Vibraphone - Knowledge

461: 1107: 777:, or stopping, the sustaining tones. In 1927, the J.C. Deagan company introduced a pedal mechanism that has not changed substantially since. A rigid bar beneath the center of the instrument is pressed upward by an adjustable spring and engages a long felt pad against the sharps and the naturals. A foot pedal lowers the bar and allows notes to ring freely; releasing the pedal engages the damper and stops any vibrating notes. One common flaw of this damping mechanism is that the bar is often supported at one point in the middle, causing it to damp the instrument unevenly in the upper and lower registers. To combat this, some manufacturers have made silicone- or liquid-filled damper pads whose fluid shape can conform evenly around the bars. 448:, the inventor of the original steel marimba on which Leedy's design was based, to ask its chief tuner, Henry Schluter, to develop a similar instrument in 1927. Instead of just copying the Leedy design, Schluter introduced several significant improvements. He made the bars from aluminum instead of steel for a mellower tone, adjusted the dimensions and tuning of the bars to eliminate the dissonant harmonics present in the Leedy design, and introduced a foot-controlled damper bar. Schluter's design became more popular than the Leedy design and has become the template for all instruments now called a "vibraphone". 629: 1019: 234: 970:, named for Gary Burton. One mallet is held between the thumb and index finger and the other is held between the index and middle fingers. The shafts cross in the middle of the palm and extend past the heel of the hand. For wide intervals, the thumb often moves in between the two mallets, and the inside mallet is held in the crook of the fingers. Unlike many other grips, the outer right mallet is the leading mallet rather than the inside two. Although some early vibes players made use of four mallets, notably 394: 734:

of the wavelength of the fundamental frequency of the bar. When the bar and resonator are properly in tune with each other, the vibrating air beneath the bar travels down the resonator and is reflected from the closure at the bottom, then returns to the top and is reflected back by the bar, over and over, creating a much stronger standing wave and increasing the amplitude of the fundamental frequency. The resonators, besides raising the upper end of the vibraphone's

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circumstances, use the same hand. Mallet damping also includes "dead strokes", where a player strikes a bar and then, instead of drawing the mallet back, directly presses the head of the mallet onto the bar, causing the ringing to stop immediately. This produces a fairly distinctive "choked" sound, and dead strokes are often used just for that particular sound in addition to the damping aspects.

432:. In 1921, Winterhoff perfected the design by instead attaching a motor that rotated small discs underneath the bars to achieve the same effect. After sales manager George H. Way termed this instrument the "vibraphone", it was marketed by Leedy starting in 1924. The Leedy vibraphone managed to achieve a decent degree of popularity after it was used in the novelty recordings of " 742:

time. This is not an issue with marimbas and xylophones, where the natural sustain time of the wooden bars is short, but vibraphone bars can ring for many seconds after being struck, and this effect is highly desirable in many circumstances. Therefore, the resonators in a vibraphone are usually tuned slightly off-pitch to create a balance between loudness and sustain.

685:, which uses a shallower arch, and the glockenspiel, which has no arch at all. These rectangular bars have three primary modes of vibration. The deep arch causes these modes to align and create a consonant arrangement of intervals: a fundamental pitch, a pitch two octaves above that, and a third pitch an octave and a major third above the second. For the F 873:, in which the mallets are played palms down, with the thumbs facing each other. In this grip, the mallets are held between the thumb and index finger of each hand, with the remaining three fingers of each hand supporting the shafts. This grip uses a combination of wrist movement and fingertip control to manipulate the mallet. Another popular grip is 881:. The mallets are again held between the thumb and index fingers and controlled with the remaining three fingers, but the palms are held vertically, with the thumbs pointed upward. Most of the stroke action comes from the fingertip control of the shafts, with the wrists contributing slightly less than they do with the German grip. 927: 1126:

on the vibraphone to achieve sustained tones that will not decay, nor have a percussive attack. This is done by bowing the bars perpendicular to their outer edges. Due to the different mode of vibration, this also changes the sound of the vibraphone by emphasizing the higher harmonics and giving it a

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Hand damping (also known as "finger damping") can be used to damp a note on the lower bars while striking a nearby upper bar. As the player strikes the upper bar with a mallet, they simultaneously press the heel of their hand or the side of their finger into the ringing lower bar, using the same hand

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In 1970, Deagan introduced the ElectraVibe, which dispensed with resonator tubes entirely and took a signal directly from the bars, adding a tremolo in a preamplifier. This sought to improve the portability of the instrument and solve the problem inherent in all tuned mallet instruments: miking the

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Resonators are thin-walled tubes, typically made of aluminum, but any suitably strong material can be used. They are open at one end and closed at the other. Each bar is paired with a resonator whose diameter is slightly wider than the width of the bar and whose length to the closure is one-quarter

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In another damper technique—"half pedaling"—the player depresses the pedal just enough to remove the spring pressure from the bars, but not enough to make the pad lose contact with the bars. This lets the bars ring slightly longer than with the pad fully up and can make a medium-fast passage sound

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The most common form of mallet damping occurs when the vibraphonist plays a note with one mallet before pressing another mallet into the ringing bar to stop it from sounding. Usually the damping mallet and the original striking mallet are held in different hands, but advanced players can, in some

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The bed for the bars is made by laying down four wooden rails onto each end of the frame. Each rail has a series of pins with rubber spacers. As the cord passes through the holes of the bar, they rest on the pins to suspend the bars. On each outer side, the ends of the cord attach together with a

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Pedaling techniques are at least as important for the four-mallet vibraphonist as for two-mallet players, but the all-or-nothing damping system of the sustain pedal presents many obstacles to multi-linear playing, since each line normally has its own damping requirements independent of the other

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The player must pay close attention to the damper pedal to avoid multiple notes ringing unintentionally at the same time. Because the notes ring for a considerable fraction of a second when struck with the damper pad up, and ringing bars do not stop ringing immediately when contacted by the pad,

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There is a trade-off between the amplifying effect of the resonators and the length of sustain of a ringing bar. The energy in a ringing bar comes from the initial mallet strike, and that energy can either be used to make the bar ring louder initially, or not as loudly but for a longer period of

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After beveling or rounding the edges, fine-tuning adjustments are made. If a bar is flat, its overall pitch structure can be raised by removing material from the ends of the bar. Once this slightly sharp bar is created, the secondary and tertiary tones can be lowered by removing material from

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A unique feature of vibraphone resonators is the shaft of rotating discs, commonly called fans, across the top. When the fans are open, the resonators have full function. When the fans are closed, the resonators are partially occluded, reducing the resonance of the fundamental pitch. A

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Material is ground away from the underside of the bars in an arch shape to lower the pitch. This allows the lower-pitched bars to be a manageable length. It is also the key to the mellow sound of the vibraphone (and marimba, which uses the same deep arch) compared with the brighter

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lines. To overcome this, four-mallet players also use "mallet damping" and "hand damping". There are many benefits of being proficient in these techniques, as it allows the player to transition between chords much more smoothly and play new notes without having them affect the

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Throughout the 1930s and 1940s, each manufacturer attracted its own following in various specialties, but the Deagan vibraphones were the models preferred by many of the specialist jazz players. Deagan struck endorsement deals with many of the leading players, including

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Vibraphone mallets usually consist of a rubber ball core wrapped in yarn or cord and attached to a narrow dowel, most commonly made of rattan or birch and sometimes of fiberglass or nylon. Mallets suitable for the vibraphone are also generally suitable for the marimba.

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players use a technique called "after pedaling". In this technique, the player presses the damper pedal slightly after striking the bar—shortly enough after so the recently struck note continues to ring, but long enough after so that the previous note stops ringing.

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Vibraphones usually have an electric motor and pulley assembly mounted on one side or the other to drive the disks in the resonators. Often, especially within classical music, the vibraphone is played with the motor off. Certain models for outdoor use as part of a

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Both the terms "vibraphone" and "vibraharp" were trademarked by Leedy and Deagan, respectively. Other manufacturers were forced to use the generic name "vibes" or devise new trade names such as "vibraceleste" for their instruments incorporating the newer design.

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However, this instrument differed significantly from the instrument now called the "vibraphone". The Leedy vibraphone did not have a pedal mechanism, and it had bars made of steel rather than aluminum. The growing popularity of Leedy's instrument led competitor

888: 677:). To maximize the sustain of the bars, the holes are placed at approximately the nodal points of the bar (i.e., the points of minimum amplitude around which the bar vibrates). For a uniform bar, the nodal points are located 22.4% from each end of the bar. 945:, typically substituting for piano or guitar and providing accompaniment for other soloists in addition to soloing themselves. Furthermore, the four-mallet style has led to a significant body of unaccompanied solo vibes playing. One notable example is 647:

Classical players must carry a wide range of mallet types to accommodate the changing demands of composers who are looking for particular sounds. Jazz players, on the other hand, often make use of multi-purpose mallets to allow for improvisation.

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Practitioners of Burton grip tend to make more use of double strokes as compared to two-mallet players. This is done not only to avoid crossing the hands, but also to help minimize the motions between the two bar rows. For example, an ascending

3183:"Analysis Of Selected Percussion Literature: Concerto For Vibraphone and Orchestra By Ney Rosauro, Surface Tension By Dave Hollinden, Urban Sketches For Percussion Trio By Lon W. Chaffin, Take Five By Paul Desmond, And DT Supreme" 716:

Like marimbas, professional vibraphones have bars of graduated width. Lower bars are made from wider stock, and higher notes from narrower stock, to help balance volume and tone across the range of the instrument. The bars are

1037: 644:, ranging from a bright metallic clang to a mellow ring with no obvious initial attack. Consequently, a wide array of mallets is available, offering variations in hardness, head size, weight, shaft length and flexibility. 805:

and had limited to no speed-adjustment capabilities. Whatever speed adjustments were possible were made by moving the drive belt among a small number of pulleys (usually three) of varying diameters. Later, variable-speed

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is that each bar suspends over a resonator tube containing a flat metal disc. These discs are attached together by a common axle and spin when the motor is turned on. This causes the instrument to produce its namesake

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music. In jazz groups, two-mallet vibraphonists are usually considered part of the "front line" with the horn players, contributing solos of their own but contributing very little in the way of

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specific locations of the bar. Vibraphones are tuned to a standard of A = 442 Hz or A = 440 Hz, depending on the manufacturer or the customer's preference. While

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that same year. While the vibraphone has not been used quite as extensively in the realm of classical music as it has with jazz, it can often be heard in theatre or film music, such as in

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Oftentimes, vibraphones, and other mallet instruments, will include non-functional, decorative resonator tubes with no corresponding bar above to make the instrument look more complete.

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Vibraphone bars are made from aluminum bar stock, cut into blanks of predetermined length. Holes are drilled through the width of the bars, so they can be suspended by a cord (typically

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scale could be played by keeping the left hand on the upper bars and the right hand on the lower. For linear passages with leaps, all four mallets are often used sequentially.

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is generally A = 440 Hz, the sharper tuning of A = 442 Hz is used to give the vibraphone a slightly brighter sound to cut through the ensemble.

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specifically arranged for the instrument or newly composed pieces that are either jazz-oriented or classical in nature. Some of the most performed solo literature includes

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can be achieved on the vibraphone by sliding a rubber or plastic mallet from the nodal point to the center of the bar. This technique is able to lower the pitch by about a

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While the initial purpose of the vibraphone was as a novelty instrument for vaudeville orchestras, that use was quickly overwhelmed in the 1930s by its development in

3117: 1098:, some vibraphonists have experimented with three mallets per hand, either in both hands for a total of six mallets or in just the left hand for a total of five. 721:

after fine-tuning (typically in a silver or gold color) and may have a glossy or matte finish. These are cosmetic features with a negligible effect on the sound.

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In its early history, the vibraphone was often used in classical music to give compositions a jazz influence. The first known composer to use the vibraphone was

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after their purchase in 1965. The Leedy Manufacturing Company, the original designers of the vibraphone, had already merged with Ludwig Drums in 1929 under

510:, completed in 1931, is sometimes considered to be the first piece to use a vibraphone instead. Other early classical composers to use the vibraphone were 338:. When the pedal is up, the bars produce a muted sound; when the pedal is down, the bars sustain for several seconds or until again muted with the pedal. 854:(two notes played simultaneously) are sometimes used, but mostly as a reinforcement of the main melodic line, similar to the use of double stops in solo 1681: 850:

like a guitar or piano. Two-mallet players usually concentrate on playing a single melodic line and rely on other musicians to provide accompaniment.

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as the second overtone. As a side effect, the arch causes the nodal points of the fundamental vibration to shift closer towards the ends of the bar.

3630: 3274: 2305: 369:, and is part of the standard college-level percussion performance education. It is a standard instrument in the modern percussion section for 3182: 3212: 4142: 3334: 1127:

more "glassy" tone. Because changing notes requires large and precise movements, fast passages are not often written for bowed vibraphone.

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The four-mallet vibraphone style is multi-linear, like a piano. In jazz groups, four-mallet vibraphonists are often considered part of the

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is played. The notes of the scale are muted by a mallet while the chord continues to ring. The vibraphone is played with the motors off.

4028: 2432: 1007:. Many other grips are in use, some variations on the Burton or Stevens, others idiosyncratic creations of individual vibes players. 4167: 3967: 1517: 2771: 798:

have the motor removed entirely. In those cases having the motor off is the norm and is not used unless specifically called for.

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range, also affect the overall tone of the vibraphone, since they amplify the fundamental frequency, but not the upper partials.

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connects the shafts to an electric motor beneath the playing surface and rotates the fans. This rotation of the fans creates a

483:, Hampton was asked to play a vibraphone that had been left behind in the studio. This resulted in the recording of the song " 4177: 4172: 4152: 4021: 3558: 3539: 3486: 3456: 3429: 3257: 3092: 3057: 3018: 2830: 2688: 2467: 2373: 2336: 2196: 2047: 2010: 1810: 1756: 1723: 1621: 1492: 1457: 1366: 1291: 3623: 2650: 1028: 2968: 2221: 1159:, the use of the vibraphone in classical music has increased over the past fifty years, especially within the collegiate 428:. His original design attempted to produce this effect by raising and lowering the resonators, which caused a noticeable 2856:"An Introductory Guide to Vibraphone: Four Idiomatic Practices and a Survey of Pedagogical Material and Solo Literature" 1179:'s Concerto for Marimba, Vibraphone and Orchestra written in 1947. Other prominent concertos for the vibraphone include 898:

playing in the early 1940s. Reg Kehoe (center) switches to the vibraphone part way through for a solo using two mallets.

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to strike the upper bar and damp the lower one. Using both hands, it's possible to damp and strike two bars at once.

80: 2855: 3997: 2969:"Extended Performance Techniques and Compositional Style in the Solo Concert Vibraphone Music of Christopher Deane" 1257:, who had been a designer at Deagan. The Musser Mallet Company continues to manufacture vibraphones as part of the 1228: 895: 2115: 2091: 1861: 3764: 3616: 1865: 1242:. However, the Deagan company went out of business in the 1980s, and its trademark and patents were purchased by 982:, the fully pianistic four-mallet approach to jazz on the vibraphone is almost entirely the creation of Burton. 3669: 3648: 1646: 1212: 1196: 814:

mounted on a control panel near the motor. They typically support rotation rates in the range of 1–12 Hz.

358: 318: 243: 1544:"Compositional and Orchestrational Trends in the Orchestral Percussion Section Between the Years of 1960–2009" 4002: 3992: 3872: 3660: 2588:"An Historical Survey of the Development of the Vibraphone as an Alternative Accompanying Instrument in Jazz" 2137: 345:

music, in which it often plays a featured role, and was a defining element of the sound of mid-20th-century "

4147: 3982: 3581: 3087:. Michel Roth, Jens Ruland, Christiana Nobach, Ellen Fallowfield. Kassel: Bärenreiter-Verlag. p. 152. 2823:

Complete Guide to Instrumental Jazz Instruction: Techniques for Developing a Successful School Jazz Program

1543: 1647:"Vibraphone Orchestral Excerpts & Adapting J. S. Bach's Violin Sonata No. 1 in G Minor for Vibraphone" 487:" in 1930, containing what is often considered to be the first instance of an improvised vibraphone solo. 2717: 906:(playing two notes in a row with the same hand) are used when convenient to minimize crossing the hands. 407: 2281: 3987: 3936: 2886: 2680: 2365: 2426:"Jazz Vibraphone as a Chordal Instrument: A Comprehensive Guide to Comping and Block Chord Techniques" 1781: 4162: 2975: 2778: 2736: 2134:

The Effects of a Resonator Tube on the Timbre and Directivity of Sound Radiated from a Vibraphone Bar

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For the first few years of production, the original Leedy vibraphone did not include a mechanism for

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became available at reasonable prices. These motors allow the adjustment of the rotating speed by a

3124: 2941: 2714:"A Comparative Analysis of the Mechanics of Musser Grip, Stevens Grip, Cross Grip, and Burton Grip" 2072: 1654: 874: 500:, which called for two of them. However, since the piece was lost and did not premiere until 1983, 1328: 3342: 3319: 2953: 2733:"Sticking Categories: A Practical Application in Contemporary Literature for Four-Mallet Marimba" 2624: 2594: 2328: 2039: 1562: 1550: 1403: 1343: 3346: 4157: 3877: 2141: 1184: 607: 529: 2628: 1888:

Experimental Study Of Vibraphone Pitch Bending Using Electronic Speckle-pattern Interferometry

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bar is exposed, showing the tuning marks, a disc, and the pins and cord used to hold the bar.

288: 187: 172: 50: 41: 2520: 802: 4045: 3812: 2111: 1951: 1004: 90: 1577: 8: 3946: 3926: 2188: 1160: 524: 213: 3275:"The Objective Grading of Original Unaccompanied Four-Mallet Solo Vibraphone Literature" 1955: 4086: 3941: 2800: 2076: 1983: 1692: 1421: 1243: 1156: 506: 496: 445: 208: 192: 136: 2306:"Front Ensemble Friday: Iain Moyer – A Marimbists & Arrangers Guide to Vibraphone" 1749:

Contemporary Orchestration: A Practical Guide to Instruments, Ensembles, and Musicians

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An overhead view of a 3 octave vibraphone with different mallets of varying hardness.

623: 534: 296: 3225: 2495: 1805:. Michael Hewitt, Mark Fonder (5th ed.). New York, NY: Routledge. p. 365. 317:, which it superseded. One of the main differences between the vibraphone and other 3220: 1959: 1939: 1895: 1585: 950: 735: 628: 3900: 3596: 3369: 2752: 2255: 1835: 1095: 774: 539: 484: 480: 362: 2804: 4106: 4013: 3931: 3905: 3857: 2491: 2005:. Garwood Whaley (1st ed.). Delray Beach, FL: Meredith Music. p. 32. 1786: 1286:. Karen Pinkus, Jason Vivrette. Durham, NC: Duke University Press. p. 99. 1246:. Yamaha continues to make percussion instruments based on the Deagan designs. 1235: 1176: 1135: 979: 975: 942: 847: 795: 674: 491: 476: 464: 393: 382: 3602: 3587: 3496: 3102: 2983: 2949: 2772:"A Study of Four Mallet Grips Used in Playing Keyboard Percussion Instruments" 2744: 2732: 2535: 2477: 2440: 2020: 1820: 1733: 1631: 926: 501: 4136: 3862: 3707: 3697: 3289: 3234: 3197: 3132: 3067: 3028: 2919: 2867: 2786: 2698: 2572: 2383: 2346: 2206: 2155: 2057: 1971: 1940:"Three-dimensional tuning of idiophone bar modes via finite element analysis" 1924: 1766: 1700: 1558: 1502: 1467: 1376: 1301: 1204: 1044: 959: 903: 859: 838:

in Seattle, Washington. Note his characteristic palms-inward two-mallet grip.

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or 4 octave models from the C below middle C are also becoming more common (C

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How to Write for Percussion: A Comprehensive Guide to Percussion Composition

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The Techniques of Percussion Playing: Mallets, Implements, and Applications

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Percussion Instruments: Purchasing, Maintenance, Troubleshooting & More

1979: 1611: 1407: 1258: 1250: 1239: 1200: 1119: 1000: 987: 954: 866: 843: 831: 603: 519: 479:, a jazz drummer from California. At one recording session with bandleader 425: 374: 354: 314: 292: 156: 35: 3043: 2713: 2182: 1482: 1447: 433: 3951: 3608: 3591: 3147: 2459: 1180: 1123: 1111: 967: 946: 934: 930: 870: 851: 295:

family. It consists of tuned metal bars and is typically played by using

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Two-mallet players use several different grips, the most common being a

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bar that usually forms the lowest note on a vibraphone, there would be F

4101: 4091: 3972: 3852: 3842: 3522: 3049: 2092:"Percussion 101 (Keyboard Percussion): Characteristics and Maintenance" 1963: 1262: 1060: 511: 437: 412: 271: 151: 3777: 2222:"The Structure of the Marimba: Inside and outside the resonator pipes" 1900: 4111: 4066: 3832: 3797: 3772: 3717: 3702: 2635: 2096: 1284:

Mondo Exotica: Sounds, Visions, Obsessions of the Cocktail Generation

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Practical Percussion: a Guide to the Instruments and their Sources

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to strike the bars. A person who plays the vibraphone is called a

4056: 3817: 3750: 3735: 3692: 2935:"A New Six-Mallet Marimba Technique and its Pedagogical Approach" 2540: 1048: 878: 755: 751: 661: 429: 366: 350: 327: 323: 259: 4071: 3827: 3822: 3802: 3787: 3782: 3576: 1484:

Continuum Encyclopedia of Popular Music of the World: Volume II

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Horn, David; Shepard, John; Seed, Michael; Laing, Dave (2003).

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have been written for the vibraphone, the first of these being

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The early vibraphones used motors that were intended to power

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The exposed mechanism of the motor and rubber pulley is shown.

3847: 3837: 3807: 3745: 3013:(Revised ed.). Lanham, MD: Scarecrow Press. p. 56. 1716:

West Side Story, Gypsy, and the Art of Broadway Orchestration

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Caroll, Barry J. (1977). "The Story of Mallet Instruments".

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by Tim Huesgen, and "Blues for Gilbert" by Mark Glentworth.

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music. The use of the vibraphone in jazz was popularized by

4116: 1518:"Feeling The Vibes: The Short History of a Long Instrument" 902:

Passages are usually played with alternating sticking, but

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bows to play "Mourning Dove Sonnet" by Christopher Deane.

1187:'s Concerto for Vibraphone and Strings written in 1999. 966:

The most popular four-mallet grip for vibraphone is the

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Around 1916, instrument maker Herman Winterhoff of the

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Extended Notation: The Depiction of the Unconventional

2990: 2567:. Boston, MA: Berklee Press Publications. p. 21. 2162: 1661: 1361:. Lanham, MD: Rowman & Littlefield. p. 222. 1359:

A Dictionary for the Modern Percussionist and Drummer

1183:'s Concerto No. 1 for Vibraphone written in 1996 and 1894:. Vol. 12, no. 1. Seattle, WA. p. 2. 1480: 1308: 3396: 2610:"Sound Development and Four-Mallet Usage for Vibes" 2235: 1356: 3668: 2799: 1516:Morrison, Nick; Francis, Nick (17 November 2008). 1427: 842:The two-mallet approach to vibes is traditionally 4134: 4043: 2362:Performance Practice in the Music of Steve Reich 1944:The Journal of the Acoustical Society of America 556:The standard modern instrument has a range of 3 2825:. West Nyack, NY: Parker Pub. Co. p. 195. 2131: 1515: 1215:, "Mourning Dove Sonnet" by Christopher Deane, 1195:The vibraphone is the second most popular solo 262:scale played on a vibraphone with the motors on 3424:(Rev. ed.). Westport, CT: Bold Strummer. 2490: 2423: 4029: 3624: 2456:Modern School for Mallet-Keyboard Instruments 2279: 1937: 1609: 3152:. Portland, OR: Amadeus Press. p. 365. 2674: 2565:Vibraphone Technique: Dampening and Pedaling 2536:"Ed Saindon Vibe Clinic (Part 2) PASIC 2006" 2359: 1938:Beaton, Douglas; Scavone, Gary (June 2021). 1616:. London: Taylor & Francis. p. 46. 1576:Blades, James (2001). Holland, James (ed.). 1452:. Lanham, MD: Scarecrow Press. p. 349. 1047:is held using the pedal, while an ascending 3374:. Fullerton, CA: Centerstream. p. 28. 3213:"Vibrafone: Uma Fonte de Coloridos Sonoros" 2820: 1392:"The Vibraphone: Past, Present, and Future" 640:The mallets can have a great effect on the 4036: 4022: 3638: 3631: 3617: 3305:"The Quest for Solo Vibraphone Repertoire" 2523:. Gene Koshinski (Interviewer). Malletech. 2433:University of Illinois at Urbana-Champaign 933:, using his namesake grip, with guitarist 3481:(2nd ed.). New York, NY: Routledge. 3224: 3080: 2711: 2396: 2145: 1899: 3968:Classification of percussion instruments 3422:Percussion Instruments and Their History 2853: 2769: 2648: 2399:The History and Development of the Vibes 2132:Tuttle, B. C.; Burroughs, C. B. (1998). 2089: 2070: 2000: 1890:. Proceedings of Meetings on Acoustics. 1751:. New York, NY: Routledge. p. 266. 1449:Experiencing Jazz A Listener's Companion 1445: 1389: 1281: 1105: 925: 883: 826: 784: 660: 627: 459: 392: 3446: 3367: 3041: 3008: 2996: 2881:Sevsay, Ertuğrul (2013). "Vibraphone". 2730: 2607: 2585: 2533: 2322: 2168: 2110: 2033: 1917:Acoustics of Bar Percussion Instruments 1885: 1800: 1718:. Abingdon, OXF: Taylor & Francis. 1679: 1590:10.1093/gmo/9781561592630.article.29286 1326: 1122:, percussionists can use an orchestral 4135: 3653:List of percussion instruments by type 3512: 3419: 3272: 3180: 3145: 3115: 2932: 2909: 2880: 2860:The University of Southern Mississippi 2515: 2253: 2180: 1919:. Columbus, OH: Per-Mus Publications. 1859: 1833: 1746: 1667: 1644: 1575: 1541: 1314: 1089: 1084: 4017: 3612: 3302: 3210: 2966: 2677:The Cambridge Companion to Percussion 2562: 2303: 2282:"M58/M58M Piper Vibe (User's Manual)" 1914: 1782:"What You Need to Know About…Mallets" 1779: 1713: 1094:To achieve a denser sound and richer 1073:of the chord when the pedal is down. 357:. It is the second most popular solo 3548: 3529: 3473: 3402: 3247: 2883:The Cambridge Guide to Orchestration 2453: 2241: 1892:Proceedings of Meetings on Acoustics 1433: 921: 725:spring to provide tension and flex. 606:, the vibraphone is generally a non- 4143:20th-century percussion instruments 3588:A Demonstration of Mallet Dampening 2675:Hartenberger, Russell, ed. (2016). 2184:An Introduction to Music Technology 2036:The Band Teacher's Percussion Guide 822: 768: 436:" and "Gypsy Love Song" in 1924 by 397:A 1928 ad for the Deagan vibraharp. 341:The vibraphone is commonly used in 13: 3505: 3371:History of the Ludwig Drum Company 3332: 3303:Smith, Joshua D. (November 2011). 2219: 1803:The Teaching of Instrumental Music 1651:Florida State University Libraries 1535: 1487:. London: Continuum. p. 402. 1329:"The Vibraphone At 100: Why 2021?" 1017: 846:, playing like a horn rather than 546: 330:effect. The vibraphone also has a 232: 125: 14: 4189: 3569: 3449:Science of Percussion Instruments 2821:Kuzmich, John; Bash, Lee (1984). 2634:on 27 September 2007 – via 2071:Wollwage, Troy C. (4 June 2019). 1680:Latshaw, Charles William (2014). 514:, who used it prominently in his 3998:List of vibraphone manufacturers 3575: 1327:Graiser, Brian (February 2021). 1229:List of vibraphone manufacturers 1222: 1059:Problems playing this file? See 1033: 951:Chega de Saudade (No More Blues) 896:Reg Kehoe and his Marimba Queens 270:Problems playing this file? See 248: 34: 4168:Keyboard percussion instruments 3451:. Singapore: World Scientific. 3412: 3361: 3326: 3296: 3266: 3241: 3226:10.1590/S1517-75992012000100006 3204: 3174: 3146:Roeder, Michael Thomas (1994). 3139: 3109: 3074: 3035: 3002: 2960: 2926: 2903: 2874: 2847: 2814: 2793: 2763: 2724: 2705: 2668: 2642: 2601: 2579: 2556: 2527: 2509: 2484: 2447: 2424:Shaw-Rutschman, Michah (2018). 2417: 2390: 2353: 2316: 2297: 2273: 2247: 2213: 2174: 2125: 2104: 2083: 2064: 2027: 1994: 1931: 1908: 1879: 1866:Case Western Reserve University 1853: 1827: 1794: 1773: 1740: 1707: 1673: 1638: 1603: 1569: 1509: 1390:Stallard, Carolyn (July 2015). 877:, a grip also commonly used on 651: 467:playing the vibraphone in 1946. 319:keyboard percussion instruments 91:Hornbostel–Sachs classification 3649:List of percussion instruments 3368:Schmidt, Paul William (1991). 3273:Hewitt, Jeferry Allen (2014). 2854:Cheesman, Brian Scott (2012). 2397:Ann Meyer, Jacqueline (1973). 2360:Hartenberger, Russell (2016). 2327:(2nd ed.). New York, NY: 2187:(2nd ed.). New York, NY: 1610:Schaarwächter, Jürgen (2018). 1474: 1439: 1414: 1383: 1350: 1320: 1275: 1197:keyboard percussion instrument 359:keyboard percussion instrument 1: 4003:List of timpani manufacturers 3993:List of marimba manufacturers 3116:Parker, Wesley Grant (2010). 3081:Dierstein, Christian (2018). 2712:Berkowitz, Adam Eric (2011). 2649:Santella, Jim (1 July 1999). 2458:. Tom Schneller, Jim Sewrey. 2138:Pennsylvania State University 2116:"The Acoustics of Resonators" 1613:HB: Aspects of Havergal Brian 1268: 1145: 1130: 918:without pedaling every note. 728: 440:performer Louis Frank Chiha. 313:The vibraphone resembles the 4178:Plaque percussion idiophones 4173:Metal percussion instruments 4153:American musical instruments 3983:List of cymbal manufacturers 2651:"Gary Burton: Alone At Last" 2608:Saindon, Ed (October 2006). 2280:Ludwig-Musser (April 2001). 1357:Strain, James Allen (2017). 1282:Adinolfi, Francesco (2008). 1166: 1150: 817: 560:, starting from the F below 416:effects on a three-octave (F 401: 97:(Sets of percussion plaques) 16:Mallet percussion instrument 7: 3534:. Oxford University Press. 3447:Rossing, Thomas D. (2000). 3252:. Media Press. p. 74. 3181:Barnes, Austin Lee (2012). 3042:Dimpker, Christian (2013). 2718:Florida Atlantic University 2323:Solomon, Samuel Z. (2016). 1584:. Oxford University Press. 1542:Keller, Renee (June 2013). 408:Leedy Manufacturing Company 10: 4194: 3988:List of drum manufacturers 3937:Indoor percussion ensemble 3515:Introduction to Jazz Vibes 3479:Encyclopedia of Percussion 3250:Percussion Solo Literature 3219:(in Portuguese) (25): 58. 2887:Cambridge University Press 2681:Cambridge University Press 2586:Mallows, Frank A. (2004). 2496:"What is the French Grip?" 2366:Cambridge University Press 2181:Hosken, Daniel W. (2015). 2001:Primatic, Stephen (2015). 1860:Miller, Dayton C. (2006). 1446:Stephans, Michael (2013). 1226: 1010: 665:The underside of the low F 621: 617: 602:). Unlike its cousin, the 388: 381:(typically as part of the 18: 4052: 3960: 3914: 3886: 3763: 3726: 3659: 3646: 3149:A History of the Concerto 2976:University of North Texas 2967:Smith, Joshua D. (2008). 2779:University of North Texas 2737:The University of Arizona 2073:"Anatomy of a Vibraphone" 2034:Hoffman, Stewart (2017). 1801:Colwell, Richard (2017). 1110:A vibraphonist using two 1101: 1029:Vibraphone mallet damping 574:scientific pitch notation 410:began experimenting with 198:Adams Musical Instruments 183: 178: 170: 165: 142: 135: 124: 117: 109: 101: 89: 79: 56: 49: 33: 3599:from The Deagan Resource 3211:Chaib, Fernando (2012). 3125:Florida State University 2942:University of Lethbridge 2731:Morales, Andrew (2020). 2563:David, Friedman (1973). 2521:"Two-Mallet Performance" 2121:. Malletech. p. 12. 2090:Skidmore, David (2012). 1915:Moore, James L. (1978). 1780:Meyer, Ben (July 2012). 1655:Florida State University 1190: 1155:As part of the standard 803:record-player turntables 780: 551: 19:Not to be confused with 3605:performed by Doug Perry 3343:Percussive Arts Society 3320:Percussive Arts Society 3009:Holland, James (2005). 2954:Percussive Arts Society 2910:Lipner, Arthur (1996). 2805:"Percussion Techniques" 2770:Glassock, Lynn (1971). 2625:Percussive Arts Society 2595:University of Cape Town 2329:Oxford University Press 2310:Marching Arts Education 2040:Oxford University Press 1886:Worland, Randy (2011). 1714:Laird, Paul R. (2021). 1682:"William Grant Still's 1563:Percussive Arts Society 1551:Northwestern University 1404:Percussive Arts Society 1344:Percussive Arts Society 656: 244:Vibraphone sound sample 3640:Percussion instruments 3603:"Mourning Dove Sonnet" 3549:Cook, Gary D. (2018). 3530:Udow, Michael (2019). 3420:Blades, James (1992). 2254:Walker, James (2001). 1834:Walker, James (2001). 1747:Miller, R. J. (2015). 1684:Afro-American Symphony 1645:Tolles, Tyler (2020). 1115: 1022: 1003:, named for marimbist 938: 899: 839: 790: 670: 633: 608:transposing instrument 530:Afro-American Symphony 468: 455: 398: 237: 130: 4046:percussion idiophones 3888:Electronic percussion 3513:Burton, Gary (1965). 3335:"John Calhoun Deagan" 3333:Strain, James Allen. 3282:University of Arizona 3248:Siwe, Thomas (1995). 3190:Kent State University 2914:. MalletWorks Music. 2403:University of Indiana 2256:"Vibraphone Pedaling" 2112:Stevens, Leigh Howard 1862:"Tone Bars – Physics" 1251:Musser Mallet Company 1227:Further information: 1199:, after the marimba. 1109: 1021: 929: 894: 834:playing at Parnell's 830: 788: 693:as the fundamental, F 664: 631: 527:, who used it in his 463: 396: 289:percussion instrument 236: 173:list of vibraphonists 129: 51:Percussion instrument 3915:Percussion groupings 3765:Unpitched percussion 3584:at Wikimedia Commons 3553:. Cengage Learning. 3341:. Indianapolis, IN: 2933:Porter, Joe (2011). 2627:: 48. Archived from 2534:Saindon, Ed (2008). 2304:Moyer, Iain (2020). 2189:Taylor & Francis 1422:J. C. Deagan Company 1406:: 43–44 – via 1005:Leigh Howard Stevens 999:Also popular is the 754:effect and a slight 353:, as popularized by 105:Herman E. Winterhoff 4148:American inventions 3947:Percussion ensemble 3927:Marching percussion 3670:Keyboard percussion 3551:Teaching Percussion 3532:Percussion Pedagogy 2912:The Vibes Real Book 1956:2021ASAJ..149.3758B 1686:A Critical Edition" 1582:Oxford Music Online 1259:Ludwig Drum Company 1209:Mirror from Another 1161:percussion ensemble 1090:Five to six mallets 1085:Extended techniques 949:’s performance of " 862:to other soloists. 525:William Grant Still 494:in his 1917 opera, 214:Majestic Percussion 137:Related instruments 85:Keyboard percussion 30: 4087:Kulintang a tiniok 3942:Percussion section 3661:Pitched percussion 3517:. Creative Music. 3349:on 30 January 2016 2801:United States Army 2454:Hans, Ben (1981). 1964:10.1121/10.0005062 1836:"Mallet Selection" 1693:Indiana University 1157:percussion section 1116: 1023: 939: 900: 840: 791: 671: 634: 507:Grand Canyon Suite 469: 446:J. C. Deagan, Inc. 399: 238: 209:Premier Percussion 131: 28: 4130: 4129: 4011: 4010: 3978:Percussion mallet 3759: 3758: 3580:Media related to 3560:978-1-337-67222-1 3541:978-0-19-090296-4 3488:978-0-415-97123-2 3458:978-981-02-4158-2 3431:978-0-933224-71-1 3259:978-0-9635891-1-8 3094:978-3-7618-2406-1 3059:978-3-643-90302-0 3020:978-1-4616-7063-6 2832:978-0-13-160565-7 2690:978-1-107-09345-4 2469:978-1-4768-5661-2 2375:978-1-316-77874-6 2338:978-0-19-992035-8 2198:978-0-415-82572-6 2049:978-0-19-046168-3 2012:978-1-57463-451-8 1901:10.1121/2.0000023 1812:978-1-317-21273-7 1758:978-1-317-80625-7 1725:978-0-429-66273-7 1623:978-0-429-45187-4 1494:978-1-84714-472-0 1459:978-0-8108-8290-4 1368:978-0-8108-8692-6 1293:978-0-8223-4132-1 1255:Clair Omar Musser 1185:Emmanuel Séjourné 1038: 922:Four-mallet style 892: 624:Percussion mallet 535:Leonard Bernstein 283:(also called the 253: 228: 227: 4185: 4163:Jazz instruments 4038: 4031: 4024: 4015: 4014: 3666: 3665: 3633: 3626: 3619: 3610: 3609: 3579: 3564: 3545: 3526: 3500: 3470: 3443: 3406: 3400: 3394: 3393: 3365: 3359: 3358: 3356: 3354: 3345:. Archived from 3330: 3324: 3323: 3312:Percussive Notes 3309: 3300: 3294: 3293: 3279: 3270: 3264: 3263: 3245: 3239: 3238: 3228: 3208: 3202: 3201: 3187: 3178: 3172: 3171: 3143: 3137: 3136: 3122: 3113: 3107: 3106: 3078: 3072: 3071: 3039: 3033: 3032: 3006: 3000: 2994: 2988: 2987: 2973: 2964: 2958: 2957: 2939: 2930: 2924: 2923: 2907: 2901: 2900: 2878: 2872: 2871: 2851: 2845: 2844: 2818: 2812: 2811: 2809: 2797: 2791: 2790: 2776: 2767: 2761: 2760: 2728: 2722: 2721: 2709: 2703: 2702: 2672: 2666: 2665: 2663: 2661: 2646: 2640: 2639: 2633: 2617:Percussive Notes 2614: 2605: 2599: 2598: 2592: 2583: 2577: 2576: 2560: 2554: 2553: 2551: 2549: 2531: 2525: 2524: 2519:(October 2009). 2513: 2507: 2506: 2504: 2502: 2488: 2482: 2481: 2451: 2445: 2444: 2430: 2421: 2415: 2414: 2394: 2388: 2387: 2364:. 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New York, NY: 2031: 2025: 2024: 1998: 1992: 1991: 1950:(6): 3758–3768. 1935: 1929: 1928: 1912: 1906: 1905: 1903: 1883: 1877: 1876: 1874: 1872: 1857: 1851: 1850: 1848: 1846: 1831: 1825: 1824: 1798: 1792: 1791: 1777: 1771: 1770: 1744: 1738: 1737: 1711: 1705: 1704: 1690: 1677: 1671: 1665: 1659: 1658: 1642: 1636: 1635: 1607: 1601: 1600: 1598: 1596: 1573: 1567: 1566: 1548: 1539: 1533: 1532: 1530: 1528: 1513: 1507: 1506: 1478: 1472: 1471: 1443: 1437: 1431: 1425: 1418: 1412: 1411: 1396:Percussive Notes 1387: 1381: 1380: 1354: 1348: 1347: 1336:Percussive Notes 1333: 1324: 1318: 1312: 1306: 1305: 1279: 1118:Like many other 1040: 1039: 1020: 993: 992: 978:, and sometimes 893: 823:Two-mallet style 769:Damper mechanism 589: 588: 584: 581: 255: 254: 235: 38: 31: 27: 4193: 4192: 4188: 4187: 4186: 4184: 4183: 4182: 4133: 4132: 4131: 4126: 4048: 4042: 4012: 4007: 3956: 3910: 3901:Electronic drum 3882: 3755: 3722: 3655: 3651: 3642: 3637: 3572: 3567: 3561: 3542: 3508: 3506:Further reading 3503: 3489: 3459: 3432: 3415: 3410: 3409: 3401: 3397: 3382: 3366: 3362: 3352: 3350: 3331: 3327: 3307: 3301: 3297: 3284:. p. 114. 3277: 3271: 3267: 3260: 3246: 3242: 3209: 3205: 3185: 3179: 3175: 3160: 3144: 3140: 3120: 3114: 3110: 3095: 3079: 3075: 3060: 3052:. p. 132. 3040: 3036: 3021: 3007: 3003: 2995: 2991: 2971: 2965: 2961: 2937: 2931: 2927: 2908: 2904: 2897: 2879: 2875: 2852: 2848: 2833: 2819: 2815: 2807: 2798: 2794: 2774: 2768: 2764: 2729: 2725: 2710: 2706: 2691: 2673: 2669: 2659: 2657: 2647: 2643: 2631: 2612: 2606: 2602: 2590: 2584: 2580: 2561: 2557: 2547: 2545: 2532: 2528: 2514: 2510: 2500: 2498: 2489: 2485: 2470: 2452: 2448: 2428: 2422: 2418: 2395: 2391: 2376: 2368:. p. 188. 2358: 2354: 2339: 2331:. p. 104. 2321: 2317: 2302: 2298: 2284: 2278: 2274: 2264: 2262: 2252: 2248: 2240: 2236: 2226: 2224: 2218: 2214: 2199: 2179: 2175: 2167: 2163: 2147:10.1.1.482.5193 2130: 2126: 2118: 2109: 2105: 2088: 2084: 2069: 2065: 2050: 2042:. p. 126. 2032: 2028: 2013: 1999: 1995: 1936: 1932: 1913: 1909: 1884: 1880: 1870: 1868: 1858: 1854: 1844: 1842: 1832: 1828: 1813: 1799: 1795: 1778: 1774: 1759: 1745: 1741: 1726: 1712: 1708: 1688: 1678: 1674: 1666: 1662: 1643: 1639: 1624: 1608: 1604: 1594: 1592: 1574: 1570: 1546: 1540: 1536: 1526: 1524: 1514: 1510: 1495: 1479: 1475: 1460: 1444: 1440: 1432: 1428: 1419: 1415: 1388: 1384: 1369: 1355: 1351: 1331: 1325: 1321: 1313: 1309: 1294: 1280: 1276: 1271: 1253:was founded by 1231: 1225: 1193: 1169: 1153: 1148: 1133: 1104: 1092: 1087: 1066: 1065: 1057: 1055: 1054: 1053: 1052: 1041: 1034: 1031: 1024: 1018: 1013: 990: 989: 924: 884: 825: 820: 783: 771: 731: 704: 696: 692: 688: 668: 659: 654: 626: 620: 601: 597: 593: 586: 582: 579: 577: 571: 567: 554: 549: 547:Characteristics 540:West Side Story 485:Memories of You 481:Louis Armstrong 458: 423: 419: 404: 391: 363:classical music 277: 276: 268: 266: 265: 264: 263: 256: 249: 246: 239: 233: 224: 161: 96: 75: 45: 24: 17: 12: 11: 5: 4191: 4181: 4180: 4175: 4170: 4165: 4160: 4155: 4150: 4145: 4128: 4127: 4125: 4124: 4119: 4114: 4109: 4107:Ranat thum lek 4104: 4099: 4094: 4089: 4084: 4079: 4074: 4069: 4064: 4059: 4053: 4050: 4049: 4041: 4040: 4033: 4026: 4018: 4009: 4008: 4006: 4005: 4000: 3995: 3990: 3985: 3980: 3975: 3970: 3964: 3962: 3958: 3957: 3955: 3954: 3949: 3944: 3939: 3934: 3932:Front ensemble 3929: 3924: 3918: 3916: 3912: 3911: 3909: 3908: 3903: 3898: 3892: 3890: 3884: 3883: 3881: 3880: 3875: 3870: 3865: 3860: 3855: 3850: 3845: 3840: 3835: 3830: 3825: 3820: 3815: 3810: 3805: 3800: 3795: 3790: 3785: 3780: 3775: 3769: 3767: 3761: 3760: 3757: 3756: 3754: 3753: 3748: 3743: 3738: 3733: 3727: 3724: 3723: 3721: 3720: 3715: 3710: 3705: 3700: 3695: 3690: 3685: 3680: 3674: 3672: 3663: 3657: 3656: 3647: 3644: 3643: 3636: 3635: 3628: 3621: 3613: 3607: 3606: 3600: 3594: 3585: 3571: 3570:External links 3568: 3566: 3565: 3559: 3546: 3540: 3527: 3509: 3507: 3504: 3502: 3501: 3487: 3471: 3457: 3444: 3430: 3416: 3414: 3411: 3408: 3407: 3405:, p. 402. 3395: 3380: 3360: 3325: 3295: 3265: 3258: 3240: 3203: 3173: 3158: 3138: 3127:. p. 21. 3108: 3093: 3073: 3058: 3034: 3019: 3001: 2999:, p. 186. 2989: 2978:. p. 14. 2959: 2925: 2902: 2896:978-1107067486 2895: 2873: 2862:. p. 26. 2846: 2831: 2813: 2792: 2781:. p. 72. 2762: 2739:. p. 21. 2723: 2704: 2689: 2683:. p. 46. 2667: 2655:All About Jazz 2641: 2600: 2578: 2555: 2526: 2508: 2492:DRUM! Magazine 2483: 2468: 2446: 2416: 2389: 2374: 2352: 2337: 2315: 2296: 2272: 2246: 2244:, p. 401. 2234: 2212: 2197: 2173: 2161: 2124: 2103: 2100:(video). 2:19. 2082: 2063: 2048: 2026: 2011: 1993: 1930: 1907: 1878: 1852: 1826: 1811: 1793: 1787:Modern Drummer 1772: 1757: 1739: 1724: 1706: 1695:. p. 24. 1672: 1670:, p. 409. 1660: 1637: 1622: 1602: 1568: 1553:. p. 88. 1534: 1508: 1493: 1473: 1458: 1438: 1436:, p. 399. 1426: 1424:(film). 18:44. 1413: 1382: 1367: 1349: 1319: 1317:, p. 408. 1307: 1292: 1273: 1272: 1270: 1267: 1236:Lionel Hampton 1224: 1221: 1213:David Friedman 1205:jazz standards 1192: 1189: 1177:Darius Milhaud 1168: 1165: 1152: 1149: 1147: 1144: 1132: 1129: 1103: 1100: 1096:chord voicings 1091: 1088: 1086: 1083: 1056: 1042: 1032: 1027: 1026: 1025: 1016: 1015: 1014: 1012: 1009: 980:Lionel Hampton 976:Adrian Rollini 955:Grammy-winning 943:rhythm section 923: 920: 904:double strokes 824: 821: 819: 816: 796:front ensemble 782: 779: 770: 767: 730: 727: 702: 694: 690: 686: 666: 658: 655: 653: 650: 622:Main article: 619: 616: 599: 595: 591: 569: 565: 553: 550: 548: 545: 492:Havergal Brian 477:Lionel Hampton 465:Lionel Hampton 457: 454: 421: 417: 403: 400: 390: 387: 383:front ensemble 267: 257: 247: 242: 241: 240: 231: 230: 229: 226: 225: 223: 222: 219: 216: 211: 206: 203: 200: 195: 190: 184: 181: 180: 176: 175: 168: 167: 163: 162: 160: 159: 154: 149: 143: 140: 139: 133: 132: 122: 121: 115: 114: 111: 107: 106: 103: 99: 98: 93: 87: 86: 83: 81:Classification 77: 76: 74: 73: 70: 67: 64: 60: 58: 54: 53: 47: 46: 39: 15: 9: 6: 4: 3: 2: 4190: 4179: 4176: 4174: 4171: 4169: 4166: 4164: 4161: 4159: 4158:C instruments 4156: 4154: 4151: 4149: 4146: 4144: 4141: 4140: 4138: 4123: 4120: 4118: 4115: 4113: 4110: 4108: 4105: 4103: 4100: 4098: 4095: 4093: 4090: 4088: 4085: 4083: 4080: 4078: 4075: 4073: 4070: 4068: 4065: 4063: 4060: 4058: 4055: 4054: 4051: 4047: 4039: 4034: 4032: 4027: 4025: 4020: 4019: 4016: 4004: 4001: 3999: 3996: 3994: 3991: 3989: 3986: 3984: 3981: 3979: 3976: 3974: 3971: 3969: 3966: 3965: 3963: 3959: 3953: 3950: 3948: 3945: 3943: 3940: 3938: 3935: 3933: 3930: 3928: 3925: 3923: 3920: 3919: 3917: 3913: 3907: 3904: 3902: 3899: 3897: 3894: 3893: 3891: 3889: 3885: 3879: 3876: 3874: 3871: 3869: 3866: 3864: 3863:Temple blocks 3861: 3859: 3856: 3854: 3851: 3849: 3846: 3844: 3841: 3839: 3836: 3834: 3831: 3829: 3826: 3824: 3821: 3819: 3816: 3814: 3811: 3809: 3806: 3804: 3801: 3799: 3796: 3794: 3791: 3789: 3786: 3784: 3781: 3779: 3776: 3774: 3771: 3770: 3768: 3766: 3762: 3752: 3749: 3747: 3744: 3742: 3739: 3737: 3734: 3732: 3729: 3728: 3725: 3719: 3716: 3714: 3711: 3709: 3708:Tubular bells 3706: 3704: 3701: 3699: 3698:Tubular bells 3696: 3694: 3691: 3689: 3686: 3684: 3681: 3679: 3676: 3675: 3673: 3671: 3667: 3664: 3662: 3658: 3654: 3650: 3645: 3641: 3634: 3629: 3627: 3622: 3620: 3615: 3614: 3611: 3604: 3601: 3598: 3595: 3593: 3589: 3586: 3583: 3578: 3574: 3573: 3562: 3556: 3552: 3547: 3543: 3537: 3533: 3528: 3524: 3520: 3516: 3511: 3510: 3498: 3494: 3490: 3484: 3480: 3476: 3475:Beck, John H. 3472: 3468: 3464: 3460: 3454: 3450: 3445: 3441: 3437: 3433: 3427: 3423: 3418: 3417: 3404: 3399: 3391: 3387: 3383: 3381:0-931759-49-8 3377: 3373: 3372: 3364: 3348: 3344: 3340: 3336: 3329: 3321: 3317: 3313: 3306: 3299: 3291: 3287: 3283: 3276: 3269: 3261: 3255: 3251: 3244: 3236: 3232: 3227: 3222: 3218: 3214: 3207: 3199: 3195: 3192:. p. 2. 3191: 3184: 3177: 3169: 3165: 3161: 3159:0-931340-61-6 3155: 3151: 3150: 3142: 3134: 3130: 3126: 3119: 3112: 3104: 3100: 3096: 3090: 3086: 3085: 3077: 3069: 3065: 3061: 3055: 3051: 3047: 3046: 3038: 3030: 3026: 3022: 3016: 3012: 3005: 2998: 2993: 2985: 2981: 2977: 2970: 2963: 2955: 2951: 2947: 2944:. p. 3. 2943: 2936: 2929: 2921: 2917: 2913: 2906: 2898: 2892: 2888: 2884: 2877: 2869: 2865: 2861: 2857: 2850: 2842: 2838: 2834: 2828: 2824: 2817: 2810:. p. 40. 2806: 2802: 2796: 2788: 2784: 2780: 2773: 2766: 2758: 2754: 2750: 2746: 2742: 2738: 2734: 2727: 2720:. p. 46. 2719: 2715: 2708: 2700: 2696: 2692: 2686: 2682: 2679:. Cambridge: 2678: 2671: 2656: 2652: 2645: 2637: 2630: 2626: 2622: 2618: 2611: 2604: 2597:. p. 22. 2596: 2589: 2582: 2574: 2570: 2566: 2559: 2544:(video). 2:44 2543: 2542: 2537: 2530: 2522: 2518: 2512: 2497: 2493: 2487: 2479: 2475: 2471: 2465: 2462:. p. 2. 2461: 2457: 2450: 2442: 2438: 2435:. p. 1. 2434: 2427: 2420: 2412: 2408: 2405:. p. 7. 2404: 2400: 2393: 2385: 2381: 2377: 2371: 2367: 2363: 2356: 2348: 2344: 2340: 2334: 2330: 2326: 2319: 2311: 2307: 2300: 2292: 2291: 2283: 2276: 2261: 2257: 2250: 2243: 2238: 2223: 2216: 2208: 2204: 2200: 2194: 2190: 2186: 2185: 2177: 2171:, p. 66. 2170: 2165: 2157: 2153: 2148: 2143: 2140:. p. 6. 2139: 2135: 2128: 2117: 2113: 2107: 2099: 2098: 2093: 2086: 2078: 2074: 2067: 2059: 2055: 2051: 2045: 2041: 2037: 2030: 2022: 2018: 2014: 2008: 2004: 1997: 1989: 1985: 1981: 1977: 1973: 1969: 1965: 1961: 1957: 1953: 1949: 1945: 1941: 1934: 1926: 1922: 1918: 1911: 1902: 1897: 1893: 1889: 1882: 1867: 1863: 1856: 1841: 1837: 1830: 1822: 1818: 1814: 1808: 1804: 1797: 1789: 1788: 1783: 1776: 1768: 1764: 1760: 1754: 1750: 1743: 1735: 1731: 1727: 1721: 1717: 1710: 1702: 1698: 1694: 1687: 1685: 1676: 1669: 1664: 1656: 1652: 1648: 1641: 1633: 1629: 1625: 1619: 1615: 1614: 1606: 1591: 1587: 1583: 1579: 1572: 1564: 1560: 1556: 1552: 1545: 1538: 1523: 1519: 1512: 1504: 1500: 1496: 1490: 1486: 1485: 1477: 1469: 1465: 1461: 1455: 1451: 1450: 1442: 1435: 1430: 1423: 1417: 1409: 1405: 1401: 1397: 1393: 1386: 1378: 1374: 1370: 1364: 1360: 1353: 1345: 1341: 1337: 1330: 1323: 1316: 1311: 1303: 1299: 1295: 1289: 1285: 1278: 1274: 1266: 1264: 1260: 1256: 1252: 1249:In 1948, the 1247: 1245: 1241: 1237: 1230: 1223:Manufacturers 1220: 1218: 1214: 1210: 1206: 1202: 1198: 1188: 1186: 1182: 1178: 1174: 1164: 1162: 1158: 1143: 1141: 1137: 1128: 1125: 1121: 1120:metallophones 1113: 1108: 1099: 1097: 1082: 1078: 1074: 1072: 1064: 1062: 1050: 1049:C major scale 1046: 1030: 1008: 1006: 1002: 997: 995: 983: 981: 977: 973: 969: 964: 962: 961: 960:Alone at Last 956: 952: 948: 944: 936: 932: 928: 919: 917: 911: 907: 905: 897: 882: 880: 876: 872: 868: 863: 861: 860:accompaniment 857: 853: 849: 845: 837: 833: 829: 815: 813: 812:potentiometer 809: 804: 799: 797: 787: 778: 776: 766: 765:bars evenly. 762: 759: 757: 753: 749: 743: 739: 737: 726: 722: 720: 714: 712: 711:concert pitch 706: 700: 697:as the first 684: 678: 676: 663: 649: 645: 643: 638: 630: 625: 615: 613: 612:concert pitch 610:, written at 609: 605: 575: 563: 559: 544: 542: 541: 536: 532: 531: 526: 523:in 1935, and 522: 521: 517: 513: 509: 508: 503: 499: 498: 493: 488: 486: 482: 478: 474: 466: 462: 453: 449: 447: 441: 439: 435: 431: 427: 426:steel marimba 415: 414: 409: 395: 386: 384: 380: 379:marching arts 377:, and in the 376: 375:concert bands 372: 368: 364: 360: 356: 352: 348: 344: 339: 337: 334:similar to a 333: 332:sustain pedal 329: 325: 320: 316: 315:steel marimba 311: 309: 305: 304:vibraharpist, 302: 301:vibraphonist, 298: 294: 290: 286: 282: 275: 273: 261: 245: 220: 217: 215: 212: 210: 207: 204: 201: 199: 196: 194: 191: 189: 186: 185: 182: 177: 174: 169: 164: 158: 155: 153: 150: 148: 147:Steel marimba 145: 144: 141: 138: 134: 128: 123: 120: 119:Playing range 116: 112: 108: 104: 100: 94: 92: 88: 84: 82: 78: 71: 68: 65: 62: 61: 59: 55: 52: 48: 43: 37: 32: 26: 22: 4121: 4097:Ranat ek lek 4082:Glockenspiel 3896:Drum machine 3712: 3688:Glockenspiel 3550: 3531: 3514: 3478: 3448: 3421: 3413:Bibliography 3398: 3370: 3363: 3351:. Retrieved 3347:the original 3339:Hall of Fame 3338: 3328: 3315: 3311: 3298: 3268: 3249: 3243: 3216: 3206: 3176: 3148: 3141: 3111: 3083: 3076: 3044: 3037: 3010: 3004: 2997:Rossing 2000 2992: 2962: 2952:– via 2928: 2911: 2905: 2885:. para. 10. 2882: 2876: 2849: 2822: 2816: 2795: 2765: 2755:– via 2726: 2707: 2676: 2670: 2658:. Retrieved 2654: 2644: 2629:the original 2620: 2616: 2603: 2581: 2564: 2558: 2546:. Retrieved 2539: 2529: 2511: 2499:. Retrieved 2486: 2455: 2449: 2419: 2398: 2392: 2361: 2355: 2324: 2318: 2309: 2299: 2293:. p. 5. 2290:Ludwig Drums 2288: 2275: 2263:. Retrieved 2259: 2249: 2237: 2225:. Retrieved 2215: 2183: 2176: 2169:Rossing 2000 2164: 2133: 2127: 2106: 2095: 2085: 2066: 2035: 2029: 2002: 1996: 1947: 1943: 1933: 1916: 1910: 1891: 1887: 1881: 1869:. Retrieved 1855: 1843:. Retrieved 1839: 1829: 1802: 1796: 1785: 1775: 1748: 1742: 1715: 1709: 1683: 1675: 1663: 1657:. p. 4. 1650: 1640: 1612: 1605: 1593:. Retrieved 1581: 1578:"Vibraphone" 1571: 1561:– via 1537: 1525:. Retrieved 1511: 1483: 1476: 1448: 1441: 1429: 1416: 1408:ResearchGate 1399: 1395: 1385: 1358: 1352: 1339: 1335: 1322: 1310: 1283: 1277: 1248: 1240:Milt Jackson 1232: 1216: 1208: 1194: 1170: 1154: 1134: 1117: 1093: 1079: 1075: 1067: 1058: 1001:Stevens grip 998: 984: 965: 958: 957:1971 album, 940: 912: 908: 901: 867:matched grip 864: 852:Double stops 841: 832:Milt Jackson 800: 792: 772: 763: 760: 744: 740: 732: 723: 715: 707: 679: 672: 652:Construction 646: 639: 635: 604:glockenspiel 555: 538: 528: 518: 505: 495: 489: 470: 450: 442: 411: 405: 365:, after the 355:Arthur Lyman 340: 312: 307: 303: 300: 293:metallophone 284: 280: 278: 269: 157:glockenspiel 69:vibraceleste 25: 3952:Drum circle 3592:Gary Burton 3582:Vibraphones 2517:Becker, Bob 2460:Hal Leonard 2227:3 September 1668:Blades 1992 1315:Blades 1992 1181:Ney Rosauro 1112:double bass 968:Burton grip 953:" from his 947:Gary Burton 935:Julian Lage 931:Gary Burton 875:French grip 871:German grip 502:Ferde Grofé 347:Tiki lounge 205:Marimba One 102:Inventor(s) 57:Other names 4137:Categories 4122:Vibraphone 4102:Ranat kaeo 4092:Lithophone 3973:Drum stick 3878:Wood block 3853:Tambourine 3843:Snare drum 3713:Vibraphone 3597:Vibraharps 3523:B002V5MLY0 3497:0415971233 3353:23 January 3103:1051235045 3050:LIT Verlag 3048:. Berlin: 2984:1269351540 2950:1033167255 2753:2435175212 2745:1194935009 2478:1098658051 2441:1084742692 2260:MalletJazz 2021:1091896031 1840:MalletJazz 1821:1007082083 1734:1268686444 1632:1080198398 1269:References 1263:C. G. Conn 1146:Repertoire 1136:Bent notes 1131:Pitch bend 1061:media help 1043:A C major 748:drive belt 729:Resonators 576:). Larger 512:Alban Berg 497:The Tigers 438:vaudeville 413:vox humana 371:orchestras 281:vibraphone 272:media help 218:Bergerault 152:song bells 44:vibraphone 29:Vibraphone 4112:Toy piano 4067:Fangxiang 3833:Mark tree 3798:Castanets 3773:Bass drum 3718:Xylophone 3703:Tubaphone 3403:Beck 2007 3290:903490514 3235:1517-7599 3198:806852905 3133:756921613 3068:830355087 3029:681550519 2920:837860299 2868:815679716 2787:849690331 2699:920816078 2636:Vic Firth 2573:226205904 2384:960643262 2347:936117814 2265:27 August 2242:Beck 2007 2207:869365321 2156:198987505 2142:CiteSeerX 2097:Vic Firth 2058:950004306 1988:235776759 1972:0001-4966 1925:906308587 1767:900827870 1701:913961832 1559:854371082 1527:29 August 1503:276305444 1468:861559432 1434:Beck 2007 1377:972798459 1302:179838406 1173:concertos 1167:Concertos 1151:Classical 1140:half step 972:Red Norvo 836:jazz club 818:Technique 808:AC motors 683:xylophone 434:Aloha ʻOe 402:Invention 285:vibraharp 166:Musicians 110:Developed 72:vibratone 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