Vibraphone - Knowledge

472: 1118: 788:, 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. 459:, 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". 640: 1030: 245: 981:, 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 405: 745:

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.

443:. 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 " 753:

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.

696:, 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 884:, 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 892:. 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. 938: 1137:

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

899: 688:). 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. 956:, 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 658:

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

3194:"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" 727:

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

1048: 655:, 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. 816:

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

3128: 1109:, 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. 732:

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

521:, 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 349:. 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. 865:(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 1692: 861:

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.

3641: 3285: 2316: 380:, and is part of the standard college-level percussion performance education. It is a standard instrument in the modern percussion section for 3193: 3223: 4148: 3345: 1138:

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.

4034: 2443: 1018:. Many other grips are in use, some variations on the Burton or Stevens, others idiosyncratic creations of individual vibes players. 4173: 3973: 1528: 2782: 809:

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

494:, Hampton was asked to play a vibraphone that had been left behind in the studio. This resulted in the recording of the song " 4183: 4178: 4158: 4027: 3569: 3550: 3497: 3467: 3440: 3268: 3103: 3068: 3029: 2841: 2699: 2478: 2384: 2347: 2207: 2058: 2021: 1821: 1767: 1734: 1632: 1503: 1468: 1377: 1302: 3634: 2661: 1039: 2979: 2232: 1170:, the use of the vibraphone in classical music has increased over the past fifty years, especially within the collegiate 439:. His original design attempted to produce this effect by raising and lowering the resonators, which caused a noticeable 2867:"An Introductory Guide to Vibraphone: Four Idiomatic Practices and a Survey of Pedagogical Material and Solo Literature" 1190:'s Concerto for Marimba, Vibraphone and Orchestra written in 1947. Other prominent concertos for the vibraphone include 909:

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.

91: 2866: 4003: 2980:"Extended Performance Techniques and Compositional Style in the Solo Concert Vibraphone Music of Christopher Deane" 1268:, who had been a designer at Deagan. The Musser Mallet Company continues to manufacture vibraphones as part of the 1239: 906: 2126: 2102: 1872: 3770: 3627: 1876: 1253:. However, the Deagan company went out of business in the 1980s, and its trademark and patents were purchased by 993:, the fully pianistic four-mallet approach to jazz on the vibraphone is almost entirely the creation of Burton. 3680: 3659: 1657: 1223: 1207: 825:

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

369: 329: 254: 1555:"Compositional and Orchestrational Trends in the Orchestral Percussion Section Between the Years of 1960–2009" 4008: 3998: 3878: 3671: 2599:"An Historical Survey of the Development of the Vibraphone as an Alternative Accompanying Instrument in Jazz" 2148: 356:

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

4153: 3988: 3592: 3098:. Michel Roth, Jens Ruland, Christiana Nobach, Ellen Fallowfield. Kassel: Bärenreiter-Verlag. p. 152. 2834:

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

1554: 17: 1658:"Vibraphone Orchestral Excerpts & Adapting J. S. Bach's Violin Sonata No. 1 in G Minor for Vibraphone" 498:" in 1930, containing what is often considered to be the first instance of an improvised vibraphone solo. 2728: 917:(playing two notes in a row with the same hand) are used when convenient to minimize crossing the hands. 418: 2292: 3993: 3942: 2897: 2691: 2376: 2437:"Jazz Vibraphone as a Chordal Instrument: A Comprehensive Guide to Comping and Block Chord Techniques" 1792: 4168: 2986: 2789: 2747: 2145:

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

3135: 2952: 2725:"A Comparative Analysis of the Mechanics of Musser Grip, Stevens Grip, Cross Grip, and Burton Grip" 2083: 1665: 885: 511:, which called for two of them. However, since the piece was lost and did not premiere until 1983, 1339: 3353: 3330: 2964: 2744:"Sticking Categories: A Practical Application in Contemporary Literature for Four-Mallet Marimba" 2635: 2605: 2339: 2050: 1573: 1561: 1414: 1354: 3357: 4163: 3883: 2152: 1195: 618: 540: 2639: 1899:

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.

299: 198: 183: 61: 52: 2531: 813: 4051: 3818: 2122: 1962: 1015: 101: 1588: 8: 3952: 3932: 2199: 1171: 535: 224: 3286:"The Objective Grading of Original Unaccompanied Four-Mallet Solo Vibraphone Literature" 1966: 4092: 3947: 2811: 2087: 1994: 1703: 1432: 1254: 1167: 517: 507: 456: 219: 203: 147: 2317:"Front Ensemble Friday: Iain Moyer – A Marimbists & Arrangers Guide to Vibraphone" 1760:

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.

634: 545: 307: 3236: 2506: 1816:. Michael Hewitt, Mark Fonder (5th ed.). New York, NY: Routledge. p. 365. 328:, which it superseded. One of the main differences between the vibraphone and other 3231: 1970: 1950: 1906: 1596: 961: 746: 639: 3906: 3607: 3380: 2763: 2266: 1846: 1106: 785: 550: 495: 491: 373: 2815: 4112: 4019: 3937: 3911: 3863: 2502: 2016:. Garwood Whaley (1st ed.). Delray Beach, FL: Meredith Music. p. 32. 1797: 1297:. Karen Pinkus, Jason Vivrette. Durham, NC: Duke University Press. p. 99. 1257:. Yamaha continues to make percussion instruments based on the Deagan designs. 1246: 1187: 1146: 990: 986: 953: 858: 806: 685: 502: 487: 475: 404: 393: 3613: 3598: 3507: 3113: 2994: 2960: 2783:"A Study of Four Mallet Grips Used in Playing Keyboard Percussion Instruments" 2755: 2743: 2546: 2488: 2451: 2031: 1831: 1744: 1642: 937: 512: 4142: 3868: 3713: 3300: 3245: 3208: 3143: 3078: 3039: 2930: 2878: 2797: 2709: 2583: 2394: 2357: 2217: 2166: 2068: 1982: 1951:"Three-dimensional tuning of idiophone bar modes via finite element analysis" 1935: 1777: 1711: 1569: 1513: 1478: 1387: 1312: 1215: 1055: 970: 914: 870: 849:

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

1990: 1622: 1418: 1269: 1261: 1250: 1211: 1130: 1011: 998: 965: 877: 854: 842: 614: 530: 490:, a jazz drummer from California. At one recording session with bandleader 436: 385: 365: 325: 303: 167: 46: 3054: 2724: 2193: 1493: 1458: 444: 3957: 3619: 3602: 3158: 2470: 1191: 1134: 1122: 978: 957: 945: 941: 881: 862: 306:

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

4107: 4097: 3978: 3858: 3848: 3533: 3060: 2103:"Percussion 101 (Keyboard Percussion): Characteristics and Maintenance" 1974: 1273: 1071: 522: 448: 423: 282: 162: 3783: 2233:"The Structure of the Marimba: Inside and outside the resonator pipes" 1911: 4117: 4072: 3838: 3803: 3778: 3723: 3708: 2646: 2107: 1295:

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

4062: 3823: 3756: 3741: 3703: 2946:"A New Six-Mallet Marimba Technique and its Pedagogical Approach" 2551: 1059: 889: 766: 762: 672: 440: 377: 361: 338: 334: 270: 4077: 3833: 3828: 3808: 3793: 3788: 3587: 1495:

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.

3853: 3843: 3813: 3751: 3024:(Revised ed.). Lanham, MD: Scarecrow Press. p. 56. 1727:

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

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Passages are usually played with alternating sticking, but

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

1198:'s Concerto for Vibraphone and Strings written in 1999. 977:

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

3001: 2578:. Boston, MA: Berklee Press Publications. p. 21. 2173: 1672: 1372:. Lanham, MD: Rowman & Littlefield. p. 222. 1370:

A Dictionary for the Modern Percussionist and Drummer

1194:'s Concerto No. 1 for Vibraphone written in 1996 and 1905:. Vol. 12, no. 1. Seattle, WA. p. 2. 1491: 1319: 3407: 2621:"Sound Development and Four-Mallet Usage for Vibes" 2246: 1367: 3679: 2810: 1527:Morrison, Nick; Francis, Nick (17 November 2008). 1438: 853:The two-mallet approach to vibes is traditionally 4140: 4049: 2373:Performance Practice in the Music of Steve Reich 1955:The Journal of the Acoustical Society of America 567:The standard modern instrument has a range of 3 2836:. West Nyack, NY: Parker Pub. Co. p. 195. 2142: 1526: 1226:, "Mourning Dove Sonnet" by Christopher Deane, 1206:The vibraphone is the second most popular solo 273:scale played on a vibraphone with the motors on 3435:(Rev. ed.). Westport, CT: Bold Strummer. 2501: 2434: 4035: 3635: 2467:Modern School for Mallet-Keyboard Instruments 2290: 1948: 1620: 3163:. Portland, OR: Amadeus Press. p. 365. 2685: 2576:Vibraphone Technique: Dampening and Pedaling 2547:"Ed Saindon Vibe Clinic (Part 2) PASIC 2006" 2370: 1949:Beaton, Douglas; Scavone, Gary (June 2021). 1627:. London: Taylor & Francis. p. 46. 1587:Blades, James (2001). Holland, James (ed.). 1463:. Lanham, MD: Scarecrow Press. p. 349. 1058:is held using the pedal, while an ascending 3385:. Fullerton, CA: Centerstream. p. 28. 3224:"Vibrafone: Uma Fonte de Coloridos Sonoros" 2831: 1403:"The Vibraphone: Past, Present, and Future" 651:The mallets can have a great effect on the 4042: 4028: 3649: 3642: 3628: 3316:"The Quest for Solo Vibraphone Repertoire" 2534:. Gene Koshinski (Interviewer). Malletech. 2444:University of Illinois at Urbana-Champaign 944:, using his namesake grip, with guitarist 3492:(2nd ed.). New York, NY: Routledge. 3235: 3091: 2722: 2407: 2156: 1910: 3974:Classification of percussion instruments 3433:Percussion Instruments and Their History 2864: 2780: 2659: 2410:The History and Development of the Vibes 2143:Tuttle, B. C.; Burroughs, C. B. (1998). 2100: 2081: 2011: 1901:. Proceedings of Meetings on Acoustics. 1762:. New York, NY: Routledge. p. 266. 1460:Experiencing Jazz A Listener's Companion 1456: 1400: 1292: 1116: 936: 894: 837: 795: 671: 638: 470: 403: 3457: 3378: 3052: 3019: 3007: 2892:Sevsay, Ertuğrul (2013). "Vibraphone". 2741: 2618: 2596: 2544: 2333: 2179: 2121: 2044: 1928:Acoustics of Bar Percussion Instruments 1896: 1811: 1729:. Abingdon, OXF: Taylor & Francis. 1690: 1601:10.1093/gmo/9781561592630.article.29286 1337: 1133:, percussionists can use an orchestral 14: 4141: 3664:List of percussion instruments by type 3523: 3430: 3283: 3191: 3156: 3126: 2943: 2920: 2891: 2871:The University of Southern Mississippi 2526: 2264: 2191: 1930:. Columbus, OH: Per-Mus Publications. 1870: 1844: 1757: 1678: 1655: 1586: 1552: 1325: 1100: 1095: 4023: 3623: 3313: 3221: 2977: 2688:The Cambridge Companion to Percussion 2573: 2314: 2293:"M58/M58M Piper Vibe (User's Manual)" 1925: 1793:"What You Need to Know About…Mallets" 1790: 1724: 1105:To achieve a denser sound and richer 1084:of the chord when the pedal is down. 368:. It is the second most popular solo 3559: 3540: 3484: 3413: 3258: 2894:The Cambridge Guide to Orchestration 2464: 2252: 1903:Proceedings of Meetings on Acoustics 1444: 932: 736:spring to provide tension and flex. 617:, the vibraphone is generally a non- 4149:20th-century percussion instruments 3599:A Demonstration of Mallet Dampening 2686:Hartenberger, Russell, ed. (2016). 2195:An Introduction to Music Technology 2047:The Band Teacher's Percussion Guide 833: 779: 447:" and "Gypsy Love Song" in 1924 by 408:A 1928 ad for the Deagan vibraharp. 352:The vibraphone is commonly used in 24: 3516: 3382:History of the Ludwig Drum Company 3343: 3314:Smith, Joshua D. (November 2011). 2230: 1814:The Teaching of Instrumental Music 1662:Florida State University Libraries 1546: 1498:. London: Continuum. p. 402. 1340:"The Vibraphone At 100: Why 2021?" 1028: 857:, playing like a horn rather than 557: 341:effect. The vibraphone also has a 243: 136: 25: 4195: 3580: 3460:Science of Percussion Instruments 2832:Kuzmich, John; Bash, Lee (1984). 2645:on 27 September 2007 – via 2082:Wollwage, Troy C. (4 June 2019). 1691:Latshaw, Charles William (2014). 525:, who used it prominently in his 4004:List of vibraphone manufacturers 3586: 1338:Graiser, Brian (February 2021). 1240:List of vibraphone manufacturers 1233: 1070:Problems playing this file? See 1044: 962:Chega de Saudade (No More Blues) 907:Reg Kehoe and his Marimba Queens 281:Problems playing this file? See 259: 45: 4174:Keyboard percussion instruments 3462:. Singapore: World Scientific. 3423: 3372: 3337: 3307: 3277: 3252: 3237:10.1590/S1517-75992012000100006 3215: 3185: 3157:Roeder, Michael Thomas (1994). 3150: 3120: 3085: 3046: 3013: 2971: 2937: 2914: 2885: 2858: 2825: 2804: 2774: 2735: 2716: 2679: 2653: 2612: 2590: 2567: 2538: 2520: 2495: 2458: 2435:Shaw-Rutschman, Michah (2018). 2428: 2401: 2364: 2327: 2308: 2284: 2258: 2224: 2185: 2136: 2115: 2094: 2075: 2038: 2005: 1942: 1919: 1890: 1877:Case Western Reserve University 1864: 1838: 1805: 1784: 1751: 1718: 1684: 1649: 1614: 1580: 1520: 1401:Stallard, Carolyn (July 2015). 888:, a grip also commonly used on 662: 478:playing the vibraphone in 1946. 330:keyboard percussion instruments 102:Hornbostel–Sachs classification 3660:List of percussion instruments 3379:Schmidt, Paul William (1991). 3284:Hewitt, Jeferry Allen (2014). 2865:Cheesman, Brian Scott (2012). 2408:Ann Meyer, Jacqueline (1973). 2371:Hartenberger, Russell (2016). 2338:(2nd ed.). New York, NY: 2198:(2nd ed.). New York, NY: 1621:Schaarwächter, Jürgen (2018). 1485: 1450: 1425: 1394: 1361: 1331: 1286: 1208:keyboard percussion instrument 370:keyboard percussion instrument 13: 1: 4009:List of timpani manufacturers 3999:List of marimba manufacturers 3127:Parker, Wesley Grant (2010). 3092:Dierstein, Christian (2018). 2723:Berkowitz, Adam Eric (2011). 2660:Santella, Jim (1 July 1999). 2469:. Tom Schneller, Jim Sewrey. 2149:Pennsylvania State University 2127:"The Acoustics of Resonators" 1624:HB: Aspects of Havergal Brian 1279: 1156: 1141: 929:without pedaling every note. 739: 451:performer Louis Frank Chiha. 324:The vibraphone resembles the 4184:Plaque percussion idiophones 4179:Metal percussion instruments 4159:American musical instruments 3989:List of cymbal manufacturers 2662:"Gary Burton: Alone At Last" 2619:Saindon, Ed (October 2006). 2291:Ludwig-Musser (April 2001). 1368:Strain, James Allen (2017). 1293:Adinolfi, Francesco (2008). 1177: 1161: 828: 571:, starting from the F below 427:effects on a three-octave (F 412: 108:(Sets of percussion plaques) 27:Mallet percussion instrument 7: 3545:. Oxford University Press. 3458:Rossing, Thomas D. (2000). 3263:. Media Press. p. 74. 3192:Barnes, Austin Lee (2012). 3053:Dimpker, Christian (2013). 2729:Florida Atlantic University 2334:Solomon, Samuel Z. (2016). 1595:. Oxford University Press. 1553:Keller, Renee (June 2013). 419:Leedy Manufacturing Company 10: 4200: 3994:List of drum manufacturers 3943:Indoor percussion ensemble 3526:Introduction to Jazz Vibes 3490:Encyclopedia of Percussion 3261:Percussion Solo Literature 3230:(in Portuguese) (25): 58. 2898:Cambridge University Press 2692:Cambridge University Press 2597:Mallows, Frank A. (2004). 2507:"What is the French Grip?" 2377:Cambridge University Press 2192:Hosken, Daniel W. (2015). 2012:Primatic, Stephen (2015). 1871:Miller, Dayton C. (2006). 1457:Stephans, Michael (2013). 1237: 1021: 676:The underside of the low F 632: 628: 613:). Unlike its cousin, the 399: 392:(typically as part of the 29: 4058: 3966: 3920: 3892: 3769: 3732: 3670: 3657: 3160:A History of the Concerto 2987:University of North Texas 2978:Smith, Joshua D. (2008). 2790:University of North Texas 2748:The University of Arizona 2084:"Anatomy of a Vibraphone" 2045:Hoffman, Stewart (2017). 1812:Colwell, Richard (2017). 1121:A vibraphonist using two 1112: 1040:Vibraphone mallet damping 585:scientific pitch notation 421:began experimenting with 209:Adams Musical Instruments 194: 189: 181: 176: 153: 146: 135: 128: 120: 112: 100: 90: 67: 60: 44: 3610:from The Deagan Resource 3222:Chaib, Fernando (2012). 3136:Florida State University 2953:University of Lethbridge 2742:Morales, Andrew (2020). 2574:David, Friedman (1973). 2532:"Two-Mallet Performance" 2132:. Malletech. p. 12. 2101:Skidmore, David (2012). 1926:Moore, James L. (1978). 1791:Meyer, Ben (July 2012). 1666:Florida State University 1201: 1166:As part of the standard 814:record-player turntables 791: 562: 30:Not to be confused with 3616:performed by Doug Perry 3354:Percussive Arts Society 3331:Percussive Arts Society 3020:Holland, James (2005). 2965:Percussive Arts Society 2921:Lipner, Arthur (1996). 2816:"Percussion Techniques" 2781:Glassock, Lynn (1971). 2636:Percussive Arts Society 2606:University of Cape Town 2340:Oxford University Press 2321:Marching Arts Education 2051:Oxford University Press 1897:Worland, Randy (2011). 1725:Laird, Paul R. (2021). 1693:"William Grant Still's 1574:Percussive Arts Society 1562:Northwestern University 1415:Percussive Arts Society 1355:Percussive Arts Society 667: 255:Vibraphone sound sample 3651:Percussion instruments 3614:"Mourning Dove Sonnet" 3560:Cook, Gary D. (2018). 3541:Udow, Michael (2019). 3431:Blades, James (1992). 2265:Walker, James (2001). 1845:Walker, James (2001). 1758:Miller, R. J. (2015). 1695:Afro-American Symphony 1656:Tolles, Tyler (2020). 1126: 1033: 1014:, named for marimbist 949: 910: 850: 801: 681: 644: 619:transposing instrument 541:Afro-American Symphony 479: 466: 409: 248: 141: 4052:percussion idiophones 3894:Electronic percussion 3524:Burton, Gary (1965). 3346:"John Calhoun Deagan" 3344:Strain, James Allen. 3293:University of Arizona 3259:Siwe, Thomas (1995). 3201:Kent State University 2925:. MalletWorks Music. 2414:University of Indiana 2267:"Vibraphone Pedaling" 2123:Stevens, Leigh Howard 1873:"Tone Bars – Physics" 1262:Musser Mallet Company 1238:Further information: 1210:, after the marimba. 1120: 1032: 940: 905: 845:playing at Parnell's 841: 799: 704:as the fundamental, F 675: 642: 538:, who used it in his 474: 407: 300:percussion instrument 247: 184:list of vibraphonists 140: 62:Percussion instrument 3921:Percussion groupings 3771:Unpitched percussion 3595:at Wikimedia Commons 3564:. Cengage Learning. 3352:. Indianapolis, IN: 2944:Porter, Joe (2011). 2638:: 48. Archived from 2545:Saindon, Ed (2008). 2315:Moyer, Iain (2020). 2200:Taylor & Francis 1433:J. C. Deagan Company 1417:: 43–44 – via 1016:Leigh Howard Stevens 1010:Also popular is the 765:effect and a slight 364:, as popularized by 116:Herman E. Winterhoff 4154:American inventions 3953:Percussion ensemble 3933:Marching percussion 3681:Keyboard percussion 3562:Teaching Percussion 3543:Percussion Pedagogy 2923:The Vibes Real Book 1967:2021ASAJ..149.3758B 1697:A Critical Edition" 1593:Oxford Music Online 1270:Ludwig Drum Company 1220:Mirror from Another 1172:percussion ensemble 1101:Five to six mallets 1096:Extended techniques 960:’s performance of " 873:to other soloists. 536:William Grant Still 505:in his 1917 opera, 225:Majestic Percussion 148:Related instruments 96:Keyboard percussion 41: 4093:Kulintang a tiniok 3948:Percussion section 3672:Pitched percussion 3528:. Creative Music. 3360:on 30 January 2016 2812:United States Army 2465:Hans, Ben (1981). 1975:10.1121/10.0005062 1847:"Mallet Selection" 1704:Indiana University 1168:percussion section 1127: 1034: 950: 911: 851: 802: 682: 645: 518:Grand Canyon Suite 480: 457:J. C. Deagan, Inc. 410: 249: 220:Premier Percussion 142: 39: 4136: 4135: 4017: 4016: 3984:Percussion mallet 3765: 3764: 3591:Media related to 3571:978-1-337-67222-1 3552:978-0-19-090296-4 3499:978-0-415-97123-2 3469:978-981-02-4158-2 3442:978-0-933224-71-1 3270:978-0-9635891-1-8 3105:978-3-7618-2406-1 3070:978-3-643-90302-0 3031:978-1-4616-7063-6 2843:978-0-13-160565-7 2701:978-1-107-09345-4 2480:978-1-4768-5661-2 2386:978-1-316-77874-6 2349:978-0-19-992035-8 2209:978-0-415-82572-6 2060:978-0-19-046168-3 2023:978-1-57463-451-8 1912:10.1121/2.0000023 1823:978-1-317-21273-7 1769:978-1-317-80625-7 1736:978-0-429-66273-7 1634:978-0-429-45187-4 1505:978-1-84714-472-0 1470:978-0-8108-8290-4 1379:978-0-8108-8692-6 1304:978-0-8223-4132-1 1266:Clair Omar Musser 1196:Emmanuel Séjourné 1049: 933:Four-mallet style 903: 635:Percussion mallet 546:Leonard Bernstein 294:(also called the 264: 239: 238: 16:(Redirected from 4191: 4169:Jazz instruments 4044: 4037: 4030: 4021: 4020: 3677: 3676: 3644: 3637: 3630: 3621: 3620: 3590: 3575: 3556: 3537: 3511: 3481: 3454: 3417: 3411: 3405: 3404: 3376: 3370: 3369: 3367: 3365: 3356:. Archived from 3341: 3335: 3334: 3323:Percussive Notes 3320: 3311: 3305: 3304: 3290: 3281: 3275: 3274: 3256: 3250: 3249: 3239: 3219: 3213: 3212: 3198: 3189: 3183: 3182: 3154: 3148: 3147: 3133: 3124: 3118: 3117: 3089: 3083: 3082: 3050: 3044: 3043: 3017: 3011: 3005: 2999: 2998: 2984: 2975: 2969: 2968: 2950: 2941: 2935: 2934: 2918: 2912: 2911: 2889: 2883: 2882: 2862: 2856: 2855: 2829: 2823: 2822: 2820: 2808: 2802: 2801: 2787: 2778: 2772: 2771: 2739: 2733: 2732: 2720: 2714: 2713: 2683: 2677: 2676: 2674: 2672: 2657: 2651: 2650: 2644: 2628:Percussive Notes 2625: 2616: 2610: 2609: 2603: 2594: 2588: 2587: 2571: 2565: 2564: 2562: 2560: 2542: 2536: 2535: 2530:(October 2009). 2524: 2518: 2517: 2515: 2513: 2499: 2493: 2492: 2462: 2456: 2455: 2441: 2432: 2426: 2425: 2405: 2399: 2398: 2375:. 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New York, NY: 2042: 2036: 2035: 2009: 2003: 2002: 1961:(6): 3758–3768. 1946: 1940: 1939: 1923: 1917: 1916: 1914: 1894: 1888: 1887: 1885: 1883: 1868: 1862: 1861: 1859: 1857: 1842: 1836: 1835: 1809: 1803: 1802: 1788: 1782: 1781: 1755: 1749: 1748: 1722: 1716: 1715: 1701: 1688: 1682: 1676: 1670: 1669: 1653: 1647: 1646: 1618: 1612: 1611: 1609: 1607: 1584: 1578: 1577: 1559: 1550: 1544: 1543: 1541: 1539: 1524: 1518: 1517: 1489: 1483: 1482: 1454: 1448: 1442: 1436: 1429: 1423: 1422: 1407:Percussive Notes 1398: 1392: 1391: 1365: 1359: 1358: 1347:Percussive Notes 1344: 1335: 1329: 1323: 1317: 1316: 1290: 1129:Like many other 1051: 1050: 1031: 1004: 1003: 989:, and sometimes 904: 834:Two-mallet style 780:Damper mechanism 600: 599: 595: 592: 266: 265: 246: 49: 42: 38: 21: 4199: 4198: 4194: 4193: 4192: 4190: 4189: 4188: 4139: 4138: 4137: 4132: 4054: 4048: 4018: 4013: 3962: 3916: 3907:Electronic drum 3888: 3761: 3728: 3666: 3662: 3653: 3648: 3583: 3578: 3572: 3553: 3519: 3517:Further reading 3514: 3500: 3470: 3443: 3426: 3421: 3420: 3412: 3408: 3393: 3377: 3373: 3363: 3361: 3342: 3338: 3318: 3312: 3308: 3295:. p. 114. 3288: 3282: 3278: 3271: 3257: 3253: 3220: 3216: 3196: 3190: 3186: 3171: 3155: 3151: 3131: 3125: 3121: 3106: 3090: 3086: 3071: 3063:. p. 132. 3051: 3047: 3032: 3018: 3014: 3006: 3002: 2982: 2976: 2972: 2948: 2942: 2938: 2919: 2915: 2908: 2890: 2886: 2863: 2859: 2844: 2830: 2826: 2818: 2809: 2805: 2785: 2779: 2775: 2740: 2736: 2721: 2717: 2702: 2684: 2680: 2670: 2668: 2658: 2654: 2642: 2623: 2617: 2613: 2601: 2595: 2591: 2572: 2568: 2558: 2556: 2543: 2539: 2525: 2521: 2511: 2509: 2500: 2496: 2481: 2463: 2459: 2439: 2433: 2429: 2406: 2402: 2387: 2379:. p. 188. 2369: 2365: 2350: 2342:. p. 104. 2332: 2328: 2313: 2309: 2295: 2289: 2285: 2275: 2273: 2263: 2259: 2251: 2247: 2237: 2235: 2229: 2225: 2210: 2190: 2186: 2178: 2174: 2158:10.1.1.482.5193 2141: 2137: 2129: 2120: 2116: 2099: 2095: 2080: 2076: 2061: 2053:. p. 126. 2043: 2039: 2024: 2010: 2006: 1947: 1943: 1924: 1920: 1895: 1891: 1881: 1879: 1869: 1865: 1855: 1853: 1843: 1839: 1824: 1810: 1806: 1789: 1785: 1770: 1756: 1752: 1737: 1723: 1719: 1699: 1689: 1685: 1677: 1673: 1654: 1650: 1635: 1619: 1615: 1605: 1603: 1585: 1581: 1557: 1551: 1547: 1537: 1535: 1525: 1521: 1506: 1490: 1486: 1471: 1455: 1451: 1443: 1439: 1430: 1426: 1399: 1395: 1380: 1366: 1362: 1342: 1336: 1332: 1324: 1320: 1305: 1291: 1287: 1282: 1264:was founded by 1242: 1236: 1204: 1180: 1164: 1159: 1144: 1115: 1103: 1098: 1077: 1076: 1068: 1066: 1065: 1064: 1063: 1052: 1045: 1042: 1035: 1029: 1024: 1001: 1000: 935: 895: 836: 831: 794: 782: 742: 715: 707: 703: 699: 679: 670: 665: 637: 631: 612: 608: 604: 597: 593: 590: 588: 582: 578: 565: 560: 558:Characteristics 551:West Side Story 496:Memories of You 492:Louis Armstrong 469: 434: 430: 415: 402: 374:classical music 288: 287: 279: 277: 276: 275: 274: 267: 260: 257: 250: 244: 235: 172: 107: 86: 56: 35: 28: 23: 22: 15: 12: 11: 5: 4197: 4187: 4186: 4181: 4176: 4171: 4166: 4161: 4156: 4151: 4134: 4133: 4131: 4130: 4125: 4120: 4115: 4113:Ranat thum lek 4110: 4105: 4100: 4095: 4090: 4085: 4080: 4075: 4070: 4065: 4059: 4056: 4055: 4047: 4046: 4039: 4032: 4024: 4015: 4014: 4012: 4011: 4006: 4001: 3996: 3991: 3986: 3981: 3976: 3970: 3968: 3964: 3963: 3961: 3960: 3955: 3950: 3945: 3940: 3938:Front ensemble 3935: 3930: 3924: 3922: 3918: 3917: 3915: 3914: 3909: 3904: 3898: 3896: 3890: 3889: 3887: 3886: 3881: 3876: 3871: 3866: 3861: 3856: 3851: 3846: 3841: 3836: 3831: 3826: 3821: 3816: 3811: 3806: 3801: 3796: 3791: 3786: 3781: 3775: 3773: 3767: 3766: 3763: 3762: 3760: 3759: 3754: 3749: 3744: 3739: 3733: 3730: 3729: 3727: 3726: 3721: 3716: 3711: 3706: 3701: 3696: 3691: 3685: 3683: 3674: 3668: 3667: 3658: 3655: 3654: 3647: 3646: 3639: 3632: 3624: 3618: 3617: 3611: 3605: 3596: 3582: 3581:External links 3579: 3577: 3576: 3570: 3557: 3551: 3538: 3520: 3518: 3515: 3513: 3512: 3498: 3482: 3468: 3455: 3441: 3427: 3425: 3422: 3419: 3418: 3416:, p. 402. 3406: 3391: 3371: 3336: 3306: 3276: 3269: 3251: 3214: 3184: 3169: 3149: 3138:. p. 21. 3119: 3104: 3084: 3069: 3045: 3030: 3012: 3010:, p. 186. 3000: 2989:. p. 14. 2970: 2936: 2913: 2907:978-1107067486 2906: 2884: 2873:. p. 26. 2857: 2842: 2824: 2803: 2792:. p. 72. 2773: 2750:. p. 21. 2734: 2715: 2700: 2694:. p. 46. 2678: 2666:All About Jazz 2652: 2611: 2589: 2566: 2537: 2519: 2503:DRUM! Magazine 2494: 2479: 2457: 2427: 2400: 2385: 2363: 2348: 2326: 2307: 2283: 2257: 2255:, p. 401. 2245: 2223: 2208: 2184: 2172: 2135: 2114: 2111:(video). 2:19. 2093: 2074: 2059: 2037: 2022: 2004: 1941: 1918: 1889: 1863: 1837: 1822: 1804: 1798:Modern Drummer 1783: 1768: 1750: 1735: 1717: 1706:. p. 24. 1683: 1681:, p. 409. 1671: 1648: 1633: 1613: 1579: 1564:. p. 88. 1545: 1519: 1504: 1484: 1469: 1449: 1447:, p. 399. 1437: 1435:(film). 18:44. 1424: 1393: 1378: 1360: 1330: 1328:, p. 408. 1318: 1303: 1284: 1283: 1281: 1278: 1247:Lionel Hampton 1235: 1232: 1224:David Friedman 1216:jazz standards 1203: 1200: 1188:Darius Milhaud 1179: 1176: 1163: 1160: 1158: 1155: 1143: 1140: 1114: 1111: 1107:chord voicings 1102: 1099: 1097: 1094: 1067: 1053: 1043: 1038: 1037: 1036: 1027: 1026: 1025: 1023: 1020: 991:Lionel Hampton 987:Adrian Rollini 966:Grammy-winning 954:rhythm section 934: 931: 915:double strokes 835: 832: 830: 827: 807:front ensemble 793: 790: 781: 778: 741: 738: 713: 705: 701: 697: 677: 669: 666: 664: 661: 633:Main article: 630: 627: 610: 606: 602: 580: 576: 564: 561: 559: 556: 503:Havergal Brian 488:Lionel Hampton 476:Lionel Hampton 468: 465: 432: 428: 414: 411: 401: 398: 394:front ensemble 278: 268: 258: 253: 252: 251: 242: 241: 240: 237: 236: 234: 233: 230: 227: 222: 217: 214: 211: 206: 201: 195: 192: 191: 187: 186: 179: 178: 174: 173: 171: 170: 165: 160: 154: 151: 150: 144: 143: 133: 132: 126: 125: 122: 118: 117: 114: 110: 109: 104: 98: 97: 94: 92:Classification 88: 87: 85: 84: 81: 78: 75: 71: 69: 65: 64: 58: 57: 50: 26: 9: 6: 4: 3: 2: 4196: 4185: 4182: 4180: 4177: 4175: 4172: 4170: 4167: 4165: 4164:C instruments 4162: 4160: 4157: 4155: 4152: 4150: 4147: 4146: 4144: 4129: 4126: 4124: 4121: 4119: 4116: 4114: 4111: 4109: 4106: 4104: 4101: 4099: 4096: 4094: 4091: 4089: 4086: 4084: 4081: 4079: 4076: 4074: 4071: 4069: 4066: 4064: 4061: 4060: 4057: 4053: 4045: 4040: 4038: 4033: 4031: 4026: 4025: 4022: 4010: 4007: 4005: 4002: 4000: 3997: 3995: 3992: 3990: 3987: 3985: 3982: 3980: 3977: 3975: 3972: 3971: 3969: 3965: 3959: 3956: 3954: 3951: 3949: 3946: 3944: 3941: 3939: 3936: 3934: 3931: 3929: 3926: 3925: 3923: 3919: 3913: 3910: 3908: 3905: 3903: 3900: 3899: 3897: 3895: 3891: 3885: 3882: 3880: 3877: 3875: 3872: 3870: 3869:Temple blocks 3867: 3865: 3862: 3860: 3857: 3855: 3852: 3850: 3847: 3845: 3842: 3840: 3837: 3835: 3832: 3830: 3827: 3825: 3822: 3820: 3817: 3815: 3812: 3810: 3807: 3805: 3802: 3800: 3797: 3795: 3792: 3790: 3787: 3785: 3782: 3780: 3777: 3776: 3774: 3772: 3768: 3758: 3755: 3753: 3750: 3748: 3745: 3743: 3740: 3738: 3735: 3734: 3731: 3725: 3722: 3720: 3717: 3715: 3714:Tubular bells 3712: 3710: 3707: 3705: 3702: 3700: 3697: 3695: 3692: 3690: 3687: 3686: 3684: 3682: 3678: 3675: 3673: 3669: 3665: 3661: 3656: 3652: 3645: 3640: 3638: 3633: 3631: 3626: 3625: 3622: 3615: 3612: 3609: 3606: 3604: 3600: 3597: 3594: 3589: 3585: 3584: 3573: 3567: 3563: 3558: 3554: 3548: 3544: 3539: 3535: 3531: 3527: 3522: 3521: 3509: 3505: 3501: 3495: 3491: 3487: 3486:Beck, John H. 3483: 3479: 3475: 3471: 3465: 3461: 3456: 3452: 3448: 3444: 3438: 3434: 3429: 3428: 3415: 3410: 3402: 3398: 3394: 3392:0-931759-49-8 3388: 3384: 3383: 3375: 3359: 3355: 3351: 3347: 3340: 3332: 3328: 3324: 3317: 3310: 3302: 3298: 3294: 3287: 3280: 3272: 3266: 3262: 3255: 3247: 3243: 3238: 3233: 3229: 3225: 3218: 3210: 3206: 3203:. p. 2. 3202: 3195: 3188: 3180: 3176: 3172: 3170:0-931340-61-6 3166: 3162: 3161: 3153: 3145: 3141: 3137: 3130: 3123: 3115: 3111: 3107: 3101: 3097: 3096: 3088: 3080: 3076: 3072: 3066: 3062: 3058: 3057: 3049: 3041: 3037: 3033: 3027: 3023: 3016: 3009: 3004: 2996: 2992: 2988: 2981: 2974: 2966: 2962: 2958: 2955:. p. 3. 2954: 2947: 2940: 2932: 2928: 2924: 2917: 2909: 2903: 2899: 2895: 2888: 2880: 2876: 2872: 2868: 2861: 2853: 2849: 2845: 2839: 2835: 2828: 2821:. p. 40. 2817: 2813: 2807: 2799: 2795: 2791: 2784: 2777: 2769: 2765: 2761: 2757: 2753: 2749: 2745: 2738: 2731:. p. 46. 2730: 2726: 2719: 2711: 2707: 2703: 2697: 2693: 2690:. Cambridge: 2689: 2682: 2667: 2663: 2656: 2648: 2641: 2637: 2633: 2629: 2622: 2615: 2608:. p. 22. 2607: 2600: 2593: 2585: 2581: 2577: 2570: 2555:(video). 2:44 2554: 2553: 2548: 2541: 2533: 2529: 2523: 2508: 2504: 2498: 2490: 2486: 2482: 2476: 2473:. p. 2. 2472: 2468: 2461: 2453: 2449: 2446:. p. 1. 2445: 2438: 2431: 2423: 2419: 2416:. p. 7. 2415: 2411: 2404: 2396: 2392: 2388: 2382: 2378: 2374: 2367: 2359: 2355: 2351: 2345: 2341: 2337: 2330: 2322: 2318: 2311: 2303: 2302: 2294: 2287: 2272: 2268: 2261: 2254: 2249: 2234: 2227: 2219: 2215: 2211: 2205: 2201: 2197: 2196: 2188: 2182:, p. 66. 2181: 2176: 2168: 2164: 2159: 2154: 2151:. p. 6. 2150: 2146: 2139: 2128: 2124: 2118: 2110: 2109: 2104: 2097: 2089: 2085: 2078: 2070: 2066: 2062: 2056: 2052: 2048: 2041: 2033: 2029: 2025: 2019: 2015: 2008: 2000: 1996: 1992: 1988: 1984: 1980: 1976: 1972: 1968: 1964: 1960: 1956: 1952: 1945: 1937: 1933: 1929: 1922: 1913: 1908: 1904: 1900: 1893: 1878: 1874: 1867: 1852: 1848: 1841: 1833: 1829: 1825: 1819: 1815: 1808: 1800: 1799: 1794: 1787: 1779: 1775: 1771: 1765: 1761: 1754: 1746: 1742: 1738: 1732: 1728: 1721: 1713: 1709: 1705: 1698: 1696: 1687: 1680: 1675: 1667: 1663: 1659: 1652: 1644: 1640: 1636: 1630: 1626: 1625: 1617: 1602: 1598: 1594: 1590: 1583: 1575: 1571: 1567: 1563: 1556: 1549: 1534: 1530: 1523: 1515: 1511: 1507: 1501: 1497: 1496: 1488: 1480: 1476: 1472: 1466: 1462: 1461: 1453: 1446: 1441: 1434: 1428: 1420: 1416: 1412: 1408: 1404: 1397: 1389: 1385: 1381: 1375: 1371: 1364: 1356: 1352: 1348: 1341: 1334: 1327: 1322: 1314: 1310: 1306: 1300: 1296: 1289: 1285: 1277: 1275: 1271: 1267: 1263: 1260:In 1948, the 1258: 1256: 1252: 1248: 1241: 1234:Manufacturers 1231: 1229: 1225: 1221: 1217: 1213: 1209: 1199: 1197: 1193: 1189: 1185: 1175: 1173: 1169: 1154: 1152: 1148: 1139: 1136: 1132: 1131:metallophones 1124: 1119: 1110: 1108: 1093: 1089: 1085: 1083: 1075: 1073: 1061: 1060:C major scale 1057: 1041: 1019: 1017: 1013: 1008: 1006: 994: 992: 988: 984: 980: 975: 973: 972: 971:Alone at Last 967: 963: 959: 955: 947: 943: 939: 930: 928: 922: 918: 916: 908: 893: 891: 887: 883: 879: 874: 872: 871:accompaniment 868: 864: 860: 856: 848: 844: 840: 826: 824: 823:potentiometer 820: 815: 810: 808: 798: 789: 787: 777: 776:bars evenly. 773: 770: 768: 764: 760: 754: 750: 748: 737: 733: 731: 725: 723: 722:concert pitch 717: 711: 708:as the first 695: 689: 687: 674: 660: 656: 654: 649: 641: 636: 626: 624: 623:concert pitch 621:, written at 620: 616: 586: 574: 570: 555: 553: 552: 547: 543: 542: 537: 534:in 1935, and 533: 532: 528: 524: 520: 519: 514: 510: 509: 504: 499: 497: 493: 489: 485: 477: 473: 464: 460: 458: 452: 450: 446: 442: 438: 437:steel marimba 426: 425: 420: 406: 397: 395: 391: 390:marching arts 388:, and in the 387: 386:concert bands 383: 379: 375: 371: 367: 363: 359: 355: 350: 348: 345:similar to a 344: 343:sustain pedal 340: 336: 331: 327: 326:steel marimba 322: 320: 316: 315:vibraharpist, 313: 312:vibraphonist, 309: 305: 301: 297: 293: 286: 284: 272: 256: 231: 228: 226: 223: 221: 218: 215: 212: 210: 207: 205: 202: 200: 197: 196: 193: 188: 185: 180: 175: 169: 166: 164: 161: 159: 158:Steel marimba 156: 155: 152: 149: 145: 139: 134: 131: 130:Playing range 127: 123: 119: 115: 111: 105: 103: 99: 95: 93: 89: 82: 79: 76: 73: 72: 70: 66: 63: 59: 54: 48: 43: 37: 33: 19: 4127: 4103:Ranat ek lek 4088:Glockenspiel 3902:Drum machine 3718: 3699:Glockenspiel 3561: 3542: 3525: 3489: 3459: 3432: 3424:Bibliography 3409: 3381: 3374: 3362:. Retrieved 3358:the original 3350:Hall of Fame 3349: 3339: 3326: 3322: 3309: 3279: 3260: 3254: 3227: 3217: 3187: 3159: 3152: 3122: 3094: 3087: 3055: 3048: 3021: 3015: 3008:Rossing 2000 3003: 2973: 2963:– via 2939: 2922: 2916: 2896:. para. 10. 2893: 2887: 2860: 2833: 2827: 2806: 2776: 2766:– via 2737: 2718: 2687: 2681: 2669:. Retrieved 2665: 2655: 2640:the original 2631: 2627: 2614: 2592: 2575: 2569: 2557:. Retrieved 2550: 2540: 2522: 2510:. Retrieved 2497: 2466: 2460: 2430: 2409: 2403: 2372: 2366: 2335: 2329: 2320: 2310: 2304:. p. 5. 2301:Ludwig Drums 2299: 2286: 2274:. Retrieved 2270: 2260: 2248: 2236:. Retrieved 2226: 2194: 2187: 2180:Rossing 2000 2175: 2144: 2138: 2117: 2106: 2096: 2077: 2046: 2040: 2013: 2007: 1958: 1954: 1944: 1927: 1921: 1902: 1898: 1892: 1880:. Retrieved 1866: 1854:. Retrieved 1850: 1840: 1813: 1807: 1796: 1786: 1759: 1753: 1726: 1720: 1694: 1686: 1674: 1668:. p. 4. 1661: 1651: 1623: 1616: 1604:. Retrieved 1592: 1589:"Vibraphone" 1582: 1572:– via 1548: 1536:. Retrieved 1522: 1494: 1487: 1459: 1452: 1440: 1427: 1419:ResearchGate 1410: 1406: 1396: 1369: 1363: 1350: 1346: 1333: 1321: 1294: 1288: 1259: 1251:Milt Jackson 1243: 1227: 1219: 1205: 1181: 1165: 1145: 1128: 1104: 1090: 1086: 1078: 1069: 1012:Stevens grip 1009: 995: 976: 969: 968:1971 album, 951: 923: 919: 912: 878:matched grip 875: 863:Double stops 852: 843:Milt Jackson 811: 803: 783: 774: 771: 755: 751: 743: 734: 726: 718: 690: 683: 663:Construction 657: 650: 646: 615:glockenspiel 566: 549: 539: 529: 516: 506: 500: 481: 461: 453: 422: 416: 376:, after the 366:Arthur Lyman 351: 323: 318: 314: 311: 304:metallophone 295: 291: 289: 280: 168:glockenspiel 80:vibraceleste 36: 18:Vibraphonist 3958:Drum circle 3603:Gary Burton 3593:Vibraphones 2528:Becker, Bob 2471:Hal Leonard 2238:3 September 1679:Blades 1992 1326:Blades 1992 1192:Ney Rosauro 1123:double bass 979:Burton grip 964:" from his 958:Gary Burton 946:Julian Lage 942:Gary Burton 886:French grip 882:German grip 513:Ferde Grofé 358:Tiki lounge 216:Marimba One 113:Inventor(s) 68:Other names 4143:Categories 4128:Vibraphone 4108:Ranat kaeo 4098:Lithophone 3979:Drum stick 3884:Wood block 3859:Tambourine 3849:Snare drum 3719:Vibraphone 3608:Vibraharps 3534:B002V5MLY0 3508:0415971233 3364:23 January 3114:1051235045 3061:LIT Verlag 3059:. Berlin: 2995:1269351540 2961:1033167255 2764:2435175212 2756:1194935009 2489:1098658051 2452:1084742692 2271:MalletJazz 2032:1091896031 1851:MalletJazz 1832:1007082083 1745:1268686444 1643:1080198398 1280:References 1274:C. G. Conn 1157:Repertoire 1147:Bent notes 1142:Pitch bend 1072:media help 1054:A C major 759:drive belt 740:Resonators 587:). Larger 523:Alban Berg 508:The Tigers 449:vaudeville 424:vox humana 382:orchestras 292:vibraphone 283:media help 229:Bergerault 163:song bells 55:vibraphone 40:Vibraphone 4118:Toy piano 4073:Fangxiang 3839:Mark tree 3804:Castanets 3779:Bass drum 3724:Xylophone 3709:Tubaphone 3414:Beck 2007 3301:903490514 3246:1517-7599 3209:806852905 3144:756921613 3079:830355087 3040:681550519 2931:837860299 2879:815679716 2798:849690331 2710:920816078 2647:Vic Firth 2584:226205904 2395:960643262 2358:936117814 2276:27 August 2253:Beck 2007 2218:869365321 2167:198987505 2153:CiteSeerX 2108:Vic Firth 2069:950004306 1999:235776759 1983:0001-4966 1936:906308587 1778:900827870 1712:913961832 1570:854371082 1538:29 August 1514:276305444 1479:861559432 1445:Beck 2007 1388:972798459 1313:179838406 1184:concertos 1178:Concertos 1162:Classical 1151:half step 983:Red Norvo 847:jazz club 829:Technique 819:AC motors 694:xylophone 445:Aloha ʻOe 413:Invention 296:vibraharp 177:Musicians 121:Developed 83:vibratone 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