anata/tarka | antara | bahu | bansuri | boventoonfluiten | buzzing bow | didgeridoo | duduk | boventoonfluiten | duduk | harmonic whirlies |
hulusi | indianenfluiten | mondharmonica's | ocarina | pungi | sakuhachi | shanka-conch schelp | slide whistle | xaphoon | xiao

"HIGH SPIRITS" FLUTES

Each "High Spirits" Native American flute is made from a solid piece of the finest cedar, walnut, birch, maple and other fine domestic plantation-grown woods or recycled lumber, finished with three coats of a non-toxic hardening oil for durablity and clarity of sound. Each Native American flute is precision-tuned so that it will blend perfectly with other instruments. Lovely crafted. All Cedar or Walnut wood flutes also available with turquoise inlayed. Each "High Spirits" Native American Flute comes with an instructional audio cassette or CD and a booklet, including fingering charts. Made in US.

These branch flutes are made all by hand....This means no power tools are used to cut the wood, carve the bore or shape the flute. The maker tries to create instruments with spirit, just using his hands and feelings. Just take a branch mother earth have gifted us, or a piece of wood that wants to live again, and if it wants to become a flute, listen to it...

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ACCESSORIES Flute bags, DVDs, books, ...

BUCKSKIN BAGS	Hand crafted from top grain hides. They have a shoulder strap making them comfortable to carry the flutes on hikes. The closure is an antler button. The small bag is designed for the smaller-sized such as Sparrow Hawk "A" flute, Whitetail Hawk "B" flute and the Merlin "C" flute. The large bag is just right for the "G," "F#" and "D" flutes.
SOFT BAGS	This unique case is made from plush suede cloth. It is completely lined and has 1" foam padding sewn into all sides. We enclosed one of our flutes into the bag & dropped it from a height of 2 m & the flute was completely unharmed. This case is light weight (less then 0.5kg), insulates against heat & cold, is ideal for traveling and has a carrying strap. Unlike top opening cases the side zipper allows the fetish to stay in its proper position during the process of taking the flute in & out. Ideal for your valuable instruments. This come in two sizes: the medium size for flutes up to 57 cm long or the large size which fits flutes up to 72 cm long.
CLOTH BAGS	Available in three sizes, felted cloth flute bags are an economical protection for the instruments. They have cord ties that close the opening securing the flute in the bag. The small bag is 24" long and 4" wide, sized for Kestrel, Merlin, Sparrow Hawk and Whitetail Hawk flutes. The large bag is 30" long and 4.5" wide, sized for Golden Eagle and Redtail Hawk flutes. The extra large bag is 31" long and 5" wide: its extra width makes it ideal for our Condor Bass flutes.
DOUBLE FLUTE BAG	Designed especially for our Double Flutes.

DVD "HOW TO PLAY"	Beginning Flute DVD with Odell Borg Odell Borg's half-hour-plus DVD of beginning techniques. Even if you've never picked up a musical instrument before, this video will get you producing sweet sounds from your Native American flute.
DVD "INTERMEDIATE INSTRUCTION"	Advanced Flute DVD with Odell Borg - 70-minute-long We all get stuck playing the same flute phrase or song over & over again. In this Intermediate level DVD, Odell shows ways of varying the playing style and utilizing new techniques to enhance your flute experience. It is divided into chapters so you can easily jump to a particular lesson.
SONG BOOK	Odell Borg's Native Spirit Song Book with CD A collection of 21 songs written in Native Flute Tablature and Finger Tablature, so everyone will be able to play these songs. Twenty of the songs are Native American songs from various tribal backgrounds plus "Amazing Grace". Included is a "Play Along" CD for the songs. All the songs on the CD are played in the keys of "A", "G" and "F#". This book is easy to use and provides a great tool to vary one's playing style. The special LayFlat binding can be opened & pressed flat without damage to the binding.
CD	For CDs with NATIVE AMERICAN FLUTES, click here

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listen to the Bansuri

De Indische bamboefluit, ook bansuri genoemd, is een uit één stuk bamboe vervaardigde dwarsfluit. De bansuri telt 6 of 7 gaten. Alle halve noten, accidentals en microtones worden verkregen door een unieke vingertechniek. De bansuri is één van de oudste muziekinstrumenten. Er werd reeds van de bansuri melding gemaakt in de Vedas. De bansuri is geassocieerd met de god van dans en muziek: Krishna.

De bansuri - 'bans' betekent bamboe en 'swar, shruti, shri, suri' betekent toon - is een bas fluit gemaakt van bamboe met 6 of 7 open vingergaten. De bansuri is een eenvoudig wind instrument zonder kleppen, met een toon ongeveer een oktaaf lager dan de Europese klassieke fluit en ze is veel meer resonant en flexibel in" tonal quality". Ze heeft geen kleppen voor "b" of "#" maar de halve- en kwartnoten worden verkregen door voorzichtig slechts een deeltje van het gat met de vinger te openen.

CONCERT BANSURI PREMIUM
The hallmarks of quality are the precision of tuning and the sound, resonance and durability of the bamboo. Our premium bansuris are carefully selected concert instruments for demanding musicians. They are made from precious himalaya bamboo, which gives them a unique combination of warmth, softness and clarity. They are tuned to a = 440 Hertz and have exact intonation in all octaves.
Our flute maker Anand Dhotre from Mumbai has learnt his art from his father and cooperates regularly with leading Indian bansuri masters. He is himself a musician and a personal student of master flutist Ronu Majumdar.

ARCHITECTURE & PLAYING TECHNIQUE
The bansuri is a hollow bamboo tube which is closed at the upper end. It has six to seven finger holes and one blow hole. Usually it has several tight thread bindings to prevent it from cracking. It is blown sideways like the Western flute. Fully closing or opening the finger holes produces a diatonic scale. Half opening of the finger holes produces the half notes in between, thus enabling bansuri performers to play any note combination derived from the chromatic scale. Instead of using the fingertips the finger joints are used to cover the holes. That way it is possible to grab even the long deep bansuris commonly used for classical solo performance. Smooth sliding of the fingers produces the glissando movements and microintervals so essential to Indian music. The tonic note Sa is produced by fully closing the first three finger holes. The lowest note is reached by closing all six fingerholes and is a fourth below the tonic Sa. India Instruments usually mentions both the tonic Sa and the lowest note in order to avoid any misunderstandings.

QUALITY
The hallmarks of quality are the precision of tuning and the sound, resonance and durability of the bamboo. India Instruments carries standard bansuris as well as professional ones (called premium) from India. The standard bansuris often have a beautiful tone and a bamboo of decent quality. However many of them are not tuned according to Western pitch and they are sometimes slightly out of tune in the second and third octave. Our premium bansuris are carefully selected instruments for professional musicians in any field. They are made of high quality bamboo from the foothills of the Himalayas, which produces a unique combination of clarity, warmth and smoothness in tone. Our bansuri maker has learnt his art from his father and works in close cooperation with leading Indian bansuri performers. The premium bansuris are hand-picked for us by an independant bansuri player, who checks each instrument for sound quality and intonation. If you are ever unsatisfied with the tuning of one of our premium bansuris we will adjust it individually according to your specifications without extra charge.

BANSURI MAINTENANCE
Bansuris (Indian bamboo flutes), unlike Western silver flutes, do not need any specific maintenance - as long as they are played regularly and kept in a relatively moist climate. E.g. it is unnecessary to wipe the inside after playing.
However, if the bamboo gets too dry, it might crack. Therefore never keep a bansuri in a hot dry place (e.g. a car) for any length of time. If that has happened by accident (and the instrument has yet survived it...) it is important to start playing the bansuri again very carefully - otherwise the inside might swell due to its sudden exposure to the moisture of the breath and thus cause the bamboo to crack.
Some people treat the inside of their bansuris with oil in order to smoothen the surface and thus create a slightly clearer sound. The oil has to be very fluid and free from resin. In India it is common to use mustard oil. Slightly warm the oil to approx. body temperature, apply it to the inside of the bansuri and let it soak for about 30 minutes. Afterwards wipe the bansuri clean again. This procedure can be repeated twice a week for two weeks in a row.

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listen to the HuLuSi

The Hulusi is a free reed wind instrument from China. It is held vertically and has three bamboo pipes which pass through a gourd wind chest. The center pipe has finger holes and the outer two are typically drone pipes.
Notes: F4 - G4 - A4 - A#4 - C5 - D5 - F5 - G5
Quite often the reference note of an instrument in Asia is the note you get when the lowest three fingerholes are open.
The reference note on this flute is A#4.

Hulusi's have one or two extra drones, that can be opened separately. This flute has two drones: G4 and D5.

Comes with carry case.

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listen to the Xiao

The Xiao, or Chinese shakuhachi, is made of bamboo and originated over 2000 years ago. It was some time during the Tang and Sung Dynasty when the vertically-played instruments were categorized as Xiao and those horizontally-played as Dizi. The Xiao is not only a unique solo instrument but is also used widely in ensembles and for accompanying purposes. Its mellow tone quality makes it most suitable for playing lyrical melodies.

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klik voor grote afbeelding

listen to the BaHu

This Chinese reed instrument looks like a normal side blown bamboo flute, but has a copper reed in the square mouth piece. Its shape is similar to that of the Xiao. The sound is somewhat between a flute and a harmonica. This is an instrument of south minority cultures, brought into use in 1960s. With only 9 tones, it produces mellow and charming sounds. The BaHu is popular among the Miao, the Hani, the Yi, the Tai and other minority groups in the Yunnan province of China.

There goes such a beautiful story. Two young Hanis fell in love with each other. One day a demon grabbed the girl, cut off her tongue, then threw her into the deep mountains. Following a bird's advice that bamboo can talk, she made an instrument with that stuff, pouring out her misfortune through it. On hearing her sad voice, the villagers came to kill the demon and relieved the girl. Since then the bawu has became a talking instrument. Its dimensions vary and so do the designs.

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listen to the Shakuhachi

The shakuhachi is a testament to the elegance of traditional Japanese culture. Made from the root of the bamboo, its aesthetic is organic and simple. Hidden inside this rustic form, however, is a bore that is carefully crafted with the utmost precision. This instrument produces a sound that is said to replicate the full range of natural life on earth.

The shakuhachi is an end-blown flute tuned to a pentatonic (5-note) scale. By various fingerings -- half- and quarter-holings -- and by controlling the angle of mouthpiece against the lip, all twelve tones of the western chromatic scale can be produced. The mouthpiece consists of an oblique blowing edge whose design is unique in that it enables the player to control the pitch produced by changing the angle at which the flute is being blown. This, in turn, produces a delicate change of intonation -- a swelling or bending of notes characteristic of the traditional music. Alterations in embouchure, intensity of blowing and cross fingerings allow the player to create a wide variety of subtle and incredible sounds. The timbre of the instrument is mellow in its low tones, although it is equally capable of producing loud, penetrating and breathy tones in its middle and upper registers. Little can be said of the sound of the shakuhachi without first hearing its hauntingly beautiful ring. With this in mind, noted ethnomusicologist Fumio Koizumi concluded: "Because of the religious origin of its music, the sound of the bamboo flute leads the mind directly into spiritual thought. Thus a single tone of the shakuhachi can sometimes bring one to the world of Nirvana."

The origin of the shakuhachi, according to one theory, has been traced back as far as ancient Egypt and is presumed to have migrated through India and China before entering Japan in the Sixth Century. Its popularity, however, was short-lived and it wasn't until the Thirteenth Century that it was revived by the Fuke sect of Buddhism which sought to replace sutra chanting with sui zen or "blowing zen." Not until the Edo Period (1603-1867) did this instrument reach its final and most decisive phase of development. During this era, marked by the disintegration of feudal Japan, the shakuhachi was favored by swelling numbers of uprooted samurai warriors (ronin) who joined the ranks of itinerant preachers known as komuso ("Priests of Emptiness and Nothingness"). The komuso wore large baskets (tengai) over their heads to symbolize their detachment from the world. Violent clan struggles which marked the late Sixteenth Century forced some of the komuso to organize themselves into a society for self-protection.

for Shakuhachi lessons, contact Marc Senechal (Gent) - 09/223.18.56 - marc.senechal@skynet.be

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The Tarka is the traditional hand carved wooden flute of the Andes, played in the altiplano of Peru and Bolivia during ceremonies and traditional festivals. It has 6 finger holes and is similar to a recorder but with a different mouth piece and produces a deeper more penetrating sound. These square flutes are carved with traditional South American images and hand painted with earthy colours. This Tarka comes with a fipple shaped mouthpiece (similar to a recorder) and has six finger holes.

Playing the instrument produces a soft and mellow sound, emulating the sound of the wind in the Bolivian plateau. Whilst not being played the Tarka also looks great as a display piece - Stand it up on it's base and it resembles a Totem pole!

Tarka in E - length 49cm
Anata in C - length 31cm

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The Antara is a pre-colombean pipe flute similar to the Siku (Pan pipes) but only has one line of pipes. Although modern Antaras are made of Bamboo, they were once made of several types of clay-like muds, fired to achieve hardness, with some taking on a terra-cotta appearance.

The Antara is an ancient musical instrument that consists of 10 or more pipes in increasing lengths bound together as one wind instrument. It is played vertically but blown horizontally across the open inner edges of the pipes. The air blown through the instrument creates a series ofpulses that generate sound waves within the tubes.

• 12 pipes
• Tuned in A

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Easy-to-play PVC flutes. They have only one hole which allows the player through overblowing, like with a Slovakian Fujara, to reach a series of overtones up to 6 octaves. You can make a third base tone through closing the big opening at the end of the flute, creating a lively and virtuous sound.

The overtone flute is an old scandinavian instrument that has influenced the folk music in many places by its special sound and scale. You can also find this flute in other countries like Hungary. In order to make it easy for beginners, the flute should be played with a covered half-tone hole, so that just one hand movement is necessary. This is also the shape in which the flute is delivered. You can regulate the tone height in two different ways. the first possibility - which gave name to the flute - is to vary the blowing intensity in a weak or strong manner. If you blow softly, you will receive a very low tone which is the fundamental tone of the flute, when you blow more intensively, higher tones will spring up in the rising scale and a so called overtone or natural tone scale will result. The position of the tones in the scale depends on the length of the flute (must be done with the half-tone hole covered). To make it easier to hit the desired note, begin blowing with a little ”t”- sound.

Our overtone flutes are tuned in d and f and give the opportunity for beautiful duets played on the two flutes together, also in the musical games and improvisations of beginners. Another possibility of tone variation is to alternately close and open the orifice. When you cover the orifice, you will find that the tone rises or sinks to a position in the above mentioned scale between two tones. This will happen without taking into consideration the momentary position of the tone. Thereby the number of tones can be doubled. The same quantity of tones can be received again by putting a finger into the orifice of the flute. Then the tone rises up against half a tonestep, related to the above described interface tone on condition that the orifice is well covered. The half-tone should be played with the thumb. When the thumb hole and the orifice are open the tone rises half a tone in proportion to the tones in the fundamental scale of the flute (overtone scale).

The tones can also be "stretched" by gradually opening and closing the holes. To fully control the flute one has to practise to simultaneously cover the half tone hole - open, close and putting the index finger into the orifice. The fact that the melodies are made by varying the blowing intensity has a unique healing effect on the breathing functions and by that on the whole human being.

Our overtone flutes made of bamboo are easy to play.
These harmonic flutes have a warm to breathy sound.
They are available in several keynote variants (C - D - E - low A - low G).

listen to the copper overtoneflute

This is a bended copper overtone flute with a mouthpiece made of beech, in which a labium is included. It is played horizontally, but it is blown like a recorder. It has no finger holes. The pitch is fixed by the power of the breath and the opening and closing of the ending. Sounds very close to a Slovakian Fujara.

listen to the Fairy flute

Fairy Flutes - With this beautiful and unique ferry flute made out of high value Duran-Glas you get an extraordinary musical instrument: The first overtone flute made out of glass. Each flute is one of a kind und is crafted with care and love. The sand blasted ornament is a little different on each instrument. This flute belongs to the tribe of overtone flutes, therefore it has no regular holes for playing. That makes it simple for everyone, it can be played right away, without exercise. And that’s not all: With just one finger and varying the power of the blowing air you can play up to 17 different notes.

In depending of the ground note, the intervals of the tones stay stabile. (Law of the overtone- or natural tone series)
The ground notes and the names of the tones, that can be heard vary by the size of the flute, The listed flutes are tuned in the note of E (440Hz). This flute can be nicely accompanied with a guitar.
The ferrys flute is and blasted with a spiral pattern. It comes with a cleaning stick, a booklet with 8 pages, that contains, playing instructions and tricks.

The flute comes in a transparent, hard plastic tube.

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listen to the Duduk

THE DUDUK (pronounced “doo-dook”) is one of the oldest double reed instruments in the world. Indeed, it’s origins can be traced back to at least before the time of Christ. Of all the traditional instruments played in Armenia today, only the duduk is said to have truly Armenian origins. This seems to be supported by the fact that, unlike the duduk, all of these other instruments can trace their lineage’s back to the Arabic world and to the countries of the Silk Road.

Throughout the centuries, the duduk has traveled to many neighboring countries and has undergone a few subtle changes in each of them, such as the specific tuning and the number of holes, etc. Now variants of duduk can be found in Georgia, Azerbaijan, Turkey, and Persia, and even as far away as the Balkans. Besides being called variations of the Armenian word “duduk”, such as “duduki” (in Georgia), it is also referred to as “mey” (in Turkey), and “balaban” (in Azerbaijan and in parts of Central Asia).

The basic form has changed little in it’s long history. Originally, like many early flutes, the instrument was made from bone. Then it advanced to a single, long piece of reed/cane with the mouthpiece fashioned on one end and holes drilled out along it’s length for the notes. However, this had the obvious disadvantages of a lack of durability, namely when any part of it would crack you had to make an entirely new instrument, and perhaps equally frustrating, it could not be tuned. So, to address both of these problems, it was eventually modified into two pieces: a large double reed made of reed/cane; and a body made of wood. This is the form that is still in use today.

While other countries may use the wood from other fruit and/or nut trees when making their instruments (often plum and walnut in Georgia, and Azerbaijan, for example...), in Armenia, the best wood for making duduks has been found to be from the apricot tree. It has come to be preferred over the years for it’s unique ability to resonate a sound that is unique to the Armenian duduk. All of the other variations of the instrument found in other countries have a very reed-like, strongly nasal sound, whereas the Armenian duduk has been specifically developed to produce a warm, soft tone which is closer to a voice than to a reed. It should be noted that in order to further accentuate these qualities, a particular technique of reed making has evolved, as well.

While recent appearance’s of the duduk in various movie and TV soundtracks ("Gladiator", “The Last Temptation of Christ”, “The Crow”, “Zena, Warrior Princess”, etc...) has accentuated it’s evocative and soulful side (and understandably so!...), it may surprise some to find that it is also quite capable of a wide range of melodies, including rhythmic dance tunes. It may very well be because of this wide range of expression, combined with the depth and power of it’s sound, that the duduk has truly become a part of everyday life in Armenia. In fact, it would not be an exaggeration to say that no wedding, festive occasion, or family gathering would be complete without a duduk player...

OUR DUDUKS are made by Arthur H. Grigoryan, the son of the late Hovsep Grigoryan. Studying at his father Hovsep Grigoryan a long time he has adopted the preparing peculiarities of these instruments. Considering the nowadays best masters, preparing Duduk, Zurna, Shvi, keeping the family traditions of preparing the musical instruments and in favour of his investigations, in the result of new discovered technologies has improved these instruments, converting them more perfect. And most of nowadays best dudukists play by the musical instruments, prepared exclusively by Arthur Grigoryan, including also world-famous DJIVAN GASPARYAN. Our Duduks come with one reed. All instruments are made from high quality apricot wood and each labeled with Master Arthur Grigoryan logo, crafted on the instrument.

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Maui Xaphoon

Classic Xaphoon

Xaphoon manual,
comes with each instrument

Nepalese Xaphoon bags

Xaphoon DVD

listen to the Maui Xaphoon

listen to the Maui Xaphoon "C" (taken from the CD "Indigo", by Kristalan)

Introducing the Maui Xaphoon (pronounced “za foon”), a "Bamboo Sax" for everyone who appreciates awesome sound but doesn’t want to schlep around a bulky instrument. The Xaphoon’s sound falls somewhere between a saxophone and a clarinet – a much richer sound than its size would suggest -- and was born to be played wherever and whenever the mood strikes. The experienced player will find the Xaphoon capable of all the subtle shadings and vibrant power of a saxophone. The beginner will find it fun and easy, and good practice for other reed instruments.

The Xaphoons are hand-made of Bamboo, cut from the rain forests of East Maui by the instrument's creator. A tenor saxophone reed, affixed to a built-in mouthpiece, is responsible for the instrument's unique sound. They are available in the keys of C and Bb, with recently added D, Es & G, possess a 2-octave, fully chromatic scale. The Xaphoon could become one of your most treasured belongings.

Imagine being able to create a sense of community wherever you are - at a bus stop, in a cave, waiting in line, even a parking garage! The Xaphoon is about two octaves lower than conventional flutes of the same length. Play it in an acoustic space and it will sound like a full-sized saxophone. Make friends while making spiritual music!

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Conch schelphoorns vindt je in zowat alle kustgebieden ter wereld alsook hier en daar in het binnenland. Je kan ze vinden in verschillende vormen en afmetingen. Zij behoren tot de oudste instrumenten op onze aardbol. Schelphoorns worden gemaakt door de topspiraal van de schelp te verwijderen, waardoor een opening wordt verkregen. Door in deze opening te blazen, verkrijg je een krachtige hoornklank. De conch zijn vaak terug te vinden in ceremoniën en rituelen (Buddhisme), maar werden eeuwenlang tevens als signaalhoorn gebruikt.

Vanuit religieus standpunt is de conch schelp uitermate belangrijk. In de Hindoe mythologie wordt de conch beschouwd als puur en vroom en is in alle religieuze rituelen gebruikt.

Alle schelphoorns die wij in onze winkel verkopen, zijn door ons persoonlijk uitgekozen en op klankkwaliteit geselecteerd.

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Slide-Didgeridoo "The Slider"

The Slide-Didgeridoo is a new exciting spin on the didgeridoo that allows players to change pitch while playing! It is easy to play, light, compact, durable and inexpensive! It has superior sound quality due to its heavy duty large bore construction and huge 4.5" bell. The mouthpiece is an ideal 1.25". Length when closed is 50", extended 80". Pitch changes are achieved with a unique seal for smooth airtight slide action. A quick lock feature allows locking of the slider in any pitch position. The Slider plays thru the 6 most popular keys of the didgeridoo F, E, D, C, B and A.

We highly recommend The Slider to beginner and advanced players alike. Beginners can try out different keys to help get their first tone. There is also excellent backpressure for learning to circular breathe. It has exceptional vocals and full range harmonics for an intense sound. Advanced players will love the sound quality and versatility of being able to match pitch with anyone's didgeridoo. Our exclusive locking feature ensures that you won't fall out of pitch while jamming.

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listen to the slide whistle

This is one of the very best slide whistles available. It's made of heavy gauge metal. If you want the best sound and an instrument that will last for many years, this is the one to get.

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The snake charmer Pungi is a simple folk instrument. It is made of a small gourd with a blowing hole at the top and two attached pipes at the bottom. Its sharp, penetrating sound is produced by reeds for each pipe inside the gourd. The gourd itself functions as air-chamber for the reeds - the same principle is used in bagpipes. However, the gourd being rigid and relatively small, constant blowing with just the right pressure is required in order to produce the proper sound. One pipe is the drone and has only one fingerhole. The drone note can thus be raised by a second. The other pipe has seven fingerholes and is used to play melody with a range of approximately one octave. The tuning, however, is not compatible with common Western or classical Indian scales. The Pungi is thus an exciting, expressive solo instrument, but hard to use together with other melody or harmony instruments.

Measurements: length 41 cm, diameter of gourd 10 cm.

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PRO CLAY FLUTE

• 6 sound holes
• alt 110 x 133mm
• tuned in F
• made in Germany
  

PRO CLAY FLUTE

• 6 sound holes
• sopran 65 x 100mm
• tuned in C
• made in Germany
  

PRO CLAY FLUTE

• 6 sound holes
• mezzo-sopran 55 x 82mm
• tuned in F
• made in Germany

PRO CLAY FLUTE

• 6 sound holes
• sopranino 47 x 63mm
• tuned in A
• made in Germany
  

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You'll feel uplifted, re-energised and incredibly free as you experience the transformational healing power of sound through playing the Harmonic Whirlies

listen to the Harmonic Whirlies

Welcome to a world of Magical Sound ...

• Harmonic Whirlies are truly unique musical instruments which everyone can play.
• Each whirly produces celestial sounding pure harmonic music whilst simultaneously providing powerful vibrational healing.
• When spiralled through the air at different speeds, each whirly plays approx. six astoundingly pure notes from the harmonic overtone series.
• Harmonic Whirly Sets are being used and enjoyed by many schools, community groups, special schools, healing practitioners, dance companies and individuals all over the world.
• The Harmonic Whirlies are available in a variety of sets and tunings as well as individually. There are 16 different instruments: 8 low range, plus 8 matching higher range instruments from C5 (middle C) to B6 an octave above.
• The Harmonic Whirlies are easy to play, powerful Vibrational Healing Tools which are fabulous for 'energy balancing', alleviating depression, cleansing your home and workplace of 'negative' stagnant energy.
• As musical instruments and educational tools the Harmonic Whirlies are being used in conjunction with bands, orchestras, choirs, chamber ensembles, didgeridoos, community music events and have also been used in collaboration with the Gyuto Monks of Tibet.
• They have colour-coded handgrips relating to the chakras, which are clearly labelled with both musical notation and vibrational healing information.
• Each set comes in a lightweight fabric carrybag with a comprehensive information booklet showing how to play them, together with a range of exciting interactive musical activities for individuals and groups of all ages.
• All 16 Harmonic Whirlies are tuned to "concert pitch" so they may be used in conjunction with other instruments or voices to add a special celestial quality.
• The Low Range C5 and D5 whirlies can also be played as didgeridoos and all the low range whilies can be played percussively as handheld tuned "Drum-pipes"
• Also included is a 5 page document outlining curriculum applications for secondary schools, plus extensive information on how to use the Harmonic Whirlies for vibrational healing.
  

Harmonic Whirlies as Vibrational Healing Tools: The Harmonic Whirlies clear the space energetically Playing and hearing the whirlies opens up everyone's auras and clears away old thought forms and stagnant energy The sound also breaks up blocked energy within the body Different whirly tunings have healing effects on different chakras, organs, meridians and acupressure points. They also effect the emotional field, assisting with healing and clearing various emotional issues, plus calming the mind The higher range whirlies fine tune what the low whirlies are doing and they all tend to raise the energy through the chakras The sound of the Harmonic Whirlies is very healing, it clears all stagnant energy away, so you should feel really vibrant and re-energised after playing them Harmonic Whirlies Healing Chart Colour Coding on Handgrip Harmonic Tuning Lower Range Whirlies (Larger Diameter) Chakra Information Harmonic Tuning Higher Range Whirlies (Smaller Diameter) Chakra Information Blue For throat, 3rd eye and heart. Assists with healing issues related to children. (Throat: communication and creative expression. Third eye: insight, intuition and perception. Heart: compassion, healing, centering) For throat and into 3rd eye (finetuning). The sound goes into the right side of the emotional field and assists with clearing father issues. Green For heart and solar plexus. Calms the mind. (Heart: compassion, healing, centering. Solar plexus: vitality, psychic awareness, nervous energy) For heart and base (finetuning). Opens up the heart centre and clears blocked energy from the base centre. Yellow For solar plexus. Opens chakra and pulls out stuck emotional energy. Very healing. (Solar plexus: vitality, psychic awareness, nervous energy)   For solar plexus and sacral (finetuning). Puts energy into the sacral centre which goes into the kidney meridians and then pulls out stuck emotional energy from the solar plexus. Also calms the mind. Purple For 3rd eye centre, heart and sacral centre. Putting energy directly into the third eye centre. Links heart and mind together. (Third eye: insight, intuition and perception) 3rd eye and solar plexus (finetuning). Links heart and mind together. Red Throat, solar plexus, kidney acupoints and spleen. Uses the spleen to access the two emotional centres, throat and solar plexus. (Throat: communication and creative expression. Solar plexus: vitality, psychic awareness, nervous energy) For throat, heart, solar plexus and base (finetuning). Allows energy in the solar plexus to rise into the throat for expression and release. Very fast playing activates the base chakra and acu-point and sends energy up through the central core of the body into the throat. (Base: passion, physical and sexual energy)

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HOHNER Puck

Reeds: 20
Reedplates: Brass - 0,9 mm
Comb: Plastic
Length: approx. 6,5 cm

10 Hole diatonic in an oldy worldy style. One of the smallest of the Hohner range of harmonicas, this comes in its own case and makes an ideal gift. Named after the mischievous sprite from Shakespeare's "A Midsummer Night's Dream", this petite diatonic harmonica has stainless steel covers and a plastic comb. Less than three inches long, the bright-sounding Puck is small enough to tuck into even the smallest shirt pocket!

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HOHNER Double Puck

Reeds: 40
Reedplates: Brass - 0,9 mm
Comb: Plastic
Length: approx. 6,5 cm

Hohner has reissued the Double Puck Harmonica, a mouth harp popular in the 1920s for it's two back-to-back petite size harmonicas (each just 2 9/16" long x 7/8" wide). The two conjoined 10-hole harmonicas are in the popular key combination of C and G and offer full diatonic sound. Hohner's Double Puck Harmonica features genuine gold-plated stainless steel covers and a plastic body, with 40 total reeds and sturdy carrying case. Small enough to tuck discreetly into a shirt pocket, yet with two complete diatonic scales.

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