Since this was to be a true xylophone, the bars were all of equal width. Tuning was done by cutting the bars to different lengths and removing material from the bottom. Using a router I created a sort of 'stepped pyramid' instead of the traditional arc cut found on marimba or xylophone bars.
Cutting the underside is not only for tuning but it focuses the pitch and creates the characteristic overtones of the instrument. Since I wanted to play this with other 'Western' instruments, I chose to use a pentatonic scale of 2 2/5 octaves (C#,D#,F#,G#,A#,C#,D#,F#,G#,A#,C#,D#).
Two people sit on either side of the instrument and strike the ends of the bars (as opposed to the center of the bars on 'Western' mallet instruments). Music is performed by 'hocketing' meaning the first player plays the 'downbeats' and the second player the 'upbeats'. The resulting melody is accentuated by a third player striking only the top two notes. But to use the terms 'down' and 'up' beats is for a Western understanding since the so called tempo of player 1 can be in excess of 200 bpm. Thinking of afterbeats is nearly impossible at this tempo. It requires a mind shift where there is no downbeat and no upbeat. This gestalt way of thinking creates an awareness of a separate third part (reinforced by the third player).
I knew that. Like not! Interesting, but I am going to have to read this a few more times. And you did this because you were bored?
ReplyDeleteIf you say so...confusing to tone deaf people like me...another music marvel:)
ReplyDeleteSorry, I didn't mean to make it this technical. The tuning, hocketing, and especially the affect it has on the performers is a difficult thing to explain. I'll try to go a little more in depth in a later post. But until then just remember, "You can tune a xylophone but you can't tun(a) fish.
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