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Afro-Colombian youth playing the marimba de chonta. In Colombia the most widespread marimba is the marimba de chonta (peach-palm marimba). Marimba music has been listed on UNESCO as an intangible part of Colombian culture. [10] In recent times marimberos (marimba players) and the marimba genres as a whole have started to fade out in popularity. [8]
The Cubans call it marímbula, and most of the other Caribbean countries have adopted this name or some variant of it: marimba, malimba, manimba, marimbol. The instrument has a number of other names, such as marímbola (Puerto Rico), bass box, calimba (calymba), rhumba box, Church & Clap, Jazz Jim or Lazy Bass , and box lamellophone.
The Bass Marimba and Marimba Eroica have more traditional linear layouts and are very low in pitch. The Bass Marimba was first built in 1950. It has eleven bars made of Sitka spruce. The lowest bar corresponds to a piano C2. It can be played with mallets or by slapping with the pads of the fingers. [16] The Marimba Eroica was built in 1954.
Reg Kehoe and his Marimba Queens was a marimba-based musical group active from the late 1930s to the mid-1950s. They were based in Lancaster, Pennsylvania and toured extensively. The lasting legacy of Reg Kehoe and his Marimba Queens is in A Study In Brown , a two-minute black-and-white film made in early 1940 (link below).
Collection of percussion instruments. This is a wide-ranging, inclusive list of percussion instruments. It includes: Instruments classified by Hornbostel–Sachs as struck or friction idiophones, struck or friction membranophones or struck chordophones.
Arthur Hunt Lyman (February 2, 1932 – February 24, 2002) was a Hawaiian jazz vibraphone and marimba player. His group popularized a style of faux-Polynesian music during the 1950s and 1960s which later became known as exotica.
"Sweet Emotion" is a hard rock, [15] funk rock [16] and psychedelic funk [16] song with a repeated electric bass riff tracked alongside the bass marimba, played by Jay Messina in the beginning. Steven Tyler shakes a packet of sugar in place of maracas, as none were available.
Fuzz bass lines were added by Bill Wyman. Marimba riffs, played by Brian Jones, provide the song's most prominent hook. [4] The song is said to be an examination of a sexual power struggle, in which Jagger's lyrics celebrate the success of finally having controlled and gained leverage over a previously pushy, dominating woman.
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