The marimba (pronounced mə-RIM-bə) is a musical instrument in the percussion family. It has wooden bars that are struck by mallets. Below each bar is a resonator pipe that makes the sound louder and clearer. Compared to the xylophone, the marimba has a lower range. Usually, the bars of a marimba are arranged in order, like the keys of a piano. The marimba is a type of instrument that makes sound when struck.

Today, the marimba is used as a solo instrument or in groups such as orchestras, marching bands (often in the front ensemble), percussion ensembles, brass and concert bands, and other traditional groups.

Etymology and terminology

The word "marimba" describes both the traditional and modern versions of this musical instrument. The first recorded use of the term in the English language was in 1704. The word comes from the Bantu language group, with "ma-" meaning "many" and "-rimba" meaning "xylophone." The term is similar to the Kikongo and Swahili words "marimba" or "malimba."

History

Instruments like the marimba are found in many parts of sub-Saharan Africa. The marimba is most similar to the marimbas of modern-day Angola and the Democratic Republic of the Congo. It is also similar to instruments in West Africa, such as the balafon of the Mandinka people and the gyil of the Gur peoples in northern Ghana and Burkina Faso.

The earliest known marimba was recorded in 1545 at the Santa Lucía hacienda in Jiquipilas, Chiapas, Mexico. A document from October 9, 1545, describes a marimba used in a celebration by Indigenous people.

It is believed that xylophones came to the Americas through enslaved Africans brought to Guatemala and Mexico. Some Mayan pyramids in Chiapas and Guatemala also show evidence of similar instruments. The first documented mention of the marimba in Guatemala, called the marimba de tecomates, was in 1680 during the opening of the Santa Iglesia Catedral in Santiago de los Caballeros de Guatemala.

The modern double keyboard marimba was created in 1892 in Chiapas, Mexico, by Corazón de Jesús Borras Moreno, a native of Venustiano Carranza, Chiapas. In 1897, the first version of the modern marimba was played in the traditional park of the church of Señor del Pozo in the same town. This marked the beginning of the marimba’s transformation from a local instrument to one used in concerts. A five-octave marimba was built first, followed by an 11-octave instrument played by nine musicians.

In Central America, there are two theories about the marimba’s origin. One says enslaved Africans from Africa brought it, while the other claims it was created by the Maya-quiche people.

Historian David Vela mentions Dr. Castañeda Paganini’s theory that enslaved Africans introduced the marimba to Guatemala in the 16th century. However, the marimba was found in remote mountain areas, not where enslaved Africans lived. It is clear that local people adapted the instrument over time.

In the 18th century, a priest named Joseph de Padilla in Santiago de Guatemala (now Antigua Guatemala) created a new version of the marimba with 42 keys, the first and only collective instrument of its kind. He added legs to raise it off the ground, allowing musicians to play while standing.

In 1894, Sebastián Hurtado in Quetzaltenango, Guatemala, made the first chromatic marimba using Hormigo wood. His sons later formed the Marimba Royal group, which performed in Buffalo, New York, in 1908, introducing the marimba to the United States.

The marimba is popular in Central America, from southern Mexico to Costa Rica. The first record of enslaved Africans playing the marimba in Central America dates to 1550 in Guatemala. By 1680, Maya musicians used marimbas with gourd resonators. It became more common in the 18th and 19th centuries, especially in festivals. In 1821, the marimba was declared Guatemala’s national instrument during its independence.

The marimba is also popular on the Pacific coasts of Colombia and Ecuador. It was brought there by enslaved Africans, and Afro-Latino communities still value it as a symbol of resilience. In Colombia, the most common marimba is the marimba de chonta, made from peach-palm wood. UNESCO recognizes marimba music as part of Colombia’s cultural heritage. However, its popularity has declined in recent years, though it remains important in the Chocó and Cauca regions.

In Ecuador, the most common marimba is the marimba esmeraldeña. It plays a key role in Afro-Ecuadorian culture, accompanying religious ceremonies, festivals, and dances. It is most popular in the province of Esmeraldas, where enslaved Africans settled in the 16th century. The instrument has faced challenges due to government restrictions in the area.

The marimba is now used worldwide, including in Africa, Southeast Asia, Europe, North America, South America, and Central America.

In 1850, Mexican musician Manuel Bolán Cruz changed the marimba’s design by replacing gourd resonators with wooden boxes and lengthening the legs so musicians could play while standing.

In 1892, Corazón de Jesús Borras Moreno added a second row of sound bars to the marimba, allowing it to play all notes in the chromatic scale.

The name "marimba" was later used for a larger orchestra instrument inspired by the Latin American model. In the United States, companies like J.C. Deagan and Leedy Manufacturing adapted the marimba for Western music, using metal tubes as resonators. The instrument was first used in light music, such as vaudeville shows. Clair Omar Musser helped promote the marimba in the U.S.

In 1940, American composer Paul Creston wrote the first solo marimba piece, Concertino for Marimba and Orchestra. French composer Darius Milhaud also helped introduce the marimba into Western classical music with his Concerto for Marimba and Vibraphone in 1947. The use of four mallets to play chords made the marimba more versatile. In the late 20th century, composers like Leoš Janáček, Carl Orff, and Steve Reich used the marimba in modern and contemporary music.

Construction

Marimba bars can be made from wood or a synthetic fiberglass material. For the best sound, rosewood is preferred, while padauk is a popular and less expensive option. Synthetic fiberglass bars are often sold under names like Kelon (for Ludwig-Musser), Klyperon (for J.C. Deagan), or Acoustalon (for Yamaha). Bars made from synthetic materials usually do not sound as good as wooden bars and may have a longer decay. However, they are often less expensive, more durable, and better suited for outdoor use. Wooden bars can be affected by changes in humidity or temperature, which may change the moisture level in the wood and affect the pitch and tone.

Bubinga (Guibourtia demeusei) and mahogany are also considered good choices for marimba bars, similar to rosewood. A specific type of rosewood, Dalbergia stevensonii, grows only in Southern Guatemala and Belize, formerly British Honduras. This wood has a Janka rating of 2200, which is about three times harder than silver maple. Marimba bars are wider and longer for the lowest-pitched notes and become narrower and shorter as the notes get higher. During tuning, wood is removed from the middle bottom of the bar to lower the pitch. This makes the bars thinner in the lowest range and thicker in the highest range. Most American marimbas are tuned to A4=440 Hz, but many commercial marimbas are tuned to A4=442 Hz for a brighter sound that blends better with an orchestra.

Marimba bars sound best when struck just off-center. Striking the center produces a more articulate tone. On chromatic marimbas, accidentals can be played on the extreme front edge of the bar, away from the node (where the string goes through the bar), if needed. Playing on the node creates a weak sound and is used only when a muted tone is desired.

There is no standard range for the marimba, but common ranges include 4.3 octaves, 4.5 octaves, and 5 octaves. Other sizes, such as 4, 4.6, and 5.5 octaves, are also available.

• 4 octave: C3 to C7
• 4.3 octave: A2 to C7. The .3 refers to three semitones below the 4-octave instrument. This is the most common range.
• 4.5 octave: F2 to C7. The .5 means "half."
• 4.6 octave: E2 to C7, one semitone below the 4.5. Useful for playing guitar music.
• 5 octave: C2 to C7, one full octave below the 4-octave instrument. Useful for playing cello transcriptions, such as J.S. Bach’s cello suites.
• Bass range (varies, but examples include G1–G3 or C2–F3)

The range of the marimba has expanded over time. Companies like Marimba One add notes up to F above the normal high C (C7) on their 5.5-octave instruments. Adding lower notes is difficult because larger bars and longer resonators make the instrument taller and require softer mallets. Adding higher notes is also impractical because the mallets needed to produce the marimba’s tone are too hard for lower ranges.

The marimba is a non-transposing instrument with no octave displacement, unlike the xylophone (which sounds one octave higher) or the glockenspiel (which sounds two octaves higher).

Resonators are tubes (usually aluminum) that hang below each bar. Traditional marimbas use natural gourds as resonators, while more advanced versions use carved wood for better tuning. In Central America and Mexico, a hole is carved in the bottom of each resonator and covered with a thin membrane from a pig’s intestine to create a "buzzing" or "rattling" sound called charleo. Modern marimbas often use PVC tubing with paper covering the holes to produce a similar effect.

The length of the resonators depends on the frequency of the bar. Vibrations from the bars travel through the tubes, amplifying the sound like the body of a guitar or cello. On instruments with more than 4.5 octaves, the resonators for low notes become too long for the instrument’s height. Some manufacturers, like DeMorrow and Malletech, bend the tubes to fit. Others, such as Adams and Yamaha, use large box-shaped resonators or oval-shaped resonators (as with Marimba One) to save space. A process called "Haskelling" is used to double the tube inside the lowest resonators, a technique originally from pipe organs.

Resonator tuning involves adjusting "stops" in the tubes to account for temperature and humidity changes. Some companies allow tuning only in the upper octaves, while others offer full-range adjustments.

On many marimbas, decorative resonators are added to fill gaps in the accidental resonator bank. Sometimes, resonators are shaped into an arch, like on the Musser M-250, but this does not affect the sound because the end plugs remain at the correct lengths.

The mallet shaft is usually made of wood, such as birch or rattan, but can also be made of fiberglass or carbon fiber. The most common shaft diameter is about 8 mm (5/16 inch). Rattan shafts are slightly flexible, while birch is very stiff. Professionals choose between them based on their playing style and grip.

Mallets are chosen based on the range of the marimba. The end of the shaft is almost always rubber wrapped in yarn. Softer mallets are used for lower notes, and harder mallets are used for higher notes. Mallets that are too hard can damage the instrument, especially on rosewood or padauk bars. Lower notes require softer mallets to produce a strong

Mallet technique

Modern marimba music often requires players to use two to four mallets at the same time (sometimes up to six or eight). This allows performers to play chords or music with large jumps between notes more easily. When using multiple mallets in one hand, players use different techniques called "grips." For four mallets (two mallets in each hand), the most common grips are the Burton grip (popularized by Gary Burton), the traditional grip (also called the "cross grip"), and the Musser-Stevens grip (popularized by Leigh Howard Stevens). Each grip has its own advantages and disadvantages. For example, some marimbists believe the Musser-Stevens grip is better for quick note changes and independent mallet movement, while the Burton grip is better for strong playing or switching between chords and single-note melodies. The traditional grip allows for a wider range of loudness and flexibility in playing. The choice of grip depends on the region (the Musser-Stevens and Burton grips are more common in the United States, while the traditional grip is more common in Japan), the instrument (the Burton grip is less often used on marimba than on vibraphone), and the performer's personal preference.

Six-mallet grips are variations of these three main grips. Mexican and Central American marimbists have used six-mallet techniques for many years, though they are not typically included in Western classical music. Composers like Keiko Abe have written music for six mallets, including a section in her concerto Prism Rhapsody. Other musicians who use this technique include Rebecca Kite (who worked with composer Evan Hause to create Circe, a major six-mallet piece in 2001), Dean Gronemeier, Robert Paterson, and Kai Stensgaard. Paterson's grip is based on the Burton grip and is sometimes called the Paterson grip or the Wolverine grip. He explains that his method focuses less on playing block chords on the lower notes (called naturals or white keys) and more on independent mallet movement, one-handed rolls, and alternating between mallets 12-3 or 1–23 in the left hand (or 45-6 or 4–56 in the right hand). In 1995, Ludwig Albert created a piece for eight mallets and introduced the Ludwig Albert eight-mallet grip, which is based on the traditional grip.

Repertoire

The marimba is not as often used by composers as other keyboard instruments in the percussion section of an orchestra. However, its popularity grew after 1950, as seen in the work Le marteau sans maître by Pierre Boulez.

The first solo marimba concerto, Concertino for Marimba, was written by Paul Creston in 1940 after he was asked to compose it by Frédérique Petrides. It was first performed on April 29, 1940, at Carnegie Hall. The marimba soloist was Ruth Stuber Jeanne, and the performance was by the Orchestrette Classique. The second marimba concerto, Concerto for Marimba, Vibraphone and Orchestra, was composed by Darius Milhaud in 1947.

In 1995, the Oregon Symphony Orchestra asked Tomáš Svoboda to write Concerto for Marimba and Orchestra, Op. 148. A recording of this piece by the orchestra and Niel DePonte was nominated for the 2004 Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra).

Other well-known marimba concertos include Concerto No. 1 for Marimba and String Orchestra by Ney Rosauro, written in 1986, and Concerto for Marimba and String Orchestra by Emmanuel Séjourné, written in 2006.

The marimba is the most widely used solo keyboard percussion instrument in classical music. Simple marimba solos include Yellow After the Rain and Sea Refractions by Mitchell Peters. More difficult pieces include Variations on Lost Love by David Maslanka, Rhythmic Caprice by Leigh Howard Stevens, and Khan Variations by Alejandro Viñao.

Funny Marimba (Book 1 & 2) by Nebojša Jovan Živković is one of the most famous method books for learning to play the marimba.

Popular music

Traditional marimba bands are especially popular in Guatemala, where they are the national symbol of culture. These bands are also common in the Mexican states of Chiapas, Tabasco, and Oaxaca. They are widely enjoyed in other Central American countries like Honduras, El Salvador, Nicaragua, and Costa Rica, as well as among Afro-Ecuadorians and Afro-Colombians.

Many jazz vibraphonists also played the marimba. Notable musicians include Gary Burton, David Friedman, Stefon Harris, Bobby Hutcherson, Joe Locke, Steve Nelson, Red Norvo, Dave Pike, Gloria Parker, Dave Samuels, and Arthur Lipner.

Marimbist and vibraphonist Julius Wechter led a popular 1960s Latin-flavored band called Baja Marimba Band. Herb Alpert and his Tijuana Brass often used the marimba in their music.

Ruth Underwood played an electrically amplified marimba in Frank Zappa’s The Mothers of Invention.

The Rolling Stones’ 1966 song “Under My Thumb” prominently features a marimba, played by Brian Jones.

A marimba solo was included in the hit 1975 Starbuck song “Moonlight Feels Right.”

The 1982 Toto hit “Africa” prominently features the marimba, played by Joe Porcaro.

The version of the song “Tonight” by David Bowie and Iggy Pop on Bowie’s 1984 album of the same title includes a marimba.

Peter Gabriel’s 1985 soundtrack album Birdy includes the song “Slow Marimbas.”