balafon, Concertina,
Gong Gang Gong (India Singing Gong), Kkwenggwari, Chinese Gongs, Luo Gong, ai
Gong, Gong & Gong Ageng, Kempul
Hawaiian Hulu Hang Hawaiian Nose Flute, Conch Shell
Ukulele, Tenor Ukulele
Pahu Hula, Ipu, Kaekeeke, Kala’au, Lava Stones & Rattles (Ili’ili & ‘Uli’uli),
Toere, Bullroarer
67A User’s Guide to Garritan World Instruments
LIST OF ENSEMBLE PRESETS
Ensemble Name: Instruments Included:
Indian Hindustani
Ensemble
(North India)
Indian Carnatic
Ensemble
(South India)
Irish Traditional
Troupe
Japanese Taiko
Ensemble
Japanese Traditional
(Gagaku)
Jug & Bottle Band Bottle Blows, Tinaja, Ipu, Udu, Ibo, Ghatam, Conch Shell, Slide Whistle,
Klezmer
Gypsy
Band
Bansuri 1, Pungi Snake Charmer, Shenai, Shiva Whistle
Tambura, Sarangi Drone
Sitar, Tambura, Santoor, Sarangi, Fretless Zither (Samandal)
Tablas, Manjeera, Ghungroo, Pakhawaj
Harmonium
Bansuri 2 (Venu), Shenai; Drone: Tambura
Fiddle, Gopichand Electric Sitar; Other: Harmonium
Tablas, Mridangam, Ghatam, Chenda, Kanjeera, Murchang, Dai
Tinwhistle, Irish Flute, Bodhrán, Irish Harp, Wire-strung Harp, Fiddle, Bodhran
Chanchiki, Chu-daiko, Daibyosi, Hira-daiko, Hyoushigi, Ko-daiko, Nagadodaiko, O-daiko, Okawa, Okedo-daiko, Shime-daiko, Tebyoshi, Tsuzumi,
Uchiwa-daiko
Shakuhachi, Hichiriki, Knotweed Flute
Koto, Sanshin, Shamisen
Ko-daiko, Chu-daiko, Ko-daiko, O-daiko, Okedo-daiko, Shime-daiko, Tsuzumi
Ocarina 1 & 2, Bone Flute 1 & 2
Diplica, Fiddle, Guitarron (bass), Santoor
Frame Drum, Bass Drum. Cymbal
Accordion, Alphorn
Malaysian
Paluan Ensemble
Mexican
Ranchera Band
Middle East Takht Arghul, Mijwiz 1, Duduk, Maqrunah
Native
Powwow Circle
Piping Hot Catalan Bagpipes, Duda Bagpipes, Gaita Bagpipe, Koza Bagpipes, Scottish
68 A User’s Guide to Garritan World Instruments
Rebab, Oud (Gambus), Suona (Serunai), Bansuri 1 (Bamboo ute), Geduk,
Kesi, Angklung, Kendhang (Gendang), Kompang, Luo Gong, Gong & Gong
Ageng
Veracruz Harp, Guitarron, Fiddle, Tenor Ukulele (Vihuela)
Basic Middle East Percussion, Arabian Frame Drum
Rebab, Oud, Santoor
Native American Flute, Bualo Drum, Powwow Drums, Native Log Drum,
Pueblo (Taos) Drum
Highland Bagpipes, Uilleann Pipes, Melodica
LIST OF ENSEMBLE PRESETS
Ensemble Name: Instruments Included:
Renaissance
Consort
Slovakian Shepherd
Band
South East Asia Piri, Bamboo Flute, Khaen Mouth Organ,
Squeezer
Pleasers
Susu Balafon
Ensemble
under Troupe Powwow Drums, Bualo Drum, Bombo, Kpanlogo 1 Large, Datangu Lion
Tibetan Mystic
Ensemble
Talking Drums Dondo, Tama (Talking Drum), Damroo, Cuica
Wood World African Log Drum, Nigerian Log Drum, Krin Slit Drum, Teponaxtli, Toere, Stir
Alto Recorder, Bass Recorder, Piccolo Recorder, Sopranino Recorder, Soprano
Recorder, Tenor Recorder, Folk Shawm,
Riqq or Da (tambourine),
Oud (lute), Zitter, Fiddle,
Hurdy Gurdy
Bone Flute 1, Shepherds Folk Pipe 1 & 2, Bass Overtone Flute, Koncovka Alto
Flute, Tenor Overtone Flute, Duda Bagpipes, Panpipes (Andean Panpipes),
Zitter, Mandolin, Octave Mandolin
Dan Tranh, Dan Ty Ba, Choazhou Guzheng,
Ching, Geduk, Kesi, Kompang, Luo Gong, Tangku, ai Gong
Bandoneon, Concertina, Concert Accordion, French Accordion, Italian Mussette
Accordion, Harmonium, Melodica
Balafon, Gyil, Kalimbas, Mbira, Doun Doun Ba, Atoxe
Drum, Doun Doun Ba, Chu-daiko, Nagado-daiko, O-daiko, Okedo-daiko,
Kendhang
Tibetan Cymbals, Tibetan Singing Bowl, Tibetan Bells, Tingsha,
Jogi Baja
Drum, Tonetag, Kaekeeke, Kala’au, Pan Clappers, Hyoushigi, Temple Blocks,
Agogo Blocks
69A User’s Guide to Garritan World Instruments
Loading Ensemble Preset Files
In standalone mode there are two ways to load Ensemble preset les:
• Load from the File menu (File/Load)
• Drag and Drop
When ARIA is used as a plug-in from within a host program, the Drag and Drop method must be
used to load ensemble les. is can be done as follows: With the ARIA player interface displayed,
open the “Ensembles” folder/directory to display the numbered collection of ensemble les. Using
the mouse button, click and hold on the le you wish to load. Drag it to the ARIA interface and
release the mouse button. e instruments and their congurations will load automatically.
Note that in Standalone mode you can create customized ensemble les. Just load the instruments
you want, adjust their settings to your liking, and use the Save As command from the File menu to
save the .aria preset.
Note:
ere are special groups of scala les made for use in combination with the Ensemble les. After loading your ensemble, click on the ARIA SETTINGS page to import these special scala les. e scala
les made for use within the ensemble les start with the ensemble le name. Try using these scala les
as a starting point to explore the possibilities of exotic and unique scales that are authentic to these
groups of instruments.
70 A User’s Guide to Garritan World Instruments
DIRECTORY OF INSTRUMENTS IN
GARRITAN WORLD INSTRUMENTS
Organization of Instruments
It is no easy task to classify many hundreds of instruments from all corners of the globe. Classication of
musical instruments has been studied by many ethnomusicologists and there are dierent classication
systems. Instruments have a wide variety of origins, performance contexts, and physical characteristics.
e Sachs-Hornbostel system is the one preferred by most ethnomusicologists. is system classies
musical instruments as follows:
1. Idiophones—sound is primarily produced by the actual body of the instrument vibrating,
rather than a string, membrane, or column of air. is group includes most percussion instruments except for drums.
2. Membranophones—sound is primarily produced by the vibration of a tightly stretched mem-
brane. is group includes most drums and kazoos.
3. Chordophones—a class of instruments comprising strings stretched between xed points.
Sound is primarily produced by the vibration of a string or strings. is group contains most
stringed instruments (zithers, lutes, violins, guitars), harps, and stringed keyboard instruments,
such as pianos and harpsichords.
4. Aerophones—this class of instruments produce sound when a player blows into the instru-
ment causing air to vibrate. Flutes and trumpets are part of this group..
e Sachs-Hornbostel system has never gained general popularity since it often goes against people’s
intuitive perception of how instruments relate to each other. e most intuitive way is to classify by
geographical location and then sub-categorize by instrument family type. We’ve used a more simple
method. Instruments are associated with a family type. Within each family type are the geographical
regions. We have used common family names rather than the ethnomusicology names to make it
easier to navigate.
Family Geographic Region
----------------------------- -------------------| Winds | | Asia |
| Percussion | ---------> | Africa | ---------> Instrument
| Strings | | Europe |
| Other Instruments | | etc |
----------------------------- -------------------
72 A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Africa
Arghul e Arghul is a reed woodwind instrument that
consists of two asymmetrical pipes. One pipe,
a chanter with between ve and seven nger
holes, is dedicated to the melody. e second
pipe, longer than the rst, produces a drone.
Arghuls come in dierent sizes and are played in
Egypt and surrounding regions.
• Range: C3- C6
Mijwiz 1 e Mijwiz is a traditional instrument of Egypt
and is one of the oldest wind instruments. Its
name means “dual” as it consists of two short
bamboo reed pipes tied together. Instead of having a separate reed attached to a mouthpiece,
the reed in the Mijwiz is a vibrating tongue
made from a slit cut into the wall of the instrument itself.
• Range: C3-C6
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, AutoLegato, BndSpd,
Keyswitches
Mijwiz 2 Another Mijwiz instrument with a dierent
range and character.
• Range: C4- C6
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, AutoLegato, BndSpd,
Keyswitches
73A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
China
Bawu e Bawu is a side-blown wind instrument
found throughout China. Although it resembles a ute, it is actually a reed instrument.
It is often played as a solo instrument, and is
featured in lms and in popular music. It is
also referred to as a Bawoo.
• Range: G3- C6
Di-Zi e Di-Zi, or Chinese bamboo ute, is the
most common ute of China. e Di-Zi is
a side-blown bamboo ute having six nger
holes, and is characterized by an additional
hole covered by a piece of thin ber (Muo
kong) that buzzes when played and creates a
distinctive tone. e Di-Zi is also known as
the Ti-tzu or Hengdi.
• Range: C4- C7
Guanzi e Guanzi is a Chinese double-reed wind
instrument. Its name literally means “tube,”
which describes its cylindrical shape. It is usually made from rosewood and has seven nger
holes with one or two thumb holes. e ends
of the instrument are decorated with metal.
Also called Guan or Bili.
• Range: G3- C6
Hulusi e Hulusi is a popular Chinese reed instru-
ment. e instrument has a gourd wind
chamber, a main melody pipe with seven
nger holes, and one or two auxiliary drone
pipes. Hulusi means “gourd silk,” referring to
the instrument’s soft silky tone.
• Range: G3- C6
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato,
BndSpd, Keyswitches
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato,
BndSpd, Keyswitches
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato,
BndSpd, Keyswitches
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato,
BndSpd, Keyswitches
74 A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
China
Sheng e Sheng, or Chinese Mouth Organ, is a
multiple free-reed instrument consisting of a
bundle of 13-17 vertical pipes fastened together. Sound is produced by blowing air into a
mouthpiece at the base and covering the holes
on the various pipes. e Sheng can produce
interesting chords as well as single notes, and is
used as both a solo and accompanying instrument. Also called Shung.
• Range: C4- C7
Suona e Suona is a double-reed wind instrument
with a aring metal bell at its end. It has a
distinctively loud tone and is used in Chinese
traditional music ensembles and outdoor performances. e Suona is also known as a Laba.
• Range: C4 - G6
Xiao e Xiao is a Chinese end-blown ute that has
been used in Chinese music for over two millenenia. e instrument has six nger holes and
is played vertically—similarly to the Shakuhachi. It is usually made of dark brown bamboo.
e Xiao has a soft and low tone. e Xiao is
also known as the the Di Xiao or Dong Xiao.
• Range: C3- C7
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato,
BndSpd, Keyswitches
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato,
BndSpd, Keyswitches
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato,
BndSpd, Keyswitches
75A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
India
Bansuri 1 e Bansuri is a large side-blown alto ute of
Northern India and surrounding regions. It
is made of a single length of bamboo with six
or seven nger holes. Bansuris range in length
from about 12 inches up to about 40 inches,
with 20-inch bansuris being the most common. is instrument is associated with the
god Krishna who was often depicted playing a
Bansuri.
• Range: C3- C8
Bansuri 2
(Venu)
Another Bansuri instrument with a dierent
timbre and character. Venu is a variant of the
Bansuri used in Southern Indian Carnatic
music.
• Range: C3- C8
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, AutoLegato, BndSpd,
Keyswitches
76 A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
India
Pungi Snake
Charmer
Shenai e Shenai is an Indian reed instrument with
Shiva
Whistle
e Pungi Snake Charmer’s pipe is a North
Indian reed instrument used by snake charmers. It consists of two pipes, a melody chanter
and a drone, that are attached to a gourd. To
produce sound, the player blows into a mouthpiece attached to the top and plays the chanter
with his ngers. e reeds are placed inside
a protective gourd, so the player’s lips never
touch them. e instrument is also known as
the Bean.
• Range: C3- C6
a wooden body and a brass bell. It is mainly
a Northern Indian instrument although there
are Carnatic variants in Southern India. e
instrument commonly has seven to nine nger
holes and is played like an oboe. It is actually
a quadruple-reed instrument that has two upper reeds and two lower reeds. e Shenai is
thought to bring good luck and is often played
at Indian weddings and festivals.
• Range: C3- C7
e Shiva Whistle is a small wooden wind
instrument. It has a picture of the Hindu deity
Shiva on it. It diers from the Bansuri in that it
is an end blown instrument and not a sideblown ute.
• Range: C5- C8
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, AutoLegato, BndSpd,
Keyswitches
77A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Japan
Hichiriki e Hichiriki is a cylindrical double-reed wind
instrument used in the Gagaku (court) music
of Japan. It is characterized by its nasal timbre.
e instrument has a narrow range but with its
large reed there is great exibility of pitch and
embellishment techniques.
• Range: C4- G6
Knotweed
Flute
is Knotweed Flute is a small six-holed endblown ute made from the bamboo-like stalks
of the Knotweed.
• Range: C4- C8
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, AutoLegato, BndSpd,
Keyswitches
78 A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Japan
Shakuhachi e Shakuhachi is a traditional notched ute
from Japan. e end-blown ute has ve
nger holes and a thumb hole. e instrument
is made from the root of the bamboo and is
crafted with precision. Although tuned to a
pentatonic (ve note) scale, by using various
ngerings (partial holings) and by controlling
the embouchure, the player can produce great
exibility in tone and pitch.
• Range: C3- C7
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, AutoLegato, BndSpd,
Keyswitches
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Other Asian Regions
Bamboo
Flute
Jogi Baja e Jogi Baja is a double-reed instrument from
See Europe: Bamboo Flute
Nepal played in various ceremonies and rituals.
Players of the instrument often use the technique of circular breathing, which allows the
player to play extended passages.
• Range: C3- C7
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, AutoLegato, BndSpd,
Keyswitches
79A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Other Asian Regions
Piri e Piri is a Korean double reed instrument
used in both the folk and court music of Korea.
It is made of bamboo and has seven nger
holes. Its large reed and cylindrical bore give
it a sound mellower than that of many other
types of oboe.
• Range: C3- C6
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, AutoLegato, BndSpd,
Keyswitches
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Europe
End Blown Flutes:
Double Flute e Double Flute originates from Albania.
is ute is distinctive in that it combines
two ute bores, combining a familiar six-hole
shepherd pipe and an overtone ute.
• Range: C4- C7
Dvojnice
Double Flute
e Dvojnice (double shepherd pipe) is a
carved wooden double-tube ute from the
Balkans. is traditional instrument has seven
nger holes, three on one pipe and four on
the other, allowing the player to play a harmony at the same time as the melody.
• Range: C4- C8
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
80 A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Europe
Dvojnice
Double Flute
Drone
Kaval e Kaval is a long end-blown ute from
Overtone Flutes:
Bass
Overtone
Flute
Koncovka
Alto Flute
is instrument is the second pipe for the
Double Flute above. e player begins a tune
by playing one pipe to state the melody and
the harmony on the drone side is then added.
• Range: C4- C8
Bulgaria and the Balkans and is used in folk
music in the region. e Kaval is fully open
at both ends and sound is made by blowing
across the sharpened edge of the mouthpiece.
e instrument has eight playing holes (seven
in front and one in the back) and four extra
holes near the bottom of the instrument.
• Range: C4- C7
is Overtone Bass Flute, or Bass Fujara, is a
large instrument in the key of G. is contrabass Slovakian instrument can be as large as
ve and a half feet long and produces a wide
range of harmonics and overtones.
• Range: C3- C6
e Koncovka is a Slovakian overtone alto
ute that is traditionally played by shepherds.
is instrument is in the key of D and plays
melodies with no nger holes. Melodies are
created on the Koncovka ute by blocking
(fully or partially) the bottom hole of the ute
with the index nger to create various pitches.
• Range: G4- C8
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
81A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Europe
Tenor
Overtone
Flute
Whistles:
Clarke
Pennywhistle
Handmade
Pennywhistle
Low Irish
Whistle
e Fujara is a folk shepherd’s ute originating from the Slovakian mountain region. is
Tenor Overtone Flute is often played while
standing. Although it has no nger holes, a
range of a few octaves can be achieved with
the right combination of breath and blocking.
• Range: C4 - C7
Clarke has been the leading maker of Irish
Pennywhistles for over 150 years. Clarke Pennywhistles are known for their clear distinctive tone quality. Pennywhistles come in a
variety of sizes and keys. A skilled player can
make a Pennywhistle sing with ornaments,
trills, utter tonguing, and eects.
• Range: C4 – C8
is handmade Pennywhistle is a ne handcrafted six-holed instrument. In recent years,
with the popularity of Titanic and Riverdance,
a number of instrument craftsmen in dierent countries have started lines of high-end
Pennywhistles made of exotic woods and ne
materials.
• Range: C4 – C8
e Low Irish Whistle has one of the most
distinctive sounds in Irish music. Its unique
sound has been used in lms such as the
haunting Titanic soundtrack and in River-
dance. e Low Whistle is the Low D that is
pitched one octave below the traditional D
whistle.
• Range: C3 – C7
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
82 A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Europe
Pennywhistle
in Bb
Pennywhistle
in D
Pennywhistle
in G
Sopilka
Whistle
Pennywhistles originated in Ireland centuries
ago. is pennywhistle is an end-blown ute
tuned in the key of Bb, which is the lowest
note it is capable of playing. e Bb Pennywhistle is one of the most standard Pennywhistle instruments.
• Range: F4 - F7
e D Pennywhistle is the most popular key
because so much Irish and Celtic music is in
the key of D. Although a diatonic instrument, it is also possible to play chromatically
by half-holing or cross-ngering.
• Range: A4 - A7
e G Pennywhistle is rare and not as common as the other keys.
• Range: D5 - C8
e Sopilka Whistle is a Ukrainian highpitched folk whistle. e instrument is similar
in range to the common piccolo ute. e
sound of the Sopilka depends on the strength
of the player’s blowing into the instrument.
• Range: C5 – C8
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
83A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Europe
Susato
Pennywhistle
Tin Whistle
in Bb
Recorders:
Alto
Recorder
e Susato Pennywhistle is made of sturdy
plastic. Some prefer these whistles not only
for their tone, but also because they are less
aected by changes in temperature or atmosphere than metal-based whistles.
• Range: C4 – C8
Another version of the Bb Pennywhistle.
• Range: F4 - F7
e Recorder (also known as “ûte à bec” in
France, “blocköte” in Germany, and “auto
dolce” in Italy) has a long history in Europe
dating from Medieval times. Recorders are
generally end-blown utes with seven nger
holes and a range of about two octaves. e
alto instrument is pitched in the key of F and
is also known as the Treble Recorder.
• Range: C4- G7
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Bass
Recorder
84 A User’s Guide to Garritan World Instruments
e Bass Recorder is the largest and deepest-voiced instrument of the recorder family.
is instrument has a bocal or bent-neck
design to direct the player’s breath to the
main body of the instrument. e instrument
is pitched in the key of F.
• Range: C4- C6
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Europe
Piccolo
Recorder
e Piccolo Recorder, or Garklein, is the
smallest of all the recorders, approximately
six inches in length. ough not used as
frequently as other recorders it often serves to
ll out chords in ensembles. is instrument
is pitched in the key of C.
• Range: C5- C8
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Sopranino
Recorder
Soprano
Recorder
Tenor
Recorder
Reeds:
e Sopranino Recorder is the highest voiced
recorder used in a typical recorder family. It is
pitched in the key of F.
• Range: F5 – C8
e Soprano Recorder is the most common
among learners and is often used in classroom
setting. It is about twelve inches in length
and pitched in the key of C.
• Range: G4- G7
e Tenor Recorder is known for its soft, melodious sound. It is pitched in the key of C.
• Range: G3- G6
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
85A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Europe
Diplica e Alto Natural clarinet, or Diplica, is an
ancient, clarinet-like instrument from the
Czech Republic, Hungary, and parts of Croatia. is single-reed instrument consists of a
single wood pipe with seven nger holes.
• Range: G3 – C5
Folk Shawm e Folk Shawm, also known as a Mey, is
an ancient folk instrument that has changed
little over the centuries. is double-reed
instrument is made from cherry wood and
has seven nger holes.
• Range: C3 – C5
Chanters & Bagpipes:
Bagpipes have a long history throughout Europe and are part of the musical traditions of many countries.
e instrument consists of a single- or double-reed instrument that uses a bag (traditionally made from
animal skin) to retain and blow air to vibrate reeds. e bag is pressed with the arm to send air to a reed
pipe with nger holes called the chanter, which produces the melody notes. Some bagpipes can also
produce a drone that accompanies the melody, but unlike the familiar Scottish bagpipes, many European
bagpipes are droneless.
Catalan
Bagpipes
e Catalan bagpipes have a dierent character and the widest range, approximately three
octaves. ere are several names for the Catalan
bagpipes: coixinera, caterineta, borrega, manxa
borrega, mossa verda, ploranera, Sac de les
Aspres, and Sac de Gemecs (which means “bag
of moans”).
• Drone Range: C2- B2
• Melodic Range: C3- C6
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd, Vib
Amt, AirNs, AutoLegato, BndSpd,
Keyswitches
86 A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Europe
Duda
Bagpipes
Gaita
Bagpipes
Koza
Bagpipes
Scottish
Highland
Bagpipes
e Duda is popular throughout Eastern
Europe. e chanter of the Duda has a
double reed similar to an oboe, and a conical
bore with seven nger-holes. is chanter is
relatively high pitched and has a range of approximately two octaves.
• Drone Range: C2- B2
• Melodic Range: C4- C6
e Gaita, which means “bagpipe,” is a traditional bagpipe used in Spain and Portugal.
e Gaita has become popular in recent years
in pipe bands. e Gaita chanter has a range
of approximately three octaves.
• Drone Range: C2- B2
• Melodic Range: C4- C7
e Koza is a Polish bagpipe that consists of
a large goatskin bag and a single reed chanter.
e chanter has a range of approximately two
octaves.
• Drone Range: C2- B2
• Melodic Range: C3- C5
Scottish Highland Bagpipes, or the Great
Highland Bagpipes, are the most recognized of
the bagpipes and represent the national instrument of Scotland. Scottish Bagpipes are commonly used in formal ceremonies throughout
the United Kingdom and the Commonwealth.
• Drone Range: C2- B2
• Melodic Range: C3- E5
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd, Vib
Amt, AirNs, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd, Vib
Amt, AirNs, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd, Vib
Amt, AirNs, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd, Vib
Amt, AirNs, AutoLegato, BndSpd,
Keyswitches
87A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Europe
Uilleann
Pipes
Side Blown Flutes:
Bamboo
Flute
Bone Flute 1 A Bone Flute unearthed in Slovenia is re-
Bone Flute 2 Another Bone Flute from Slovenia. is
e Uilleann Pipes are the national bagpipe
of Ireland. ey are distinguished from other
bagpipes as air is not blown with the mouth
but rather air is pumped into the bag by
means of a bellows attached to the player’s
elbow. e instrument is known for its sweet
tone and wide range of expression. e instrument has been more recently popularized
years in Riverdance.
• Drone Range: C2 - B2
• Melodic Range –
is small instrument is a simple Bamboo
Flute with six holes and is in the key of F.
ere are a variety of small bamboo utes
from many cultures.
• Range: Range: C4 – C8
ported to be the oldest handcrafted musical
instrument. is six-hole Bone Flute is also
from Slovenia and is carved from the thighbone of a turkey.
• Range: C5 - C7
instrument has seven nger holes.
• Range: C5 – C8
G3 - G6
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd, Vib
Amt, AirNs, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
88 A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Europe
Irish Flute e Irish Flute is a popular side-blown ute
used in traditional Irish music. e basic
instrument is a simple wooden ute with
six open holes and tuned in the key of D, a
widely used key for Irish music.
• Range: C3 - C7
Shepherds
Folk Pipe 1
Shepherds
Folk Pipe 2
e Shepherds Folk Pipe, or Soprano Folk
Pipe, is a six-hole end-blown ute in the key
of D. e Shepherd’s Pipe is played by Slovak
shepherds to accompany them while herding
their sheep.
• Range: G4 - G7
A tenor version of the Soprano Shepherd’s
Folk Pipe. is ute is a six-hole end-blown
folk ute and plays an octave lower than the
Shepherds Folk Pipe 1
• Range: G3 – G6
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1, VAR2,
FiltLv, FiltFq,
VibSpd, Vib Amt,
AirNs, Fluttr, AutoLegato, BndSpd,
Keyswitches
89A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Latin America
Andean
Panpipes
Ocarina 1
Ocarina 2 Another Ocarina instrument with a dierent
e Andean Panpipes (or panutes) is a popular folk instrument in the Andes mountains
region of South America. e instrument consists of two rows of bamboo pipes of gradually
increasing length, joined together in a bundle
and giving the alternate notes of the scale. Each
pipe is tuned to a certain note depending on
its length. Panpipes produce their distinctive
breathy sound when the player blows horizontally across the open end of the pipes. Panpipes
are also known as Zampoñas.
• Range: C4 – C7
e Ocarina is a simple wind instrument having a hollow oval body with nger holes. Sound
is produced by covering various holes with the
ngers and by blowing through the sound hole.
e tone can also be varied by how hard the
player blows into the instrument. e Ocarina
is believed to have originated from Mesoamerica with the Mayan and the Aztecs.
• Range: G4 – C7
timbre and character.
• Range: G4 – C7
Vel (attack),
MW (vol/eq),
Porta, Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, Keyswitches
Vel (attack),
MW (vol/eq),
Porta, Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, BndSpd,
Keyswitches
Vel (attack),
MW (vol/eq),
Porta, Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, BndSpd,
Keyswitches
90 A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Latin America
Peruvian
Panpipes
Quena e Quena is an end-blown Shepherd’s ute
Tarka e Tarka is a unique rectangular ute that
Panpipes have long been a part of the culture of
Peru and other Andean regions. is Panpipe
instrument has a dierent range and character
than the traditional Andean panpipes. It is
played by Peruvian folk musicians of the Andes
mountains. Also known as Siku.
• Range: C5- C8
originating in the Andean region of South
America prior to the Spanish conquest. e
instrument is made from carved bamboo cane
with a U-shaped mouthpiece and has six nger
holes in front and one in the back. It is also
known as a Kena.
• Range: C4 - C7
originates from the Andes Mountain highlands.
It is made from wood, carved with traditional
designs, and hand painted in rich colors. e
instrument has six nger holes and a whistletype mouthpiece.
• Range: C4 - G6
Vel (attack),
MW (vol/eq),
Porta, Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, Keyswitches
Vel (attack),
MW (vol/eq),
Porta, Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, BndSpd,
Keyswitches
Vel (attack),
MW (vol/eq),
Porta, Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, BndSpd,
Keyswitches
91A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Middle East
Duduk e Duduk is known for its hauntingly beauti-
ful and expressive tone. is instrument has
a small body with a large double reed and is
capable of sustaining drone notes for long
periods of time. Originally from Armenia,
the Duduk can be found throughout Turkey,
Persia, and surrounding areas. e instrument
has not changed through the centuries and has
become popular in recent years. It is featured
in such lms as Gladiator and e Lion, the
Witch and the Wardrobe.
• Range: G2 - G5
Maqrunah e Maqrunah is a reed instrument from Tu-
nisia and Libya and often played by shepherds.
A unique characteristic is its horn bell at one
end. Although the Maqrunah has a limited
melodic range, it produces a distinctly ornate
and breathy tone.
• Range: C4 – C6
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, BndSpd,
Keyswitches
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
North America
Bottle
Blows
92 A User’s Guide to Garritan World Instruments
e Bottle Blows consist of dierent size
bottles and jugs of dierent materials. Sound
is produced by the player holding the mouth
of the bottle or jug near his or her mouth and
blowing across the top. ese instruments are
common in jug bands.
• Range: C2 - G4
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd, Vib
Amt, AirNs, Fluttr,
Auto-Legato, Keyswitches
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
North America
Fife e Fife is a small, high-pitched, transverse
ute used in Appalachian folk music. It is a
simple instrument usually consisting of a tube
with six nger holes and diatonic tuning. e
Fife is similar to a piccolo, but can be louder
and shriller due to its narrower bore.
• Range: C4 – C8
Native
American
Flute
PVC
Flute
Slide
Whistle
e design of the Native American Flute is
signicantly dierent than the construction
of utes from anywhere else in the world. It
has ve or six nger holes on the bottom and
is typically made with two air chambers. e
Native American ute has achieved some
measure of fame for its distinctive sound, and
is used in a variety of lms, documentaries, and
world music recordings.
• Range: C3 – C7
e Plumber’s Pipe is a simple ute made from
inexpensive plastic PVC plumbing pipe. Plastic
plumbing pipe is considered ideal for simple
utes since it is easy to work with, waterproof,
nearly unbreakable, and sounds remarkably
good.
• Range: C4 – G6
e Slide Whistle, also known as a Swanee
Whistle, is a wind instrument consisting of a
tube with a slide piston in it. Moving the slide
varies the pitch. e slide whistle is commonly
used as a sound eect (in animated cartoons or
in comedy soundtracks). It is possible to play
serious melodies on the slide whistle.
• Range: G3 – G7
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd, Vib
Amt, AirNs, Fluttr,
Auto-Legato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd, Vib
Amt, AirNs, Fluttr,
Auto-Legato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd, Vib
Amt, AirNs, Fluttr,
Auto-Legato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta, Lgth,
VAR1, VAR2, FiltLv,
FiltFq, VibSpd, Vib
Amt, AirNs, Fluttr,
Auto-Legato, BndSpd,
Keyswitches
93A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Oceania
Conch Shell e Conch Shell, or shell trumpet, is a wind
instrument made from a seashell. A hole is
carved in the end of the shell and the player
blows into the instrument like a trumpet. Polynesian Conch Shell trumpets were historically
used throughout the South Pacic. In some
Polynesian islands it is known as the Putatara
to the Maori. is instrument was featured in
the score for the lm Alien.
• Range: C3 - E4
Didgeridoo e Didgeridoo is a wind instrument devel-
oped by indigenous Australians and is now
popular throughout the world. e didgeridoo
is traditionally made from hollowing out a
eucalyptus tree, but modern instruments are
made from a variety of woods, PVC, and other
materials. It is played by holding the end to
the mouth and vibrating the lips to produce
a drone sound while using a special circular
breathing technique. e sound can be varied
by imparting vocalizations. e Didgeridoo
is used by indigenous Australians to bring the
listener into a dream state.
• Range: C3 – C6
Hawaiian
Nose Flute
e Hawaiian Nose Flute, or Ohe Hano Ihu,
is a bamboo ute that is played with the breath
from the nose rather than the mouth. Although capable of only one octave, it produces
a beautiful tone. Like other nose utes in various cultures, it was traditionally used between
lovers.
• Range: G4 – C7
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, BndSpd,
Keyswitches
94 A User’s Guide to Garritan World Instruments
THE WIND INSTRUMENTS
ARIA name: Description: Controls:
Oceania
Suling 1 e Suling is a four-holed bamboo ute used
in Balinese Gamelan orchestras. A notch is cut
into the side of the top end and encircled with
a thin band made of rattan, leaving a small slit
into which the player will blow. e Suling
provides one of the most expressive sounds in
the Gamelan ensemble.
• Range: G3 – C7
Suling 2 A dierent Suling instrument with a dierent
range and character.
• Range: C4 – C7
Suling 3 Another Suling instrument of a dierent size
and type.
• Range: C4 – C8
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, BndSpd,
Keyswitches
Vel (attack), MW
(vol/eq), Porta,
Lgth, VAR1,
VAR2, FiltLv,
FiltFq, VibSpd,
Vib Amt, AirNs,
Fluttr, Auto-Legato, BndSpd,
Keyswitches
95A User’s Guide to Garritan World Instruments
THE PERCUSSION INSTRUMENTS
ARIA name:
Program Description:
Africa
Adodo e Adodo is a cluster of small bells shaped
like a dumbbell with three bells on either end.
It is played by holding the center handle while
striking the bells with a stick. is instrument
originates from Ghana and is also known as a
Flower Bell.
• C2-F2 – single hits
African Log
Drum
Apentima e Apentima is a single-headed carved drum
Ashiko e Ashiko is a large conical drum designed to
Balafon e Balafon (or Balaphon) is a mallet instru-
e Log Drum is common throughout Africa.
It is made by hollowing out a log and carving
out slit openings for the sound to resonate. e
Log Drums are usually played with wood sticks.
e instrument is known by many names and is
found in a variety of sizes.
• C2-F2 – single hits
• F#2-G2 – rolls
made from Tenebrous wood, a hard wood believed to have spiritual powers. e Apentima is
played by the Ashanti people of Ghana.
• C2-A2 – various hits
be played with bare hands. It is found throughout sub-Saharan Africa and West Africa. Some
tribes consider the Ashiko to be male and the
Djembe female.
• C2-B3 – various hand hits
ment of West Africa consisting of wooden bars
laid out like a xylophone. e player strikes the
bars using mallets.
• Range is C3 – C7
Controller
Assignments:
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
96 A User’s Guide to Garritan World Instruments
THE PERCUSSION INSTRUMENTS
ARIA name:
Program Description:
Africa
Basic African
Percussion
Bougarabou e Bougarabou is a single-headed drum cov-
Dawuro e Dawuro is a banana-shaped metal bell with
e Basic African Percussion set includes a select
combination of African percussion instruments.
• C2-C#2 – African Log
Drum
• D2-D#2 – Apentima
• E2-F#2 – Ashiko
• G2-A2 – Bourarabou
• A#2-C3 – Djembe
• C#3-D#3 – Dondo
• E3-F3 – Doun Doun
Ba
• F#3-G3 – Kagan
• G#3-A3 – Kpanlogo 1
• A#3-B3 – Kpanlogo 2
• C4-C#4 – Kpanlogo 3
• D4-D#4 –
Fontomfrom
• E4-F#4 – Ibo
ered with cow skin over an elongated gobletshaped drum. It is often placed on a single
stand or played in sets of three or four. e
drum is also known as Boucarabou and originates in Senegal.
• C2-A4 – various hits
a slit along its upper surface. It is played by musicians in Ghana and surrounding regions. e
Ewe name is Toke.
• C2-G2 – various hits
• G4-A4 – Kenkeni
• A#4-C5 – Krin Slit
Drum
• C#5-D#5 – Morocco
Drum
• E5-F#5 – Sakara
• G5-A5 – Sangban
• A#5-C6 – Tama
• C#6-G6 – Sistrum
• G#6-B6 – Televi
• B6-D7 – Tonetang
Stir Drum
• D#7-F7 – Adodo
• F#7-G#7 – Dawuro
• A7-A#7 – Atoke
• B7-C8 – Axatse
Controller
Assignments:
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
97A User’s Guide to Garritan World Instruments
THE PERCUSSION INSTRUMENTS
ARIA name:
Program Description:
Africa
Djembe e Djembe is a popular hand drum from West
Africa and literally means “everyone gather
together”. e instrument is shaped like a large
goblet with skin covering the large end. It is
played with bare hands. ere are three main
notes in the Djembe: bass tone (the lowest),
medium tone (a round, full sound), and slap (a
high, sharp sound).
• C2-G2 – various hits with at hand,
palm, edge, slap and mute.
Dondo A Dondo is a double-headed wooden “talking”
drum with lacings connecting the two heads.
e player hits the heads while squeezing the
lacings, thus creating variations in pitch in
which the drum seems to “talk”.
• C2-D7 – various hits and pitch variations
Doun Doun
Ba
e Doun Doun Ba is the largest of the doun
doun set of West Africa bass drums. e other
drums in the dun dun set are Kenkeni and
Sangban. e instrument consists of a doubleheaded cylindrical drum with cowskin heads
on each end. It is known by various names
throughout West Africa such as Dun-Dun,
Dunun, and Junjun.
• C2-D3 – various hits
Controller
Assignments:
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
Vel (vol/eq), Var 1,
Var 2, Lgth, FiltLv,
FiltFq, BDFund,
Keyswitches
98 A User’s Guide to Garritan World Instruments
THE PERCUSSION INSTRUMENTS
ARIA name:
Program Description:
Controller
Assignments:
Africa
Ewe Drums
Ewe drums refer to a collection of percussion instruments played by the Ewe people of Ghana, Benin, and
Togo. Ewe drum ensembles typically consist of drums, bells, and rattles. e drums in a Ewe ensemble
come in several dierent sizes and typically have wooden conical bodies and are covered with animal skin.
e Ewe peoples use these instruments for drum dialoging to mimic the tone of spoken language.
Atoke e Atoke is a small banana-shaped metal bell from Ghana.
It is made from forged iron and produces a bell-like tone
when struck with its iron rod beater. It is held in the palm of a
player’s hand while being hit with the rod in the other hand.
• C2 – D3 – various hits
Axatse e Axatse, from Ghana, is a gourd shaker covered with a net
of small hard objects such as beads or seeds. e dry rattling
sound of the Axatse is produced by striking it lightly on the
thigh and the palm. It is also called Chekere.
• C2 – C3 – various rattles and shakes
Gankokwe e Gankokwe is a hand-forged iron bell-like instrument
played with a wooden stick. Some Ewe ensembles include two
Gankokwe, one larger than the other. Two dierent Gankokwe are included in this patch.
• C2 – E3 and A3 - B3 – various hits on the various bells,
open and clasped.
Kagan e Kagan is part of a traditional Ewe drum ensemble. It is
constructed of a solid carved piece of wood and is approximately twenty inches tall with a head ve to six inches in
diameter.
• C2 – G2 – various hits and slaps
Kpanlogo 1 Large e Kpanlogo is a deep-sounding conga-shaped drum from
Ghana. It is headed with antelope skin and tuned by hammering in pegs. e Kpanlogo is used in rituals and to summon
the town.
♦ C2 – F2 – various hits and slaps
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
Vel (vol/eq), Var 1,
Var 2, Lgth, FiltLv,
FiltFq, BDFund,
BDFund, Keyswitches
99A User’s Guide to Garritan World Instruments
ARIA name:
Africa
THE PERCUSSION INSTRUMENTS
Program Description:
Controller
Assignments:
Kpanlogo 2
Medium
Kpanlogo 3
Combo
Sogo e Sogo is part of the Ewe drum ensemble and represents
Fontomfrom e Fontomfrom is a tribal drum from the
Gome e Gome is a box-like drum from Ghana
A dierent Kpanlogo instrument that is smaller in size.
• C2 – F2 – various hits and slaps
Another Kpanlogo instrument combining dierent drums.
• C2 – C4 – various hits on a dierent Kpanlogo.
one of the master drums played by the leader of the group.
e Sogo can be played either with two wooden sticks, one
hand and one stick, or both hands.
• C2 – C3 – various hits
Ashanti regions of Ghana. e drums are carved
from a tree trunk and skins are stretched over
the tops and fastened with long pegs.
• C2-A2 – various hits
made with goatskin stretched over a wooden
box frame. e drummer sits atop the box and
plays this drum with both his hands. e heels
of the feet also press against the skin to change
the pitch.
• C2-C3 – various hits and pitch bends
Vel (vol/eq), Var 1,
Var 2, Lgth, FiltLv,
FiltFq
Vel (vol/eq), Var 1,
Var 2, Lgth, FiltLv,
FiltFq
Vel (vol/eq), Var 1,
Var 2, Lgth, FiltLv,
FiltFq
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
Vel (vol/eq), Var
1, Var 2, Lgth,
FiltLv, FiltFq,
Keyswitches
100 A User’s Guide to Garritan World Instruments
Loading...