The marimba ( / m ə ˈ r ɪ m b ə / mə- RIM -bə ) is a musical instrument in the percussion family that has wooden bars struck by mallets. Each bar has a resonator pipe below it that helps make the sound louder. Unlike the xylophone, the marimba has a lower range. The bars of a marimba are usually placed in a musical order like the keys on a piano. The marimba is a type of idiophone.
Today, the marimba is used as a solo instrument or in groups such as orchestras, marching bands (often as part of the front ensemble), percussion ensembles, brass and concert bands, and other traditional ensembles.
Etymology and terminology
The word "marimba" describes both the traditional and modern versions of this musical instrument. The first time it was written about in the English language was in 1704. The term comes from the Bantu language group, with "ma-" meaning "many" and "-rimba" meaning "xylophone." This word is similar to the Kikongo and Swahili terms "marimba" or "malimba."
History
Instruments like the marimba are found throughout sub-Saharan Africa. The marimba is most similar to the marimbas of modern-day Angola and the Democratic Republic of the Congo. It also resembles instruments in West Africa, such as the balafon used by the Mandinka people and the gyil used by 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, the ancestors of the marimba, were brought to the Americas by enslaved Africans taken 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, dates to November 13, 1680, during the inauguration 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 municipality. This marked the transition of the marimba from a local instrument to one used in concerts. A five-octave instrument was built first, followed by an 11-octave instrument that required nine players.
In Central America, two theories exist about the marimba’s origin. One claims it was brought by enslaved Africans from Africa, while the other suggests it was created by the Maya-quiche people.
Historian David Vela notes that Dr. Castañeda Paganini proposed the marimba might have been invented in Guatemala by enslaved Africans in the 16th century. However, the instrument was found in remote mountain communities, not in areas where enslaved Africans lived. Local communities later adapted the instrument, making it their own.
In the 18th century, presbyter 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 in the world. He added four legs to the instrument, allowing it to be played while standing.
In 1894, Sebastián Hurtado in Quetzaltenango, Guatemala, developed the first chromatic marimba using Hormigo wood. He passed the instrument to his sons, who formed the Marimba Royal group. In 1908, the group performed in Buffalo, New York, introducing the marimba to the United States.
The marimba is popular throughout Central America, spreading from southern Mexico to Costa Rica. Historical records show enslaved Africans in Guatemala playing the marimba as early as 1550. By 1680, Maya musicians in Guatemala were using marimbas with gourd resonators. The instrument became more common in the 18th and 19th centuries when Maya and Ladino ensembles included it in festivals. In 1821, the marimba was declared the national instrument of Guatemala during its independence.
In Latin America, the marimba is also popular along the Pacific coasts of Colombia and Ecuador. It was brought to these regions through the African diaspora and remains culturally significant. Afro-Latino communities value the marimba as a symbol of resilience.
In Colombia, the most common marimba is the marimba de chonta, made from peach-palm wood. Marimba music is recognized by UNESCO as an intangible part of Colombian culture. However, its popularity has declined in recent years, though it remains popular in the departments of Chocó and Cauca.
In Ecuador, the most common marimba is the marimba esmeraldeña. It plays an important role in Afro-Ecuadorian culture, accompanying religious ceremonies, songs, festivals, and dances. It is most popular in the province of Esmeraldas, where marimba music was banned by the government in the 16th century but has since regained its cultural significance.
The marimba is now used worldwide, including in Africa, Southeast Asia, Europe, North America, South America, and Central America.
In 1850, Mexican marimbist Manuel Bolán Cruz modified the old bow marimba by replacing it with a wooden straight one. He lengthened the legs so musicians could play while standing, expanded the keyboard, and replaced gourd resonators with wooden boxes.
In 1892, Mexican musician Corazón de Jesús Borras Moreno expanded the marimba’s range to include a chromatic scale by adding another row of sound bars, similar to the black keys on a piano.
The name "marimba" later referred to the orchestra instrument inspired by the Latin American model. In the United States, companies like J.C. Deagan and Leedy Manufacturing Company adapted Latin American marimbas for Western music, using metal tubes as resonators. The marimba was first used in light music, such as vaudeville theater and comedy shows. Clair Omar Musser promoted the marimba in the United States during this time.
In 1940, American composer Paul Creston wrote the first solo marimba composition, 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 four-mallet grip allowed players to perform chords, increasing the instrument’s appeal. In the late 20th century, modernist and contemporary composers, such as Leoš Janáček, Carl Orff, Karl Amadeus Hartmann, Hans Werner Henze, Pierre Boulez, and Steve Reich, explored new ways to use the marimba in their works.
Construction
Marimba bars can be made from wood or synthetic fiberglass. For the best sound, rosewood is preferred, while padauk is a popular, more affordable choice. 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 lose sound more quickly. However, they are often cheaper, more durable, and better suited for outdoor use. Wooden bars can be affected by changes in humidity or temperature, which may change the pitch and tone of the bar.
Bubinga and mahogany are also said to be similar to rosewood in quality for marimba bars. A specific type of rosewood, Dalbergia stevensonii, grows only in Southern Guatemala and Belize. 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 notes and become narrower and shorter as the notes get higher. During tuning, wood is removed from the middle underside 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 clearer, more defined 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 only used when a muted tone is desired.
There is no standard range for the marimba, but common sizes include 4.3, 4.5, 5, and 5.5 octaves.
– 4 octave: C3 to C7
– 4.3 octave: A2 to C7 (the .3 refers to three semitones below the 4-octave instrument)
– 4.5 octave: F2 to C7 (the .5 means "half")
– 4.6 octave: E2 to C7 (one semitone below the 4.5-octave instrument)
– 5 octave: C2 to C7 (one full octave below the 4-octave instrument)
– 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 require taller instruments and softer mallets. Adding higher notes is also challenging because harder mallets are needed, which are impractical for lower notes.
The marimba is a non-transposing instrument, meaning it does not sound higher or lower than written, 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 and help amplify the sound. Traditional marimbas sometimes use natural gourds as resonators, while more advanced versions use carved wood for better tuning. In Central America and Mexico, a hole is carved into the bottom of each resonator and covered with a pig intestine membrane to create a "buzzing" or "rattling" sound called charleo. Modern marimbas often use PVC tubes with paper covering the holes to produce a similar effect.
The length of 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. In 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 ends of the tubes to fit. Others, like Adams and Yamaha, use box-shaped resonators or widen them into ovals, a method called "Haskelling" after its inventor, William E. Haskell.
Resonator tuning involves adjusting "stops" inside the tubes to account for temperature and humidity changes. Some companies allow tuning only in the upper octaves, while others offer full-range adjustments.
Decorative resonators are sometimes added to fill gaps in the accidental resonator bank. Resonator lengths may also be altered to create an arch shape, like on the Musser M-250, without affecting sound quality because the end plugs remain at the correct lengths.
Mallet shafts are 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 shafts are rigid. Professionals choose based on their playing style and grip.
Mallets are made with rubber heads 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. Because of this, some players use graduated mallets (softer on the left, harder on the right) when playing with four or more mallets.
Some mallets, called "two-toned" or "multi-tonal," have a hard core wrapped loosely in yarn. These mallets produce a clear sound at loud dynamics and a fuller sound at quieter dynamics.
Mallet technique
Modern marimba music often requires players to use two to four mallets at the same time (sometimes up to six or eight), allowing them to play chords or music with large jumps between notes more easily. When using multiple mallets in one hand, players use different methods to hold them, called "grips." For four mallets (two 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 players believe the Musser-Stevens grip is better for quick changes between notes 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 playing styles. 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 personal preference of the player.
Six-mallet grips are variations of these three methods. Mexican and Central American marimbists have used six-mallet grips for many years, though they are not typically included in Western classical music. Keiko Abe has written several pieces for six mallets, including a section in her concerto Prism Rhapsody. Other marimbists and composers who use this technique include Rebecca Kite (who asked composer Evan Hause to write 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. Paterson explains that his method focuses less on playing block chords on the lower notes (the natural or white keys) and more on mallet independence, 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 developed the Ludwig Albert eight-mallet grip, which is based on the traditional grip.
Repertoire
The marimba is used less often by composers compared to other keyboard instruments in the percussion section of an orchestra. However, its popularity grew after 1950, as seen in the piece 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 popular solo keyboard percussion instrument in classical music. Simple marimba solos include Yellow After the Rain and Sea Refractions by Mitchell Peters. More advanced 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 very popular in Guatemala, where they are the national symbol of culture. They are also widely played in the Mexican states of Chiapas, Tabasco, and Oaxaca. These bands are also common in other Central American countries, including Honduras, El Salvador, Nicaragua, and Costa Rica, as well as among Afro-Ecuadorians and Afro-Colombians.
Many jazz vibraphonists have also played the marimba. Some well-known 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.
Julius Wechter, a marimbist and vibraphonist, led a popular 1960s band called Baja Marimba Band, which had a Latin-style sound. Herb Alpert and his Tijuana Brass often used the marimba in their music.
Ruth Underwood played an electrically amplified marimba in Frank Zappa’s group The Mothers of Invention.
The Rolling Stones’ 1966 song "Under My Thumb" includes a marimba played by Brian Jones.
A marimba solo appears in the 1975 Starbuck hit song "Moonlight Feels Right."
The 1982 Toto song "Africa" features the marimba, played by Joe Porcaro.
The version of the song "Tonight" by David Bowie and Iggy Pop on Bowie’s 1984 album includes a marimba.
Peter Gabriel’s 1985 album Birdy includes a song called "Slow Marimbas."