Harmonics on Mallet Percussion Instruments
When one strikes a bar on a mallet percussion instrument, they will hear an individual note. However, our ears are able to process much higher, additional frequencies that accompany this primary tone. It is possible to dampen or weaken the presence of the primary tone so that we are [more clearly] able to hear some of these much higher pitches, which we refer to as overtones or harmonics. These two terms are used here rather interchangeably, but it is important to note the following:
[1] The "main" and lowest pitch ("tone") produced by a bar is the fundamental. In a harmonic series, this is the 1st partial.
[2] Related pitches that speak above this fundamental are called overtones. The 1st overtone would be the 2nd partial of the bar's harmonic series.
[3] Any pitches, including the fundamental, may be referred to as harmonics.
[4] The harmonic series that can be found in nature and that can be produced by many instruments follows a specific pattern above the fundamental: 1 octave — 1 octave and perfect fifth — 2 octaves — 2 octaves and major third — 2 octaves and perfect fifth — 2 octaves and minor* 7th — 3 octaves — and more...
[5] The harmonic series produced on mallet percussion instruments are not the same as the above series. Due to this, bars are often tuned in a way where the overtones are harmonically pleasant, desirable, etc. (This may differ from one culture to another.)
[2] Related pitches that speak above this fundamental are called overtones. The 1st overtone would be the 2nd partial of the bar's harmonic series.
[3] Any pitches, including the fundamental, may be referred to as harmonics.
[4] The harmonic series that can be found in nature and that can be produced by many instruments follows a specific pattern above the fundamental: 1 octave — 1 octave and perfect fifth — 2 octaves — 2 octaves and major third — 2 octaves and perfect fifth — 2 octaves and minor* 7th — 3 octaves — and more...
[5] The harmonic series produced on mallet percussion instruments are not the same as the above series. Due to this, bars are often tuned in a way where the overtones are harmonically pleasant, desirable, etc. (This may differ from one culture to another.)
Producing harmonics on vibraphone is a familiar contemporary (extended) technique, but is less familiar on other mallet percussion instruments. This resource aims to share some of the possibilities on all of these instruments.
It should be noted that producing harmonics can sometimes "extend" the range of these instruments, but this is generally quite limited. The harmonics may be difficult and/or impractical to produce or isolate from a fundamental; when produced successfully, they are typically softer and much shorter in sustain. However, the option to use harmonics allows for more sound colors, as harmonics will have less fundamental sound, creating a more delicate or shimmering timbre.
It is most practical to obtain one unique pitch per bar with harmonics, but it is occasionally possible to produce more. As with normal playing, appropriate mallets should be considered. Playing harmonics will not damage an instrument, but improper mallets may negatively affect an instrument.
Information Below for: Glockenspiel, Marimba, Vibraphone, Xylophone
It should be noted that producing harmonics can sometimes "extend" the range of these instruments, but this is generally quite limited. The harmonics may be difficult and/or impractical to produce or isolate from a fundamental; when produced successfully, they are typically softer and much shorter in sustain. However, the option to use harmonics allows for more sound colors, as harmonics will have less fundamental sound, creating a more delicate or shimmering timbre.
It is most practical to obtain one unique pitch per bar with harmonics, but it is occasionally possible to produce more. As with normal playing, appropriate mallets should be considered. Playing harmonics will not damage an instrument, but improper mallets may negatively affect an instrument.
Information Below for: Glockenspiel, Marimba, Vibraphone, Xylophone
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Glockenspiel
Main Harmonic: 1 octave and perfect 4th above fundamental (on Mapex-brand instrument) To Produce: place finger at center of bar between nodes, then bow the edge of the bar. Most Effective: below D7 key. Connor's Review: difficult to produce — if one has access to an instrument where the bars can be bowed — and not very satisfying musically; if available, use a Piccolo Glockenspiel. Extra Note: it does not appear possible to produce this harmonic as cleanly or isolated with mallets. More Details (Glockenspiel)Due to the difficulty in producing harmonics on glockenspiel and the limitations of their musical use, Connor had the Piccolo Glockenspiel produced in 2020. Bowing (or using mallets) on these bars gave immediate access to pitches between C8–E9, although activating the keys above C9 remain very cumbersome.
Initial experiments between 2018–2020, and later in 2024, found additional and even less conventional methods of producing high pitches from glockenspiel bars. Additional information about these methods are documented separately and may be read via the button below. |
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Marimba
Main Harmonic: 2 octaves; 3 octaves and major 3rd above fundamental To Produce: place mallet in between the nodes of the bar (at varying locations), then use a second mallet to strike the bar at the node itself. Most Effective: C3 and lower (especially to C2 on a 5-octave instrument). Connor's Review: useful on lower-pitched bars for the harmonically dense timbres that emerge; higher-pitched bars produced pitches [on one marimba] rather close to the fundamental, creating a "double stop" type of effect which was not very effective or useful. More Details (Marimba)Experimenting in 2024, the highest register of the marimba was able to produce pitches above the standard C7, but these pitches were not able to be isolated. Connor compares these to "double stops" on string instruments, or split tones on brass instruments; the resultant sounds did not sound too unlike playing a marimba and a xylophone together. (Nothing observed exceeded the standard range of a xylophone, either.) A short video (2018) by Acolyte Instruments demonstrates an F3 bar's A6 overtone (3 octaves plus major 3rd). |
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Vibraphone
Main Harmonic: 2 octaves above fundamental To Produce: place finger or mallet at center of bar between nodes, then use a [second] mallet to strike the bar at the node itself. It is also possible to produce harmonics by bowing. Most Effective: below G5 key. Connor's Review: most effective compositionally (of mallet percussion instruments), easiest to (re)produce More Details (Vibraphone)In 2024, Connor experimented with a Musser M-16 mallet and was able to produce the double-octave harmonic on each key of a 3-octave instrument, including the high F6 key, producing F8. He noted an A7 emerging from the G4 bar as well. A later experiment showed a Yamaha 5010 mallet producing this 1st overtone quite well.
The highest usable double-octave with most instruments and mallets in mind would be lower, being harmonics G7–B7. A little more discussion on the limitations to playing the 1st overtone on a vibraphone bar, as well as notes about [higher yet] 2nd and 3rd overtones may be read via the button below. (Also included is information about "multiphonic" harmonics.) |
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Xylophone
Main Harmonic: 1 octave and major 3rd above fundamental To Produce: place mallet at center of bar between nodes, then use a second mallet to strike the bar at the node itself. Most Effective: below C7 key. Connor's Review: not very effective compositionally More Details (Xylophone)In 2024, Connor experimented with producing harmonics from a xylophone. Beyond the C7 key, producing an E8 overtone, the sound of the fundamental completely drowned out any overtones. Using audio equalization (EQ) software, it is possible to more clearly isolate the overtones, showing that the C8 key used did produce an E9, but the pitch is extremely soft. In person, it was possible to discern a few of these higher overtones (with difficulty), including the E9. (Some bars, like the G7 key, produced a B8, but this was inaudible in person and was only perceptible through audio editing.) |