Marimbafonul, denumit imarimba,marimbsaubalafon, este un instrument de percuie de provenien african, foarte asemntor cuxilofonulivibrafonul, care cunoate o viguroas nflorire n rileAmericii Latine.[1]Este construit din plci de lemn depalisandru, acordate i dispuse n ordinea nlimii, nzestrate cu tuburi rezonatoare, care ntresc i prelungesc sunetele. Asupra lui se acioneaz cu baghete de lemn, pentru sunetele puternice, i cu baghete de cauciuc, pentru cele moi.[2]Marimba a evoluat din "balafon"[3], fiind originar dinAfrica. Cuvintelerimibaprovin din limbabantu, vorbit nMozambiciMalawi. Marimbafonul poate avea pn la 5 octave. Plcuele de lemn, aezate pe dou rnduri, sunt acordate cromatic, ca la claviaturi. Iniial, pentru amplificarea sunetului se foloseau trtcue. n prezent, se folosesc tuburi metalice, montate perpendicular sub plcuele de lemn. Deoarece plcuele de lemn sunt mai subiri i mai moi, marimba are un sunet mai plin dect alxilofonului.[4]Themarimba(/mrmb/) is apercussion instrumentconsisting of a set of wooden bars struck withmalletsto produce musical tones. Resonators attached to the bars amplify their sound. The bars are arranged as those of apiano, with theaccidentalsraised vertically and overlapping the natural bars (similar to a piano) to aid the performer both visually and physically. This instrument is a type ofidiophone, but with a more resonant and lower-pitchedtessiturathan thexylophone.The chromatic marimba was developed in what used to be Guatemala centuries ago,[1]The diatonic marimba is an instrument whose ancestor was a type ofbalafonthatAfricanslaves built inGuatemala, the marimba is also the official national instrument of Guatemala, due to it originating there.Modern uses of the marimba include solo performances,woodwindandbrassensembles, marimbaconcertos,jazz ensembles,marching band(front ensembles),drum and bugle corps, andorchestral compositions. Contemporary composers have used the unique sound of the marimba more and more in recent years.Xylophones are widely used in music of west and central Africa. The namemarimbastems fromBantumarimbaormalimba, 'xylophone'. The word 'marimba' is formed fromma'many' andrimba'single-bar xylophone'.[2][3]Diatonic xylophones were introduced to Central America in the 16th or 17th century. First historical record of Mayan musicians usinggourdresonator marimbas inGuatemalawas made in 1680, by the historianDomingo Juarros. It became more widespread during the 18th and 19th centuries, as Mayan and Ladino ensembles started using it on festivals. In 1821, marimba was proclaimed the national instrument of Guatemala on its independence proclamation.[4]The gourd resonators were later replaced by harmonic wooden boxes, and the keyboard was expanded to about fivediatonicoctaves. Variants with slats made of steel, glass or bamboo instead of wood appeared during the 19th century.In 1892,Corazn de Jess Borras Moreno, a musician fromChiapas, expanded marimba to include thechromatic scaleby adding another row of sound bars, akin to black keys on the piano.[5]The namemarimbawas later applied to the orchestra instrument inspired by the Latin American model. In the United States, companies likeDeaganandLeedycompany adapted the Latino American instruments for use in western music. Metal tubes were used as resonators, fine-tuned by rotating metal discs at the bottom; lowest note tubes were U-shaped. The marimbas were first used for light music and dance, such asVaudevilletheater and comedy shows.[3]Clair Omar Musserwas a chief proponent of marimba in the United States at the time.French composerDarius Milhaudmade the ground-breaking introduction of marimbas intoWestern classical musicin his 1947Concerto for Marimba and Vibraphone. Newly invented four-mallet grip enabled playingchords, and the innovation enhanced the interest for the instrument.[3]In the late 20th century,modernistandcontemporarycomposers found new ways to use marimba: notable examples includeLeo Janek(Jenufa),Carl Orff(Antigonae),Karl Amadeus Hartmann,Hans Werner Henze(Elegy for Young Lovers),Pierre Boulez(Le marteau sans matre) andSteve Reich.[3]Marimba bars are typically made of either wood or synthetic material.Rosewoodis the most desirable, whilePadaukis a popular affordable alternative. Bars made from synthetic materials generally fall short in sound quality in comparison to wooden bars, but are less expensive and yield added durability and weather resistance,[6]making them suitable for outdoor use; marimbas with wooden bars are usually played inside because the bars are susceptible to pitch change due to weather.Bubinga(Guibourtia demeusei) andmahoganyhave also been cited as comparable to rosewood in quality for use as marimba bars.[7]The specific rosewood,Dalbergia stevensonii, only grows in Southern Guatemala and Belize, formerly the British Honduras, hence its common name. This wood has aJanka ratingof 2200, which is about three times harder thanSilver Maple. The bars are wider and longer at the lowest pitched notes, and gradually get narrower and shorter as the notes get higher. During the tuning, wood is taken from the middle underside of the bar to lower the pitch. Because of this, the bars are also thinner in the lowest pitch register and thicker in the highest pitch register.In Africa, most marimbas are made by local artisans from locally available materials.Marimba bars produce their fullest sound when struck just off center, while striking the bar in the center produces a more articulate tone. On chromatic marimbas, the accidentals (black keys) can also be played on the space between the front edge of the bar and its node (the place where the string goes through the bar) if necessary. Playing on the node produces a sonically weak tone, and the technique is only used when the player or composer is looking for a muted sound from the instrument.The mallet shaft is commonly made of wood, usuallybirch, but may also berattanorfiberglass. The most common diameter of the shaft is around 8mm. Shafts made of rattan have a certain elasticity to them, while birch has almost no give. Professionals use both depending on their preferences, whether they are playing with two mallets or more, and which grip they use if they are using a four-mallet grip.Appropriate mallets for the instrument depend on the range. The material at the end of the shaft is almost always a type of rubber, usually wrapped with yarn. Softer mallets are used at the lowest notes, and harder mallets are used at the highest notes. Mallets that are too hard will damage the instrument, and mallets that might be appropriate for the upper range could damage the notes in the lower range (especially on apadoukorrosewoodinstrument). On the lower notes, the bars are larger, and require a heavier mallet to bring out a strong fundamental. Because of the need to use different hardnesses of mallets, some players, when playing with four or more mallets, might use graduated mallets to match the bars that they are playing (softer on the left, harder on the right).Some mallets, called "two-toned" or "multi-tonal", have a hard core, loosely wrapped with yarn. These are designed to sound articulate when playing at a loud dynamic, and broader at the quieter dynamics. Bruce Adolphe: "Self Comes to Mind" (2009), "Red Dogs and Pink Skies" (2002), "Reach Out, Raise Hope, Change Society" (2011) Pablo Aguirre:Concierto por la pazfor Marimba and symphonic orchestra Ludwig Albert:The Universe(2012),Double Concerto for Marimba and symphonic orchestra Ludwig Albert:Feel the sunlight for marimba solo (2012) Ludwig Albert:Marimba Moods for 8 mallets (2000)",Five scenes on Sakura (2000), Fantasy of Love (2000), numerous works for marimba & chamber music Benjamin C.S. Boyle: "Les bois du paradis" (2012) Stephen Brown:Shadow of a Leaf, soprano and marimba (2006), a ten song cycle sung as one Howard J. Buss:A Day in the City(1986) - Brixton Publicationshttp://www.brixtonpublications.com/percussion-4.html Howard J. Buss:Rite of Passage(1995) Brixton Publicationshttp://www.brixtonpublications.com/percussion-4.html Paul Creston:Concertino for Marimba(1940) Aisha Duo:Quiet Songs(2005) Safri Duo:Baya Baya Joseph Hallman:Violenciafor marimba and cello (2007), written forAlisa Weilersteinand Matthew McClung. John Harbison:Concerto for Bass Viol(2005) Lane Harder: Africa Hocket (2012) Lane Harder:Circus Plenus Clamor Ingens Ianuae Tensae(2002) Lane Harder:Durufle Variations(2011) Hans Werner Henze:Five Scenes from the Snow Countryfor Marimba solo (1978) David A. Jaffe: 'The Library of Babel,for two five-octave marimbas (2012) Anders Koppel:Marimba Concertos 1-4(1995-2005),Tarantella' (for violin and marimba) (2001),Toccata(for marimba and vibraphone) (1990) Frederik Magle:Cantabile (symphonic suite)- TheCortge & Danse Macabremovement includes a marimba solo[10](2009) Linda Maxey: The Artistry of the Marimba (1994) Olivier Messiaen:La Transfiguration de Notre Seigneur Jsus-Christ("The Transfiguration of Our Lord Jesus Christ"), large 10-partchorus,pianosolo,cellosolo,flutesolo,clarinetsolo,xylorimbasolo,vibraphonesolo, large orchestra (196569) Olivier Messiaen:Saint-Franois d'Assise(Saint Francis of Assisi, opera) Darius Milhaud:Concerto for Marimba, Vibraphone and Orchestra, Op. 278 (1947) Luigi Morleo:Concerto per Marimba e Archi(1993) Thea Musgrave:Journey through a Japanese Landscape(1994) Emma Lou Diemer: Concerto in One Movement for Marimba and Chamber Orchestra (1991) Lior Navok:Rosewood Staircase (2000) Robert Paterson: "Komodo" (2005), "Piranha" (2009) (both using six-mallets), "Mandala" (for two marimbas) (2012) (four-mallets), numerous works for marimba and other instruments Tarik O'Regan:Triptych(2005) originally for choir and strings, later arranged for choir and marimbas Andrea Poggiali:Volution(2008) Steve Reich:Music for 18 Musicians(1976),Six Marimbas(1986),Nagoya Marimbas(for two marimbas) (1994) Ney Rosauro:Concerto For Marimba and Orchestra(1986), Concerto No. 2 for Marimba and Orchestra (2001), numerous solo works Eric Sammut:Four Rotations Joseph Schwantner:Velocities(1990) Emmanuel Sjourn:Concerto for marimba and strings(2006) Adam Silverman:Carbon Paper and Nitrogen Inkconcerto for marimba and wind ensemble or percussion ensemble (2013) Paul Smadbeck:Rhythm Song(1984) William Susman:Amores Montuos(2008) for flute & marimba,Marimba Montuo(2002) for solo marimba William Susman:Three Different Keyboards(2001) for accordion, marimba & piano,Expos(1989) for two marimbas, two violins & piano Tomas Svoboda:Concerto For Marimba and Orchestra, Op. 148(1995) Josef Tal:Chamber Music(1982) for Recorder, Marimba and Harpsichord Noah D. Taylor:Concerto No. 1, for Marimba and Orchestra (2003) Augusta Read Thomas:Silhouettes(2004) Peter Togni:Lux Aeterna(2010) Gamelan & six voices, later arranged for SATB and marimbas Andersen Viana:Grlashodibzntmev for Vibraphone and Marimba(2006), 3 Fugues(2010) Charles Wuorinen:Percussion Symphony(1976),Percussion Quartet(1994),Metagong(2008),Marimba Variationsfor five-octave marimba (2009) Aglockenspiel(German pronunciation:[lknpil],Glocken: bells andSpiel: play) is apercussioninstrument composed of a set of tuned keys arranged in the fashion of the keyboard of apiano. In this way, it is similar to thexylophone; however, the xylophone's bars are made of wood, while the glockenspiel's are metal plates or tubes, thus making it ametallophone. The glockenspiel, moreover, is usually smaller and higher inpitch.[1] In German, acarillonis also called aGlockenspiel, while in French, the glockenspiel is often called acarillon. In music scores the glockenspiel is sometimes designated by the Italian termcampanelli.When used in a marching or military band, the bars are sometimes mounted in a portable case and held vertically, sometimes in alyre-shaped frame. However, sometimes the bars are held horizontally using a harness similar to amarching snareharness. Inorchestraluse, the bars are mounted horizontally. A pair of hard, unwrappedmallets, generally with heads made of plastic or metal, are used to strike the bars, although mallet heads can also be made of rubber (though using too-soft rubber can result in a dull sound). If laid out horizontally, akeyboardmay be attached to the instrument to allowchordsto be more easily played. Another method to playing chords is to play with four mallets, two per hand.Two well-known classical pieces that use the glockenspiel areHandel'sSaulandMozart'sDie Zauberflte, both of which originally used instruments constructed using bells rather than bars to produce their sound.[6](The part is sometimes performed on acelesta, however, which sounds quite different from the intended effect.)

Crotales(/krotlez/), sometimes calledantique cymbals, arepercussion instrumentsconsisting of small,tunedbronze or brass disks. Each is about 4inches in diameter with a flat top surface and a nipple on the base. They are commonly played by being struck with hardmallets. However, they may also be played by striking two disks together in the same manner asfinger cymbals, or by bowing. Their sound is rather like a small tunedbell, only with a much brighter sound, and a much longer resonance. Like tuned finger cymbals, crotales are thicker and larger; they also have slight grooves in them which give their sound more sparkle.Modern crotales are arrangedchromaticallyand have a range of up to twooctaves. They are typically available in sets (commonly one octave) but may also be purchased individually. Crotales are treated astransposing instruments; music for crotales is written two octaves lower than the sounding pitch, to minimizeledger lines.Crotales are already found in prehistory. TheNational Museum of Irelandhas several examples on display dating from the lateBronze Age(1200 800 BC) which were found in a hoard alongside various brass wind instrumentsOne of the earliest uses of crotales in the orchestral repertoire isClaude Debussy'sPrlude l'aprs-midi d'un faune. Other classical pieces featuring Crotales include Berlioz'sSymphonie Romo et Juliette, andRavel's,Alborada del gracioso.[1]InIgor Stravinsky'sThe Rite of Spring, the score calls for two crotales in A-flat and B-flat, and hisLes nocesends on a plaintive series of chords struck by a combination ofchimesand crotales.[citation needed]Another orchestral piece,From Me Flows What You Call TimebyToru Takemitsu, features crotales (as well as a host of other bells) in a prominent role.[citation needed]InJoseph Schwantner's...and the mountains rising nowherethe composer calls for the instrument to be bowed with adouble bassbow, producing an eerie, sustainedglass harmonica-like effect.[citation needed]Karlheinz Stockhausen'sMantrafeatures pianists using crotales along withring modulatorsandshortwave radio.[citation needed]

Tubular bells(also known aschimes) aremusical instrumentsin thepercussionfamily. Eachbellis a metal tube, 3038mm (11 inches) in diameter, tuned by altering its length. Its standard range is from C4-F5, though many professional instruments reach G5 (see photo). Tubular bells are often replaced by studio chimes, which are a smaller and usually less expensive instrument. Studio chimes are similar in appearance to tubular bells, but each bell has a smaller diameter than the corresponding bell on tubular bells.

Chimes/Tubular bellsTubular bells are sometimes struck on the top edge of the tube with arawhide- or plastic-headedhammer. Often, asustain pedalwill be attached to allow extended ringing of the bells. They can also be bowed at the bottom of the tube to produce a very loud, very high-pitched overtone.The tubes used provide a purer tone than solid cylindrical chimes, such as those on amark tree.Chimes are often used in concert band pieces (e.g. "Eiger" byJames Swearingen[citation needed]). Most composers write Chimes under the category of Percussion > Mallet Percussion. It rarely plays melody, mostly a bass that brings out some color but sometimes has some solos or solis, often very simple.Play(helpinfo)In tubular bells, modes 4, 5, and 6 appear to determine the strike tone and have frequencies in the ratios 92:112:132, or 81:121:169, "which are close enough to the ratios 2:3:4 for the ear to consider them nearly harmonic and to use them as a basis for establishing a virtual pitch."[1]The perceived "strike pitch" is thus an octave below the fourth mode (i.e., the missing "1" in the above series.)

Passages in classical music[edit] Hector Berlioz - Symphonie Fantastique (1830) Giuseppe Verdi - Rigoletto (1851), Troubadour (1853), Un ballo in maschera (1859) Modest Mussorgski - Boris Godunov (1869, 1872, 1874) Ruggero Leoncavallo - The Bajazzo (1892) Gustav Mahler - Symphony no. 2 (1895) Claude Debussy - Ibria (1910) Anton Webern - Six pieces for orchestra (1910, 1913) Giacomo Puccini - Tosca (1900), Turandot (1926) Alexander Scriabin - Le Pome del exstase (1908) Richard Strauss - Die schweigsame Frau (1935) Edgard Varse - Ionisation (1931) Paul Hindemith - Metamorphoses about a theme of C.M. von Weber (1944) Aaron Copland - Symphony no. 3 (1946) Carl Orff - Antigonae (1949) Olivier Messiaen - Turangalila (1949)1812 Overture Tchaikovsky