Kalimba Echo 17 Blades

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The kalimba is an African musical instrument with a wooden soundboard and metal keys. The 15-key kalimba that we are making at Juma Instruments is an instrument that originates from African ethnic groups in Southern Africa. In the classification of musical instruments the kalimba is in the category of lamellophones or plucked idiophones (Hornbostel-Sachs system). Kalimba is one of the names used for this 15-key African lamellophone. Other language varieties are Nyunga nyunga, Nyonga nyonga and Karimba. Karimba translates to “little wooden xylophone” and Nyunga nyunga translates to “something little that causes fun trouble”… Variations of the kalimba are found all across Africa, for example in Zambia they play the Kankobela which has 7 to 12 keys. In Congo they play the Likembe which has 8 keys in pentatonic tuning.

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SettingsKalimba Echo 17 Blades removeDaf training from beginner to excellent Siamak Azizzadeh removeForty Pieces for Santour by Faramarz Payvar Mahour Publications removeBook of John Mary removeLotfollah Majd's book, eighteen pieces for tar and setar removeThe color book of the city of chaos in passion by Faramarz Payvar, published by Mahour remove
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ContentThe kalimba is an African musical instrument with a wooden soundboard and metal keys. The 15-key kalimba that we are making at Juma Instruments is an instrument that originates from African ethnic groups in Southern Africa. In the classification of musical instruments the kalimba is in the category of lamellophones or plucked idiophones (Hornbostel-Sachs system). Kalimba is one of the names used for this 15-key African lamellophone. Other language varieties are Nyunga nyunga, Nyonga nyonga and Karimba. Karimba translates to “little wooden xylophone” and Nyunga nyunga translates to “something little that causes fun trouble”… Variations of the kalimba are found all across Africa, for example in Zambia they play the Kankobela which has 7 to 12 keys. In Congo they play the Likembe which has 8 keys in pentatonic tuning.General chapters of the book:
  • Def training
  • Daf officials
  • A look at rhythms and rhythm theory
  • Seventy-five pieces of daf solo
Based on the available evidence and works, it is possible to understand the long history of the daf and history shows that the passage of time has changed its appearance and music. The emergence of a new style of music, which can be called mystical music, led to the presence of this instrument in the field of traditional Iranian music, but most people knew and imagined the daf as a rhythm inducer and accompaniment of other instruments in music groups. Its solo capability is very limited. The maneuverability of the instrument was also limited to monastic rhythms or daf instruments. Daf training from beginner to advanced Siamak Azizzadeh has been written in order to change this type of attitude and highlight the daf solo dimension. This collection is the first book in which daf solo in different parts of daf and education are collected together. In writing the book of daf training from beginner to excellent Siamak Azizzadeh, a single line carrier has been used. The main reason for this choice is as follows: All over the world, carrier lines have a defined frequency.
 
Buy a book of forty pieces for Santour by Faramarz Payvar, published by Mahour It includes works by Darvish Khan, Abolhassan Saba, Rokanuddin Mokhtari, Alinaghi Vaziri, Reza Mahjoubi, Musa Maroufi, Habib Samaei, Ali Akbar Shahnazi, Morteza Ney Davood and Ebrahim Mansouri, which has been arranged for santur by Faramarz Payvar. This collection has been recorded and performed in the form of two CDs separately by Shahpar Shoja Ardalan with Santour and accompanied by Tombak Ali Zeinali Deh Soori.This book is the ninth volume of the collection "Eternal Flowers" published by Saroud Publications and includes eighteen pieces by Lotfatullah Majd. The books of Immortal Flowers by Saroud Publications include a selection of works by many great Iranian musicians, which have been recorded according to their recorded performances and in many cases have been arranged for strings and strings.The color book of the city of chaos in passion by Faramarz Payvar, published by Mahour The color of Shahr-e-Ashob is one of the very old colors of Iranian national music, which in fact can be considered as a complete percussion instrument (Shoor and its accessories, Abu Atta, Bayat Turk, Afshari and Dashti). It seems that this piece is not made by a master and its pieces have been made and collected by different masters and have reached us at present. This color does not belong only to the salt device, and other instruments of our music also have a color of the same name, which is mostly adapted and inspired by the color of the city of chaos. In this book, the color of the chaotic city in the salt machine for the dulcimer is written by Master Payvar. This collection has been recorded and performed separately in the form of a CD by Faramarz Payvar.
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