String instrument

Classification Plucked chordophone

Hornbostel–Sachs 321.321 and 321.322

classification (Necked bowl lute for roundback,

necked box lute for flatback)

Related instruments

mandolin, mandore

Prior to the 18th century, the bandurria had a round back, similar or related to the mandore.[1] It had
become a flat-backed instrument by the 18th century, with five double courses of strings, tuned in
fourths.[1] The original bandurrias of the Medieval period had three strings. During
the Renaissance they gained a fourth string. During the Baroque period the bandurria had 10 strings
(5 pairs).
The modern bandurria has 12 strings (6 pairs). The strings are tuned in unison pairs, going up in
fourths from the low G#. The lowest four strings are a major-third above those of a standard guitar
and the highest two strings are a fourth above a standard guitar, i.e. G♯, c♯, f♯, b, e and a.[2]

Philippines[edit]
The Philippine harp bandurria is a 14-string bandurria used in many Philippine folkloric songs, with
16 frets and shorter neck than the 12 string bandurria. [2] This instrument probably evolved in
the Philippines during the Spanish period, from 1521 to 1898. The Filipino bandurria is used in an
orchestra of plucked string instruments called rondalla. It is tuned a step lower than the Spanish
version, that is, low to high: F# B E A D G.[6]
 Guitar

A classical guitar with nylon strings

String instrument

Classification String instrument

Hornbostel–Sachs classification 321.322

(Composite chordophone)

Playing range

(a standard tuned guitar)

Related instruments

 Bowed and plucked string instruments

Guitar
From Wikipedia, the free encyclopedia
For other uses, see Guitar (disambiguation).

Guitar

A classical guitar with nylon strings

String instrument

Classification String instrument

Hornbostel–Sachs classification 321.322

(Composite chordophone)

Playing range

(a standard tuned guitar)

Related instruments

 Bowed and plucked string instruments

The guitar is a fretted musical instrument that usually has six strings.[1] The sound is projected either
acoustically, using a hollow wooden or plastic and wood box (for an acoustic guitar), or
through electrical amplifier and a speaker (for an electric guitar). It is typically played by strumming
or plucking the strings with the fingers, thumb or fingernails of the right hand or with a pick while
fretting (or pressing against the frets) the strings with the fingers of the left hand. The guitar is a type
of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings
and distinguished from other chordophones by its construction and tuning. The modern guitar was
preceded by the gittern, the vihuela, the four-course Renaissance guitar, and the five-
course baroque guitar, all of which contributed to the development of the modern six-string
instrument.
There are three main types of modern acoustic guitar: the classical guitar (nylon-string guitar),
the steel-string acoustic guitar, and the archtop guitar, which is sometimes called a "jazz guitar". The
tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the
guitar, which acts as a resonating chamber. The classical guitar is often played as a solo instrument
using a comprehensive finger-picking technique where each string is plucked individually by the
player's fingers, as opposed to being strummed. The term "finger-picking" can also refer to a specific
tradition of folk, blues, bluegrass, and country guitar playing in the United States. The acoustic bass
guitar is a low-pitched instrument that is one octave below a regular guitar.
Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the
sound of the instrument loud enough for the performers and audience to hear, and, given that it
produces an electric signal when played, that can electronically manipulate and shape the tone
using an equalizer (e.g., bass and treble tone controls) and a huge variety of electronic effects units,
the most commonly used ones being distortion (or "overdrive") and reverb. Early amplified guitars
employed a hollow body, but a solid wood body was eventually found more suitable during the 1960s
and 1970s, as it was less prone to unwanted acoustic feedback "howls". As with acoustic guitars,
there are a number of types of electric guitars, including hollowbody guitars, archtop guitars (used
in jazz guitar, blues and rockabilly) and solid-body guitars, which are widely used in rock music.
  String instruments
Classification

 Plucked string instruments

The octavina or Philippine octavina is a guitar-shaped Filipino instrument with a tuning similar to
the laúd. Originally a Spanish

Classification
 String instruments

 Plucked string instruments

The octavina or Philippine octavina is a guitar-shaped Filipino instrument with a tuning similar to
the laúd. Originally a Spanish

History[edit]
With the large Spanish influence on Filipino culture from the 16th to the 19th century, many
traditional Spanish instruments became incorporated into local music, and after passed time, have
evolved into entirely unique instruments. The Spanish precursor to the octavina may have been the
smaller-bodied, 14 strings banduria-like instrument called the "Octavina",[1] although its use was not
as prominent or popular. The name as translated in all versions of the instrument has
the prefix of octa- which refers to the tuning of each set of double strings.
Today it is most commonly found in the local variant of the rondalla, a hispanic string orchestra.

Tuning[edit]
The Octavina has a set of 14 strings ( in 6 courses: 6th-single, 5th-double, 4th-double, 3rd-triple,
2nd-triple and 1st-triple.It is numbered starting from the bottom. It is tuned similarly to that of the
bandurria, but one octave lower, giving:
 Classification
 Percussion instrument

 Idiophone

 Gong

Related instruments

kempul, jengglong, gandingan a kayo

The gandingan is a Philippine set of four large, hanging gongs used by the Maguindanao as part of
their kulintang ensemble. When
The gandingan is a Philippine set of four large, hanging gongs used by the Maguindanao as part of
their kulintang ensemble. When integrated into the ensemble, it functions as a secondary melodic
instrument after the main melodic instrument, the kulintang. When played solo, the gandingan allows
fellow Maguindanao to communicate with each other, allowing them to send messages or warnings
via long distances. This ability to imitate tones of the Maguindanao language using this instrument
has given the gandingan connotation: the “talking gongs.”[1]

Contents
[hide]

 1Description

 2Technique

 3Uses

o 3.1Ensemble

o 3.2Contest
 o 3.3Communication

 4Origin

 5Similar instruments

 6References

Description[edit]

One of the brass gongs of the gandingan

The instrument is usually described as four, large, shallow-bossed, thin-rimmed gongs, vertically
hung, either from a strong support such as a tree limb or housed in a strong wooden framed stand.
The gongs are arranged in graduated fashion in pairs with knobs of the lower-pitched gongs facing
each other and the higher-pitched gongs doing the same. Normally, the lower-pitched gongs would
be situated on the left side and the higher pitched gongs on the right side of the player if he/she were
right-handed.[1][2][3][4][5][6] This arrangement in fact is similar to the arrangement of gongs on the
horizontally laid kulintang – so much so, in fact that master musicians say it duplicates the pattern of
intervals used on the four lower-pitched gongs of the kulintang.[7]

Gandingan gongs placed one inside the other

The gongs, themselves, although variable in pitch, are relatively similar in size. Diameters range
from 1.8 to 2 feet and 5 to 8 inches (including the boss) in width for the smallest to largest gongs
respectively.[6] Because of their slight differences, smaller gongs could be placed into larger gongs,
making transport of these gongs more portable than an agung’s, whose turned-in-rim eliminates that
possibility.[3]
Traditionally, the metal used for the gandingan was bronze but due to its scarcity after WWII,
gandingan are more commonly made of less valuable metals such as steel sheets. Recently,
galvanized steel sheets have been used by Maguindanaon instrument manufacturers where different
parts of the gong (the knob, body and rim) would be made from separate sheets and welded
together, then ground out to produce a finished product.[4] Comparatively, these newer gongs have a
higher pitch and are smaller in size than those made in older times.[7]

Kulintang

Other names Calculintang Kolintang, Kulintangan,

Totobuang

Classification
 Percussion instrument

 Idiophone

 Gong

Playing range

Pelog and Slendro scales

Related instruments
bonang,[1] kenong, canang, keromong,[2]kromong, kethuk,
[3]
trompong/terompong, rejong, talempong,[4] chalempung,

caklempong/caklempung,[2] khong wong yai/khong wong lek,

khong toch/ khong thom, khong vong, krewaing/krewong[5]

More articles

gamelan and piphat

Kulintang

Other names Calculintang Kolintang, Kulintangan,

Totobuang

Classification
 Percussion instrument

 Idiophone

 Gong

Playing range

Pelog and Slendro scales

Related instruments

bonang,[1] kenong, canang, keromong,[2]kromong, kethuk,

[3]
trompong/terompong, rejong, talempong,[4] chalempung,

caklempong/caklempung,[2] khong wong yai/khong wong lek,

 khong toch/ khong thom, khong vong, krewaing/krewong[5]

Kulintang is a modern term for an ancient instrumental form of music composed on a row of small,
horizontally laid gongs that function melodically, accompanied by larger, suspended gongs
and drums. As part of the larger gong-chime culture of Southeast Asia, kulintang music ensembles
have been playing for many centuries in regions of the Eastern Malay Archipelago—the
Southern Philippines, Eastern Indonesia, Eastern Malaysia, Brunei and Timor,[6] although this article
has a focus on the Philippine Kulintang traditions of the Maranao and Maguindanao peoples in
particular. Kulintang evolved from a simple native signaling tradition, and developed into its present
form with the incorporation of knobbed gongs from Sunda.[5] Its importance stems from its
association with the indigenous cultures that inhabited these islands prior to the influences
of Hinduism, Buddhism, Islam, Christianity or the West, making Kulintang the most developed
tradition of Southeast Asian archaic gong-chime ensembles.
Technically, kulintang is the Maguindanao, Ternate and Timor term for the idiophone of metal gong
kettles which are laid horizontally upon a rack to create an entire kulintang set. [7] It is played by
striking the bosses of the gongs with two wooden beaters. Due to its use across a wide variety
groups and languages, the kulintang is also called kolintang by the Maranao and those
in Sulawesi, kulintangan, gulintangan by those in Sabah and the Sulu Archipelago and totobuang by
those in central Maluku.[8]
By the twentieth century, the term kulintang had a come to denote an entire Maguindanao ensemble
of five to six instruments.[9]Traditionally the Maguindanao term for the entire ensemble
is basalen or palabunibunyan, the latter term meaning “an ensemble of loud instruments” or “music-
making” or in this case “music-making using a kulintang.” [10]

Dabakan

Classification
 Percussion instrument

 Membranophone
  Drum

Playing range

 Not tuned

Related instruments

kendang, gandang, gandrang,[1] dombak, tombak,[2] kimbal and

sulibao[3]

More articles

 Goblet Drum

The dabakan is frequently described as either hour-glass,[5] conical,[3] tubular,[1] or goblet in

shape[6] Normally, the dabakan is found having a length of more than two feet and a diameter of
more than a foot about the widest part of the shell. [2] The shell is carved from wood [5] either out of the
trunk of a coconut tree or the wood of a jackfruit tree which is then hollowed out throughout its body
and stem. The drumhead that is stretched over the shell is made out of either goatskin,[2] carabao
skin,[7] deer rawhide,[8] or snake[6]/lizard skin, with the last considered by many dabakan practitioners
as the best material to use.[8] The drumhead is then fastened to the shell first via small metal wire
and then using two hoops of rattan[2] very tightly to allow the rattan sticks to bounce cleanly.[9] Artists,
especially the Maranao, would then carve the outside of the shell with elaborate and decorative okkil
patterns.[5]