The Marimba

Within the group, Percussion, there are many diverse musical instruments. Some of these are tuned to specific scales or notes, while others are not. The Marimba, a pitched instrument, is an invention of the early twentieth century. While the marimba’s shape resembles that of the African xylophone, the marimba possesses resonating tubes which hang below the keys and generate a soft sonority. 

Marimba

In Musical Instruments Through the Ages (page 31, 1961, London, Penguin Books), Baines describes the Marimba as the Central American “offspring” of the xylophone, “brought across the Atlantic by the slave trade”.    The tuning of the marimba an octave deeper than the xylophone assists in providing the mellow tone. The marimba is played using soft-headed beaters.

          It is interesting to note that when the wooden blocks of the xylophone were substituted with metal ones, the xylophone became a metallophone. “Xylon” in Greek means “wood”.

An Indonesian Metallophone

Later, the introduction of tuned metal blocks produced the celesta.

In Week 1, I had purchased items necessary for building a Marimba, including dowel for the beaters.

In Week 2, I measured my ply wood for the requirements of the floor, sides and cradle-like supporting structure. Then I measured and cut the dowel for the beaters before fixing soft heads to the tops.

In Week 3, I carefully cut out the pieces with a brand new saw! Here are the photos showing my cut pieces.

In Week 4, I nailed the pieces together and measured, cut and tuned the tone bars.

In Week 5, I placed the tone bars in position and marked the sites where nails would be situated for keeping the bars in place. I used rubber beneath the bars to encourage better richness of sound. Then, removing the bars, I painted the nails and the structure.

Once the paint was dry, the bars were replaced and the Marimba was ready for action.

Here is an Arch marimba from Africa and some young Zimbabwe performers having fun in their talented Marimba Band :  

                                                                          

Creating Music

Utilising rhythm instruments and music allows students to employ a multi-sensory approach towards learning. A superb example is the use of Claves because they provide a learning tool which boosts development of fine motor skills, auditory skills, body awareness, hand-eye co-ordination, sense of rhythm and synchronisation of mind and body (touching, hearing, moving and seeing).        

“Clave” means Clef. Here are some clave rhythms:                      

              Claves are easy to hold and manipulate.

The following video shows how to play claves :

http://www.ehow.com/video_2372944_history-claves.html

The History of Claves -- powered by ehow

Claves can be made easily and quite quickly using two pieces of wood which are about 22 cms in length. I made Claves using two different types of timber, with one piece being cylindrical and the other a rectangular prism – as seen below. Investigations can be made in order to seek particular sounds for a specific song. The claves can be decorated or kept unadorned.

Here is a demonstration of how to play a 6 8 African pattern using the Claves:  

http://www.ehow.com/video_2372952_play-6_8-african-pattern-claves.html?wa%5Fvlsrc=continuous&cp=1&pid=1&wa%5Fvrid=e21c9675%2D0730%2D484d%2D8323%2D4536a6003db0

How to Play 6-8 African Pattern With Claves -- powered by ehow

Dearling states, in The Ultimate Encyclopaedia of Music Instruments (page 104, 1996, London, Carlton Books), that the first composer to use claves was Edgard Varèse in his piece entitled Ionisation (1931). Others have followed including Elizabeth Lutyens, an English composer, who included Claves in her work of “a charade in four scenes and three interruptions, Time Off? Not a Ghost of a Chance.

Here is a link for one performance of Edgard Varése’s piece, Ionisation.  It is quite intriguing observing the musicians!!

However, I prefer this presentation of the Ionisation piece. This is performed (with an audience all around) most tastefully by the Amadinda Percussion Group, the Mondo Quartet and students of the Franz Liszt Academy of Music, Budapest, in February, 2005. There are many children in the audience – very well-behaved- and they seem captivated – observe point 3.44!

Here are some Cuban-styled claves:

The Cabasa

Igor Stravinsky (1882-1972) once said: “The percussion acts as a central heating system.”

          Throughout the world percussion instruments are used for providing a vital role in rhythm. While drums are possibly the oldest musical instruments, percussion implements create effects that are more than simply rhythmic. For example, while shakers, cymbals and bells offer on-going, exhilarating sounds, one stroke on a guiro or a gong can deliver a dramatic climax.

          Percussion is often associated with dance in which sounds are made in order to highlight or respond to body movements. Dancers may clap their hands, stamp the feet or slap their body. Finger castanets, ankle bells, rattles enclosed within shoes, and shakers held in the hand serve to reinforce the connection between the music and imagination. Improvised percussion instruments appear around the world in many forms and primitive sound instruments are frequently items used daily.

          Composers strive for original and special effects. Percussionists must be ready to play an increasing number of percussion instruments. Techniques must be mastered and efficient organisation is necessary for the musician to be able to both read the music and reach the appropriate instrument at the correct time.

          The Cabasa is one of the Percussion instruments of the orchestra. An idiophone, it is often a “rattle” comprising a small gourd covered with a loose system of strung beads or shells. It is either placed in the hand or held by a handle and shaken with a rotating motion.

Here is a beaut, short demonstration of ways to play the Cabasa :

I was hoping to make a Cabasa using beads threaded around a coconut. However, unable to purchase the right type of coconut, I chose, instead, to thread beads over a plastic container (leaving the lid on). As seen below, the beads make the instrument look attractive (despite my amateur sewing skills!) Threading the beads was enjoyable (mainly!!) and I am sure that I would do better on my second attempt!!!

Actually, I am quite pleased with the sound produced by my Cabasa. Enjoy this fun video featuring a delightful song suitable for young students learning about musical instruments  : 

                 Traditional  Cabasa              

Tail Cabasa

The Rain Stick

The Rain Stick is an unusual instrument. According to Burns, the Rain Stick was indigenous to the Elqui Valley, in Northern Chile (Instruments, 2009, Canning Vale, W.A., IJAM Music). The Eliqui Valley is situated between the Pacific Ocean and the Andes Mountains. Originally made from dead Normata Cactus which had been trimmed of branches, dried and hollowed out, rain sticks were filled with seeds. Chilean legend declares that the Diaguita Indians used the rain sticks in ceremonies in requests for rainstorms. In modern times, the Rain Stick is utilised as a musical instrument.

          The Rain Stick is also called Palo de Lluvia and can be observed and heard in the following video

I made a Rain Stick (as seen below) using a cardboard cylinder, tiny beads and some ribbons. I tried tiny bells at first but this did not achieve the sound which I was seeking.

It can be quite relaxing to play a Rain Stick and encouraging the sounds of rain to come. Tilting or twisting the instrument causes the beads to fall which emulates the sound of rainfall. Tapping also creates sounds. Shaking ,using various rhythms, adds another element.

          Curt Sachs states, on page 194 of The History of Musical Instruments (1977, London, J. M. Dent and Sons) that the Malayans also had a type of Rain Stick: this was a “planter stick” with a cavity which was filled with seeds. Used during ceremonies regarding worship of mountains, water and rain, the seeds “rattled when the planter stick was pounded on the ground”.

Here is a lesson plan from http://www.crayola.com/for-educators/lesson-plans/lesson-plan/chilean-rainsticks.aspx

Chilean Rainsticks

Listen to rain indoors with these replica rainsticks from Chile. Discover native legends from many cultures in the Americas.

1. Find out how, where, and when rainsticks were discovered. Identify their uses in various indigenous cultures of the Americas. Choose Native American symbols that are especially appropriate to decorate your replica rattle.

2. Seal your tube. Choose a recycled cardboard tube. Cut it to the desired length with Crayola® Scissors.

3. On a recycled file folder, trace around an open end of your cardboard tube with Crayola Erasable Colored Pencils. Draw a larger circle around the first one. Cut around the bigger circle. Cut several slits from the outer edge of the larger circle in to the smaller circle. Make two of these double circles, one for each end of the tube.

4. Fold the slit edges up from the smaller circle. Seal one end of the tube with one of the circles. Air-dry the glue.

5. Fill your rainstick. Roll and twist a long piece of aluminum foil into a spiral snake. Place the foil snake inside your tube.

6. Pour a few seeds into your tube. Hold your hand over the open end of the tube and gently turn your rainstick over to see how it sounds. Experiment with the amount of seeds until you have the sound you like best.

7. Glue the second end of your rainstick closed.

8. Decorate your rainstick. Cover your art area with newspaper. Decorate the outside of your rainstick with authentic Native American colors and designs using Crayola Washable Paint and Paint Brushes. Air-dry your rainstick.

9. Glue on decorative craft materials for a finishing touch. Air-dry before turning your rainstick from one end to another.

Benefits

Students research the history of the rainstick and learn how it was originally made.

Students understand the use of the rainstick in various cultures.

Students create a replica rainstick and decorate it in authentic Native American designs.

Adaptations

Make various length rainsticks or use other materials inside to hear how the sound of each will change.

Research and make other Chilean or Native American instruments.

Research Native American legends about the rainstick.