Buy Wooden Xylophone
This 25-note Percussion xylophone for adults and teens does not take up a lot of space, compared to a piano for example. It does not stress your fingers, as a guitar can. The xylophone involves your whole body.
buy wooden xylophone
The Material of the Xylophone - While shopping for a xylophone, you will find that they are mainly available in wood and metal. Metal xylophones tend to cost lesser and are often smaller, which makes them portable and easier to handle. If you are looking for better quality, on the other hand, you can buy xylophones online that are made of wood. Brands like Kadence have a range of such xylophones that you can choose from. Most of these xylophones come with maple mallets that give you a good sound quality when you use them to hit on the bars.
Striking on the Bars - If you are a beginner, here is a small pointer to keep in mind when you strike on the bars of your xylophone. If you want bright and sharp sounds, you need to strike the bars with more force. On the other hand, musicians who want to produce gentler notes can practice hitting on the notes with lesser intensity.
The term xylophone may be used generally, to include all such instruments such as the marimba, balafon and even the semantron. However, in the orchestra, the term xylophone refers specifically to a chromatic instrument of somewhat higher pitch range and drier timbre than the marimba, and these two instruments should not be confused. A person who plays the xylophone is known as a xylophonist or simply a xylophone player.
The term is also popularly used to refer to similar instruments of the lithophone and metallophone types. For example, the Pixiphone and many similar toys described by the makers as xylophones have bars of metal rather than of wood, and so are in organology regarded as glockenspiels rather than as xylophones.
Concert xylophones have tube resonators below the bars to enhance the tone and sustain. Frames are made of wood or cheap steel tubing: more expensive xylophones feature height adjustment and more stability in the stand. In other music cultures some versions have gourds that act as Helmholtz resonators. Others are "trough" xylophones with a single hollow body that acts as a resonator for all the bars. Old methods consisted of arranging the bars on tied bundles of straw, and, is still practiced today, placing the bars adjacent to each other in a ladder-like layout. Ancient mallets were made of willow wood with spoon-like bowls on the beaten ends.
Xylophones should be played with very hard rubber, polyball, or acrylic mallets. Sometimes medium to hard rubber mallets, very hard core, or yarn mallets are used for softer effects. Lighter tones can be created on xylophones by using wooden-headed mallets made from rosewood, ebony, birch, or other hard woods.
The earliest evidence of a true xylophone is from the 9th century in southeast Asia, while a similar hanging wood instrument, a type of harmonicon, is said by the Vienna Symphonic Library to have existed in 2000 BC in what is now part of China. The xylophone-like ranat was used in Hindu regions (kashta tharang). In Indonesia, few regions have their own type of xylophones. In North Sumatra, The Toba Batak people use wooden xylophones known as the Garantung (spelled: "garattung"). Java and Bali use xylophones (called gambang, Rindik and Tingklik) in gamelan ensembles. They still have traditional significance in Malaysia, Melanesia, Indonesia, Thailand, Myanmar, and regions of the Americas. In Myanmar, the xylophone is known as Pattala and is typically made of bamboo.
The term marimba is also applied to various traditional folk instruments such as the West Africa balafon. Early forms were constructed of bars atop a gourd. The wood is first roasted around a fire before shaping the key to achieve the desired tone. The resonator is tuned to the key through careful choice of size of resonator, adjustment of the diameter of the mouth of the resonator using wasp wax and adjustment of the height of the key above the resonator. A skilled maker can produce startling amplification. The mallets used to play dibinda and mbila have heads made from natural rubber taken from a wild creeping plant. "Interlocking" or alternating rhythm features in Eastern African xylophone music such as that of the Makonde dimbila, the Yao mangolongondo or the Shirima mangwilo in which the opachera, the initial caller, is responded to by another player, the wakulela. This usually doubles an already rapid rhythmic pulse that may also co-exist with a counter-rhythm.
The mbila (plural "timbila") is associated with the Chopi people of the Inhambane Province, in southern Mozambique. It is not to be confused with the mbira. The style of music played on it is believed to be the most sophisticated method of composition yet found among preliterate peoples. The gourd-resonated, equal-ratio heptatonic-tuned mbila of Mozambique is typically played in large ensembles in a choreographed dance, perhaps depicting a historical drama. Ensembles consist of around ten xylophones of three or four sizes. A full orchestra would have two bass instruments called gulu with three or four wooden keys played standing up using heavy mallets with solid rubber heads, three tenor dibinda, with ten keys and played seated, and the mbila itself, which has up to nineteen keys of which up to eight may be played simultaneously. The gulu uses gourds and the mbila and dibinda Masala apple shells as resonators. They accompany the dance with long compositions called ngomi or mgodo and consist of about 10 pieces of music grouped into 4 separate movements, with an overture, in different tempos and styles. The ensemble leader serves as poet, composer, conductor and performer, creating a text, improvising a melody partially based on the features of the Chopi tone language and composing a second contrapuntal line. The musicians of the ensemble partially improvise their parts. The composer then consults with the choreographer of the ceremony and adjustments are made. The longest and most important of these is the "Mzeno" which will include a song telling of an issue of local importance or even making fun of a prominent figure in the community! Performers include Eduardo Durão and Venancio Mbande.
The Gyil's design is similar to the Balaba or Balafon used by the Mande-speaking Bambara, Dyula and Sosso peoples further west in southern Mali and western Burkina Faso, a region that shares many musical traditions with those of northern Ivory Coast and Ghana. It is made with 14 wooden keys of an African hardwood called liga attached to a wooden frame, below which hang calabash gourds. Spider web silk covers small holes in the gourds to produce a buzzing sound and antelope sinew and leather are used for the fastenings. The instrument is played with rubber-headed wooden mallets.
The silimba is a xylophone developed by Lozi people in Barotseland, western Zambia. The tuned keys are tied atop resonating gourds. The silimba, or shinjimba, is used by the Nkoya people of Western Zambia at traditional royal ceremonies like the Kazanga Nkoya. The silimba is an essential part of the folk music traditions of the Lozi people and can be heard at their annual Kuomboka ceremony. The shilimba is now used in most parts of Zambia.
The akadinda and the amadinda are xylophone-like instruments originating in Buganda, in modern-day Uganda. The amadinda is made of twelve logs which are tuned in a pentatonic scale. It mainly is played by three players. Two players sit opposite of each other and play the same logs in an interlocking technique in a fast tempo. It has no gourd resonators or buzzing tone, two characteristics of many other African xylophones.
The amadinda was an important instrument at the royal court in Buganda, a Ugandan kingdom. A special type of notation is now used for this xylophone, consisting of numbers for and periods. as is also the case with the embaire, a type of xylophone originating in southern Uganda. 041b061a72