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The origin of the marimba is uncertain; some believe that
it had originated in Southeast Asia by the 14th Century, and others that it came from Africa. The instrument was brought to South
America in the early 16th Century by either African slaves or by pre-Columbian African contact.
The
marimba is an idiophone that is sounded by striking wooden bars with a mallet. Its name is derived from Bantú languages in
which rimba suggests a "flattish object sticking out" such as a note or key, and ma is a cumulative prefix; thus, marimba
is equivalent to many keys.
Early marimbas were made of wooden bars or keys, with resonating
gourds suspended below. Each gourd was individually tuned to the primary pitch of its corresponding key. The gourd was interiorly
fitted with a mirliton or natural membrane (tripa de puerco) which created the buzzing or reverberating sound for which the
marimba is known. These traditional marimbas are still made in rural villages, mainly in Guatemala and Mexico, and are usually
played either by attaching the instrument to a frame with wooden legs or by hanging it from the players waist.
The marimba is the national instrument in Guatemala where it is used in religious ceremonies, as well as in
social or community events. The marimba has traditionally been played, although to a lesser extent, in Brazil, Nicaragua,
Ecuador, Cuba, and Peru. While the marimba has been manufactured for orchestral use in the United States since 1910, it is
currently gaining popularity both as a solo and orchestral instrument, as well as in jazz circles.
The
keys of the modern marimba are usually constructed of rosewood, and the resonators of brass or aluminum. The resonators (pipes)
are graduated in length (as are the keys) and closed on one end (the end facing the floor). The marimba has a two-level keyboard,
similar to a pianos division of black and white keys, allowing the full chromatic range to be represented. The most common
orchestral marimba is four octaves , and the solo marimba is between four-and-a-third and five octaves. Larger instruments
(up to six-and-a-half octaves) are found in the villages of Guatemala and México, where they may be played by two or three
persons simultaneously, each using two to four mallets. The modern orchestral marimba is mounted on a standing frame and played
from a standing position.
The initial sound produced by the mallet striking the bar is
the fundamental, and the tones created by the vibrating bar are the overtones. As the bar is free on both ends, both odd-
and even-numbered overtones are produced. While the primary overtone of a xylophone is one octave and a fifth above the fundamental,
the primary overtone of a marimba is precisely two octaves above the fundamental.
Each
resonator is tuned to the pitch of its bars fundamental tone, and helps in producing a stronger sounding of the fundamental
and the odd-numbered overtones. A common misconception is that the resonator prolongs the keys sound, when in reality the
opposite is true. When a resonator is used, two sources (the resonator and the key) vibrate instead of one. The close proximity
of two vibrating elements causes a more rapid decay of the sound. However, when using a resonator, the initial sound is louder
and therefore remains within the normal range of hearing for longer than a note struck without the use of a resonator; thus
accounting for the illusion of a prolonged pitch.
The marimba can be played with either
two or four mallets. The mallets are commonly made of birch or rattan, topped with heads of rubber, plastic, or wood, and
usually wrapped in yarn or cord. A heavy mallet or one made from softer material results in longer contact or compression
with the bar, producing a louder sound which is quickly dampened. A light mallet or one made of rigid material rebounds quickly,
producing a softer, yet fuller, longer tone.
Bibliography
Cotto, Orlando by telephone
interview 9/11/00. Mr. Cotto is a master percussionist residing in Baltimore, Maryland. His CD for solo marimba is reviewed
in this issue of Clave.
Encarta Encyclopedia, Xylophone. "encarta.msn.com/index/conciseindex"
Encyclopedia Britannica (Native America Arts, Middle America; Xylophone; Percussion instrument; Marimba; &
Sound, stretched membranes). "www.Britannica.com"
Marimba Explanation. "www.marimba.org/aboutMarimba.html.en"
Merrill, Greg, The Marimba, Scientific Aspects of its Construction and Performance, Acoustics of Music, 1996.
"www.smu.edu/~ttunks/projects/merrill/MarimbaH.html"
Schweitzer, Kenneth by telephonic interview
9/12/00. Mr. Schweitzer is a percussionist and an instructor of ethnomusicology at the University of Maryland.
Tanchez, J. Eduardo, Historia de la Marimba, La música en Guatemala, Algunos músicos y compositores, "Biografías
de músicos guatemaltecos," 1987, Editorial Impresos Industriales, Guatemala City, Guatemala. "www.quetzalnet.com/marimba/historia_de_lamarimba.html" |
