A relative of the marimba. Marimba (marimba) - perhaps the most beautiful instrument in salsa music

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The meaning of the word marimba

marimba in the crossword dictionary

marimba

Encyclopedic Dictionary, 1998

marimba

African percussion musical instrument of the xylophone type.

Marimba

percussion musical instrument. Widespread in many peoples of Africa. A type of xylophone. M. is also called the modern xylophone with metal resonator tubes.

Reed plucked musical instrument. Occurs in the Congo and some areas of eastern Africa. In other parts of Africa it is known as tsantsa.

Wikipedia

Marimba

Marimba- a percussion musical instrument, a relative of the xylophone. The marimba is played with special sticks with threaded heads (mallets), less often with just rubber heads. The marimba differs from the xylophone, first of all, in its range and timbre - and, accordingly, in the size of the keys and resonators. Like the xylophone, the resonator is a metal or wooden tube suspended vertically below the key. In the traditional form of the instrument, this function is performed by a dried gourd.

The marimba originated in southern Mexico, an instrument similar to the African balafon, then the marimba became a common instrument in Africa, Central and North America. It is used mainly in academic music, most often as a solo instrument or for playing in an ensemble. Also found in American popular music. Rarely found in orchestral music due to its relatively quiet sound and somewhat specific timbre.

To date, there are marimbas of various ranges:

1) four octaves, from "to" a small octave to "to" the third.

3) four and a half, from "fa" of the large octave to "do" of the third.

4) five-octave concert, from "to" a large octave to "to" the third.

Marimba has a rich, soft and deep timbre that allows you to achieve expressive sound. The modern technique of playing the marimba involves playing with several sticks at the same time. Usually 2-4 sticks are used, less often - 5-6. You can play melodies, harmonies, virtuoso passages on the instrument.

Most often, the plates of the instrument are made of natural wood of pink Honduran wood or rosewood, arranged and tuned according to the keyboard principle.

Consisting of wooden bars mounted on a frame, which are hit with mallets, a relative. The marimba differs from the xylophone in that the sound produced by each bar is amplified by a wooden or metal resonator, or a gourd suspended underneath.

Marimba has a rich, soft and deep timbre that allows you to achieve expressive sound.

The marimba originated in Malaysia and then became a common instrument in Africa, Mexico, Central and North America.

The marimba is now known as a solo instrument. Used in various musical genres, from classical music to avant-garde; pop and jazz. Some composers have used the marimba in works for the symphony orchestra.

Related percussion instruments - , . The original version of the marimba is found in the music of the peoples of Africa, South America, Indonesia, and the Far East.

Device

Most often, the plates of the instrument are made of natural wood of pink Honduran wood or rosewood, arranged and tuned according to the principle of a chromatic piano keyboard. The plates are located above the metal resonator tubes, making the sound thick and voluminous.

The instrument's standard range is 4 or 4.3 octaves. In recent years, instruments with 5- and even 6-octave keyboards have appeared. Instruments in this class are rare, designed exclusively for solo playing, and often custom-made.

Game technique

The modern technique of playing the marimba involves playing with several sticks at the same time. Usually 2-4 sticks are used, less often - 5-6. You can play melodies, harmonies, virtuoso passages on the instrument.

To play the marimba, many types of sticks (mallets) are produced with tips made of rubber, wood or plastic. As a rule, the tips are wrapped with woolen or cotton threads. The choice of sticks allows the musician to get a whole range of different timbres, from sharp clicking, “xylophone”, to soft, reminiscent of a church organ.

Sometimes several (two or more) performers play the marimba at the same time.

Marimba in modern academic music

Marimba was used in their compositions:

Olivier Messiaen(Transfiguration of our Lord Jesus Christ, Francis of Assisi)
Tohru Takemitsu(Rain Tree)
Franco Donatoni
Karen Tanaka(Tales of Trees)
Jennifer Higdon(Splendid Woods)
Nebojsa Zivkovic(two concertos for marimba and orchestra)
And Chen(Sound of the Five)
Marian Mozetic(Concerto for bassoon, marimba and string orchestra)
Andrey Doinikov(Frolic-romance)
and other contemporary composers.

Among the performers on the marimba is known Michiko Takahashi(Gaudeamus Prize, 1973).

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Books

Marimba! , Natalia Terentyeva. "Marimba!" is a motley mosaic of fascinating, tender and touching stories. The life of a small Moscow family, in which there is only a mother and daughter, is filled with light, humor and warmth. Daughter… eBook
Marimba! , Natalia Terentyeva. MARIMBA! is a motley mosaic of fascinating, tender and touching stories. The life of a small Moscow family, in which there is only a mother and daughter, is filled with light, humor and warmth. Daughter…

Marimba (marimba) - a keyboard musical instrument, from the percussion family, in its sound a close relative of the xylophone, appeared in Malaysia and then became popular in Africa, Central and North America, and Mexico. It consists of keys fixed on the frame (bars made of natural Honduran pink rosewood wood), which are struck with special mallets. The marimba differs from the xylophone in sound quality: the keys are located above a metal or wooden resonator (or gourd), as a result of which the sound of each plate of the marimba rises. Marimba has a soft, rich and deep timbre that allows you to achieve expressive sound.

The standard marimba range is 4 or 4.3 octaves. Sometimes in modern music of Latin American rhythms there are instruments with a 5- and even 6-octave keyboard, but they are used exclusively for solo playing.

The modern practice of playing the marimba involves playing with several sticks and people at the same time. Choosing the right sticks, a musician can get a wide range of timbres from clicking and sharp to gentle and soft.

Marimba

3) four and a half, from "fa" of a large octave to "do" of the third.

4) five-octave concert, from "to" a large octave to "to" the third.

Most commonly, the instrument's plates are made of natural Honduran rosewood or rosewood, positioned and tuned like a piano keyboard.

As a rule, the tips of marimba sticks are wrapped with woolen or cotton threads. The choice of sticks allows the musician to get a whole range of different timbres, from sharp clicking, “xylophone”, to soft, reminiscent of a church organ.

Related percussion instruments are xylophone, vibraphone, bells. The original version of the marimba is found in the music of the peoples of Africa, South America, Indonesia, and the Far East.

Marimba in modern academic music

Marimba was used in his compositions by Darius Milho ( Concerto for marimba and vibraphone and orchestra), Olivier Messiaen ( Transfiguration of our Lord Jesus Christ, Francis of Assisi), Toru Takemitsu ( rain tree), Franco Donatoni , Karen Tanaka ( Tales of Trees), Jennifer Higdon ( Splendid Woods), Nebojsa Zivkovic (two concertos for marimba and orchestra), and Chen ( Sound of the Five), Marjan Mozetich ( Concerto for bassoon, marimba and string orchestra), Andrey Doinikov ( Frolic-romance), Steve Reich ( Six Marimbas) and many other contemporary composers. A great contribution to the development of marimba performance and popularization of the instrument in the world was made by Nei Rosauro and Keiko Abe - they are the creators of a large number of works for the marimba and are active in concert activities.

famous marimba players

A number of modern percussion players have become famous primarily as marimba players - Ludwig Albert, Keiko Abe, Kuniko Kato, Bogdan Bakanu, Ney Rosauro, Gordon Stout, Jean Geffroy, Robert Van Syze, Peter Sadlo and many others. Lee Howard Stevens compiled the first and so far the only complete manual on playing the marimba, but it concerns only the setting he invented (there are three options for the location of the sticks in the hand and, as a result, three main performing techniques - “traditional”, setting Gary Burton and setting Stevens)

Marimba in rock music

Marimba is used by the Rolling Stones in the song Under My Thumb (played by Brian Jones). Very often, Frank Zappa added marimba and vibraphone parts to his compositions.

The song Mamma Mia (ABBA) owes its unusual sound to the marimba. The studio where they recorded had a lot of instruments. Benny Andersson discovered the marimba and thought, "Oh, what is this?"

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Literature

Helmut Brenner: Marimbas in Lateinamerika. Historische Fakten und Status quo der Marimbatraditionen in Mexico, Guatemala, Belize, Honduras, El Salvador, Nicaragua, Costa Rica, Kolumbien, Ecuador und Brasilien(=Studien und Materialien zur Musikwissenschaft 43), Hildesheim-Zürich-New York: Georg Olms Verlag, 2007.

Notes



Main cast

Woodwinds

Brass

Drums

plucked strings

Bowed strings

Extended squad

Woodwinds

Brass

Drums

Bowed strings

Keyboards

Musical instruments of Black Africa

Idiophones

Drums

percussion keyboards

Membranophones

Drums

Stringed instruments

Plucked

Instruments with a specific pitch

Membranophones

Wooden idiophones

Metal idiophones

Instruments with indeterminate pitch

Membranophones

Wooden idiophones

Metal idiophones

Anatole, as Shinshin rightly said about him, since he arrived in Moscow, drove all the Moscow ladies crazy, especially by the fact that he neglected them and obviously preferred gypsies and French actresses to them, with the head of which - mademoiselle Georges, as they said, he was in close contact. He did not miss a single revelry at Danilov and other merry fellows of Moscow, he drank all night long, drinking everyone, and visited all the evenings and balls of high society. They told about several intrigues of him with Moscow ladies, and at balls he courted some. But with girls, especially with rich brides, who were for the most part all bad, he did not get close, especially since Anatole, which no one knew except his closest friends, was married two years ago. Two years ago, while his regiment was stationed in Poland, a poor Polish landowner forced Anatole to marry his daughter.
Anatole very soon abandoned his wife, and for the money that he agreed to send to his father-in-law, he reprimanded himself for the right to be known as a bachelor.
Anatole was always pleased with his position, himself and others. He was instinctively convinced with his whole being that it was impossible for him to live otherwise than as he lived, and that he had never done anything wrong in his life. He was unable to consider how his actions might resonate with others, nor what might come out of such or such an act of his. He was convinced that just as a duck was created in such a way that it must always live in water, so he was created by God in such a way that he must live on thirty thousand income and always occupy the highest position in society. He so firmly believed in this that, looking at him, others were convinced of this and did not deny him either the highest position in the world, or the money that he obviously borrowed without return from the oncoming and transverse.
He was not a player, at least he never wanted to win. He was not conceited. He didn't care what anyone thought of him. Still less could he be guilty of ambition. He teased his father several times, spoiling his career, and laughed at all the accolades. He was not stingy and did not refuse anyone who asked him. The only thing he loved was fun and women, and since, according to his concepts, there was nothing ignoble in these tastes, and he could not consider what came out for other people from satisfying his tastes, then in his soul he considered himself an irreproachable person, sincerely despised scoundrels and bad people, and with a clear conscience carried his head high.
The revelers, these male Magdalenes, have a secret sense of the consciousness of innocence, the same as that of the female Magdalenes, based on the same hope of forgiveness. “Everything will be forgiven her, because she loved a lot, and everything will be forgiven him, because he had a lot of fun.”
Dolokhov, who this year appeared again in Moscow after his exile and Persian adventures, and led a luxurious gambling and revelry life, became close to the old St. Petersburg comrade Kuragin and used him for his own purposes.
Anatole sincerely loved Dolokhov for his intelligence and daring. Dolokhov, who needed the name, nobility, connections of Anatole Kuragin to lure rich young people into his gambling society, without letting him feel it, used and amused Kuragin. In addition to the calculation by which he needed Anatole, the very process of controlling someone else's will was a pleasure, a habit and a need for Dolokhov.
Natasha made a strong impression on Kuragin. At dinner after the theater, with the techniques of an expert, he examined in front of Dolokhov the dignity of her arms, shoulders, legs and hair, and announced his decision to follow her. What could come out of this courtship - Anatole could not think and know, as he never knew what would come out of his every act.
“Good, brother, but not about us,” Dolokhov told him.
“I will tell my sister to invite her to dinner,” said Anatole. - A?
- You better wait until you get married ...
- You know, - said Anatole, - j "adore les petites filles: [I love girls:] - now he will be lost.
- You already got caught once on a petite fille [girl], - said Dolokhov, who knew about Anatole's marriage. - Look!
Well, you can't do it twice! A? - said Anatole, laughing good-naturedly.

The next day after the theater, the Rostovs did not go anywhere and no one came to them. Marya Dmitrievna, hiding from Natasha, was talking to her father about something. Natasha guessed that they were talking about the old prince and inventing something, and she was worried and offended by this. She waited every minute for Prince Andrei, and twice that day sent the janitor to Vzdvizhenka to find out if he had arrived. He didn't come. It was now harder for her than the first days of her arrival. Her impatience and sadness for him were joined by an unpleasant recollection of a meeting with Princess Marya and the old prince, and fear and anxiety, for which she did not know the reason. It seemed to her that either he would never come, or that before he arrived, something would happen to her. She could not, as before, calmly and for a long time, alone with herself, think about him. As soon as she began to think about him, the recollection of him was joined by the recollection of the old prince, of Princess Mary, and of the last performance, and of Kuragin. She again presented herself with the question of whether she was guilty, whether her loyalty to Prince Andrei had already been violated, and again she found herself remembering every word, every gesture, every shade of the play of expression on the face of this man, who knew how to arouse in her incomprehensible for her and a terrible feeling. In the eyes of her family, Natasha seemed livelier than usual, but she was far from being as calm and happy as she had been before.

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