Marimba Bar and Resonator Dimensions for La Favre 5octave instrument

Marimba bars were fabricated from African Padouk wood and tuned to A4 = 442
Hz. Bars C2 to G#3 were triple tuned (fundamental, fourth harmonic and tenth
harmonic). Bars A3 to C5 were double tuned (fundamental and fourth harmonic).
Bars C#5 to C7 were only tuned to the fundamental. Frequencies from C#6 to
C7 were stretched by adding one cent for each step (i.e., C#6 + 1, C7 + 12).
The stretch was added to the fundamental and the harmonics in this range.
The design of my marimba does not conform to a typical instrument in several
aspects, some of which can be gleaned from the data below. Specifically, the
bars in the bass range are considerably thicker than a typical 5-octave
instrument. During the fabrication and rough tuning process, I became alarmed
at the trend in the depth of the arch cut required to bring the bass bars down to
the proper frequency. As I worked my way down the instrument, I could see that
the center of the arch would need to be less than 1/4 inch thick. I felt that bars
less than 1/4 inch thick in the center may not be strong enough to resist damage
from a strong mallet blow. Therefore, I attempted to keep the bar thickness in
the center of the arch to a minimum of 1/4 inch. In order to do this, I glued extra
wood to the bottom of the bars at the ends (i.e., the parts of the bar that are not
undercut). Bars C2 to D#3 have wood glued to their bottoms. The addition of
wood to the ends of the bar increases the mass that must be moved up and
down during vibration, thus reducing the vibration rate. This has an effect similar
to decreasing the thickness of the bar in the center, where a thinner bar vibrates
more slowly due to less stiffness in the bar. Now I am sure that some will be
horrified by the notion of gluing wood together for bars. But after some thought, I
decided to go this route for the reasons I have already explained. Most of the
flexing in the bar occurs in the region of the arch, which does not have any
glued wood in my bars. The glued wood occurs only at the ends, where the bars
don't flex as much. The bars of the lowest octave have very strong overtones
and the fundamental is more subdued than I like. Whether this is due to the
thickness of the bars or not is not known to me at this time. I plan to experiment
in the future with bars of different lengths and thicknesses, tuned to the same
note, to see if there are any differences.
There is the possibility that my thicker bass bars are damped to a degree from
the added mass of the glued wood. In other words, a thinner bar, with a thinner
thickness in the center of the arch may vibrate to a stronger degree. If so, then
there would be an increase in the volume of sound from the bar. But you need to
be careful not to make the bar too thin in the center of the arch. At some point in
the future I may experiment with bass bars of different thickness.
In the conventional marimba design, the bars are evenly graduated in length,
which allows the cord to make a straight line path from the treble end to the
bass end. In my design, I wanted to increase the length of the bass bars,
something of a compromise between a bass marimba and a 5-octave
instrument. Therefore, my bars increase in length at a greater rate in the range
C2 to C4 than bars higher on the instrument. This required some extra work on
the instrument frame to accommodate different angles in the bass region. For
comparative purposes I have added two additional tables with bar dimensions
taken from commercial instruments (a 5-octave marimba and a 4-octave
xylophone, both with evenly graduated keyboards). If you would prefer to build
an instrument with an evenly graduated keyboard, I suggest you use these

tables for guidance.

Some marimba makers shape the bars in such a manner as to avoid problems
with lateral and torsional modes of vibration. This is a subject that I became
aware of after rough tuning my bars. I decided not to try any tuning of the lateral
and torsional modes at that time because I felt it might destroy the bars.
Currently (January, 2007), I am investigating these problem modes and have
found certain bars on my marimba that need to be retuned due to lateral and
torsional modes that vibrate close to the frequency of a tuned transverse mode.
You can find more information on lateral and torsional modes and check on my
progress at this page. Due to these recent findings, I am hesitant to recommend
the dimensions of my bars for a building project. I believe that the bar widths I
have selected in the bottom two octaves may not be the best choice due to
problem lateral and torsional modes. But then again, most keyboard sets
probably have challenges with lateral and torsional modes, which are addressed
by various tuning techniques such as wedging. In any case, I also provide a set
of bar dimensions for a commercial 5-octave marimba on this page.

Bar Dimensions for La Favre marimba

Length
Bar
(inches)

Width
(inches)

Thickness
(inches)

Thickness
center of
(inches)

C2 23 3/32

3.72

1.55

0.25

15 13/16

C# 22 17/32

3.59

1.49

0.25

15 1/2

22 1/32

3.54

1.42

0.26

15 1/8

D# 21 9/16

3.36

1.37

0.26

14 13/16

21 1/16

3.36

1.36

0.26

14 3/16

20 9/16

3.23

1.36

0.27

14

F# 20 3/32

3.17

1.25

0.27

13 7/8

3.10

1.26

0.27

13 3/16

G# 19 3/32

3.03

1.27

0.27

12 5/8

2.92

1.26

0.27

12 1/8

A# 18 7/32

2.85

1.28

0.28

12

17 25/32

2.80

1.18

0.27

12

C3 17 11/32

2.70

1.14

0.27

11 1/2

C# 17 3/32

2.60

1.05

0.29

11 1/4

16 7/8

2.59

1.05

0.30

11 1/16

D# 16 5/8

2.49

1.01

0.31

10 5/8

16 3/8

2.44

0.87

0.29

10 1/4

16 1/8

2.38

0.88

0.30

9 3/8

19 5/8

18 11/16

at
Length
of
arch
arch (inches)

F# 15 7/8

2.35

0.88

0.30

9 1/8

2.25

0.87

0.30

G# 15 11/32

2.19

0.87

0.32

2.12

0.88

0.32

8 3/8

A# 14 29/32

2.10

0.87

0.33

7 1/4

2.03

0.88

0.33

6 7/8

C4 14 7/16

1.99

0.87

0.31

6 5/8

C# 14 1/4

2.00

0.88

0.30

6 3/4

1.96

0.87

0.32

6 3/4

D# 13 13/16

1.96

0.87

0.33

6 1/4

13 11/16

1.96

0.87

0.34

6 1/4

13 1/2

1.92

0.85

0.36

6 3/8

F# 13 9/32

1.94

0.88

0.35

6 3/8

1.93

0.85

0.35

5 7/8

G# 12 15/16

1.91

0.87

0.35

6 1/16

12 11/16

1.90

0.88

0.36

5 5/8

A# 12 19/32

1.90

0.87

0.36

5 1/2

1.86

0.85

0.37

4 3/4

C5 12 5/32

1.87

0.88

0.36

4 5/8

C# 11 29/32

1.87

0.88

0.37

11 21/32

1.84

0.88

.037

3 3/8

D# 11 13/32

1.84

0.88

0.39

3 1/8

11 5/32

1.84

0.74

.039

3 1/8

10 15/16

1.81

0.74

0.38

3 3/8

F# 10 11/16

1.81

0.75

0.42

3 1/2

1.81

0.74

0.40

3 1/4

G# 10 5/16

1.78

0.74

0.45

3 3/8

10 1/16

1.78

0.75

0.42

3 1/2

A# 9 27/32

1.78

0.75

0.44

2 5/8

1.75

0.74

0.44

2 5/8

C6 9 7/16

1.75

0.75

0.45

2 3/4

C# 9 5/16

1.75

0.75

0.49

2 7/8

1.72

0.75

0.49

2 13/16

D# 9

1.72

0.74

.051

2 3/4

8 13/16

1.72

0.74

0.51

2 1/2

8 11/16

1.69

0.74

0.52

2 1/2

F# 8 17/32

1.69

0.74

0.55

2 1/2

8 3/8

1.68

0.74

0.55

2 3/8

G# 8 1/4

1.65

0.74

0.60

2 1/2

1.65

0.74

0.61

2 1/8

A# 7 31/32

1.65

0.75

0.62

1 7/8

7 13/16

1.62

0.75

0.64

1 1/2

C7 7 11/16

1.62

0.74

0.67

1 1/8

15 5/8
15 5/32
14 5/8

14 1/32

13 3/32

12 3/8

10 1/2

9 21/32

9 1/8

8 3/32

Bar Dimensions for an evenly graduated marimba (standard

type keyboard)

Dimensions in this table are representative of a 5-octave marimba with rosewood

bars. Please note that this table was edited on December 5, 2006. If you copied this
page prior to this date, you have a set of different dimensions, which I calculated by
converting the La Favre marimba to an evenly graduated keyboard. I have had
correspondence with individuals who tried making bars with the calculated
dimensions and found difficulties in tuning. So I decided to replace the dimensions
derived by calculation with measurements taken from an existing 5-octave marimba.
For a 4-octave instrument you can also consult a book authored by Chris Banta with
the title "Marimba Bar Fabrication and Tuning." Mr. Banta's book gives dimensions for
a 4-octave instrument.

Bar

Length (inches)

Width
(inches)

Thickness
(inches)

C2

21 3/4

2 13/16

1.00

C#

21 3/16

21 3/16

2 5/8

0.99

D#

20 11/16

20 11/16

2 5/8

0.99

20 1/8

2 5/8

1.00

F#

19 5/8

19 5/8

2 1/2

0.92

G#

19 1/8

19 1/8

2 1/2

0.93

A#

18 11/16

18 11/16

2 1/2

0.91

C3

18 3/16

2 7/16

0.94

C#

17 3/4

17 3/4

D#

17 1/4

Thickness at center of arch (inches)

0.21

0.26
2 7/16

0.93

17 1/4

2 7/16

0.93

16 13/16

2 3/8

0.93

F#

16 3/8

16 3/8

2 1/4

0.93

G#

15 15/16

15 15/16

2 1/4

0.93

A#

15 7/16

15 7/16

2 1/4

0.92

C4

15

2 1/8

0.92

C#

14 5/8

14 9/16

D#

14 1/4

0.32
2 1/8

0.94

14 1/4

0.94

13 3/4

0.93

F#

13 3/8

13 3/8

1 7/8

0.93

G#

13

12 15/16

1 7/8

0.93

A#

12 5/8

12 9/16

1 7/8

0.91

C5

12 1/4

1 7/8

0.93

C#

11 7/8

11 7/8

D#

11 7/16

0.40
1 7/8

0.93

11 7/16

1 7/8

0.93

11 1/16

1 3/4

0.86

F#

10 3/4

10 11/16

1 3/4

0.87

G#

10 3/8

10 5/16

1 3/4

0.87

A#

10

10

1 3/4

0.87

C6

9 5/8

1 3/4

0.87

C#

9 1/4

9 1/4

1 3/4

0.87

D#

8 15/16

8 15/16

1 3/4

0.87

8 9/16

1 3/4

0.87

F#

8 3/16

8 3/16

1 5/8

0.87

G#

7 7/8

7 7/8

1 5/8

0.87

A#

7 1/2

7 1/2

1 5/8

0.87

C7

7 3/16

1 5/8

0.87

Bar Dimensions for an evenly graduated xylophone

The dimensions in this table are from a reconditioned 4-octave Deagan

xylophone..
Bar

Length
(inches)

Width
(inches)

Thickness
(inches)

C3

18 5/16

2 1/2

0.96

C#

18 3/16

17 13/16

2 7/16

0.99

D#

17 9/16

17 1/4

2 7/16

0.94

16 5/8

2 7/16

1.01

F#

16 5/16

16

Thickness at center of arch

(inches)

0.58

0.50
2 3/16

1.00

2 3/16

1.00

G# 15 11/16
A

15 3/8

A#

15 1/8

14 13/16

2 3/16

1.00

C4

14 5/16

2 3/16

0.98

C#

14

13 11/16

D#

13 9/16

13 1/4

1 15/16

0.96

12 13/16

1 15/16

0.95

F#

12 5/8

12 7/16

0.56

0.60
1 15/16

0.96
0.60

0.60
1 15/16

0.98

1 15/16

0.98

G# 12 3/16
A

12 1/16

A#

11 13/16

11 1/2

1 15/16

0.98

C5

11 1/16

1 15/16

0.97

C#

10 7/8

10 5/8

D#

10 1/2

10 1/8

1 15/16

0.97

9 3/4

1 7/8

0.96

F#

9 9/16

9 3/8

0.67

0.72
1 15/16

0.99
0.72

0.73
1 7/8

0.96

1 15/16

0.95

G# 9 1/8
A

8 7/8

A#

8 5/8

8 3/8

1 15/16

0.98

C6

8 3/16

1 15/16

0.95

C#

8 1/16

0.70

0.78

7 3/4

1 15/16

0.96

D#

7 3/4

7 1/2

1 15/16

0.96

7 1/4

1 15/16

0.96

F#

7 1/8

1 15/16

0.96

1 7/8

0.96

0.76

G# 6 11/16
A

6 9/16

A#

6 7/16

6 1/4

1 7/8

0.96

C7

6 1/16

1 7/8

0.96

Below you will find data for the resonators of the La Favre marimba. The
resonators were fabricated from aluminum tubing with a wall thickness of
1/16 inch. The position of the stopper in each resonator was adjusted for
maximum resonance by ear while striking the bar with a mallet. Then the
distance from the stopper to the open end of the tube was measured (data
reported as "Air column length"). Keep in mind that this tuning was done
by ear and that the stopper can be moved over a small range while still
maintaining a loud resonance (in other words, don't take these
measurements as absolute). The total resonator length accounts for extra
length to accommodate the thickness of the stopper assembly and for
tuning up to 85 degrees F. For those resonators that are mitered (not
straight), the length listed is the length at the center of the tube. For
mitered resonators, the length of each section is listed in the last column,
starting with the section nearest the bar. All of the mitered sections were
cut at an angle of 22.5 degrees so that they form a 45 degree angle at
each miter when assembled. The length listed for each section is the
length of the longest side of the tube (except for the third section of
resonators C#2 and D#2 - which have the miters cut at a rotation of 90
degrees to each other - for this section the length is measured from the
short side of the miter on one end, and the medial position of the miter on
the other end).

Resonator Dimensions for La Favre marimba

Total
resonator
length inches

Tube
shape

Gap between
Length of each
section for mitered bottom of bar
resonators
and top of
(inches)
resonator
(inches)

Bar

Air column
Tube
length OD
inches (72
(inches)
F)

C2

not
measured

53 5/8

Mitered 3 25, 6 3/4,

sections 25 1/4

C#

not
measured

50 11/16

Mitered 4 22 9/16, 6 5/8, 7,

sections 17

1 3/16

not

47 15/16

Mitered 3 25, 6 3/4,

measured

sections 19 1/2

D#

not
measured

45 3/8

Mitered 4 18 1/8, 6 5/8,

Sections 5 3/4, 17 3/8

1 1/8

3.5

not
measured

43 1/16

Mitered 3
25 1/2, 6 1/2, 14
sections

3.5

not
measured

40 3/4

Mitered 3 25 1/2, 6 1/2,

sections 11 5/8

F#

3.5

not
measured

38 9/16

Mitered 3 26 7/8, 6 1/2,

sections 8 1/8

3.5

not
measured

36 9/16

Mitered 3 25 1/2, 6 1/2,

sections 7 1/2

G#

3.5

not
measured

34 9/16

Mitered 2
21 3/4, 14 1/4
sections

not
measured

32 15/16

Mitered 2
21 1/4, 13
sections

7/8

A#

27 15/16

31 3/16

Straight

7/8

not
measured

29 9/16

Mitered 2
22 7/8, 8
sections

13/16

C3

24 5/8

27 3/4

Straight

not applicable

3/4

C#

23 1/4

26 1/4

Straight

not applicable

3/4

22

24 7/8

Straight

not applicable

3/4

D#

2.5

21

23 3/4

Straight

not applicable

5/8

2.5

19 7/16

22 1/2

Straight

not applicable

5/8

2.5

18 5/16

21 3/8

Straight

not applicable

5/8

F#

2.5

17 3/16

20 3/16

Straight

not applicable

11/16

2.5

16 7/16

19 3/16

Straight

not applicable

5/8

G#

2.5

15 1/4

18 3/16

Straight

not applicable

11/16

2.5

14 3/8

17 1/4

Straight

not applicable

5/8

A#

2.5

13 5/8

16 3/8

Straight

not applicable

11/16

2.25

12 7/8

15 11/16

Straight

not applicable

5/8

C4

2.25

12 1/8

14 13/16

Straight

not applicable

9/16

C#

2.25

11 3/16

14 1/16

Straight

not applicable

5/8

2.25

10 5/8

13 3/8

Straight

not applicable

5/8

D#

2.25

10

12 3/4

Straight

not applicable

5/8

2.25

9 7/16

12 1/8

Straight

not applicable

5/8

2.25

8 15/16

11 9/16

Straight

not applicable

5/8

F#

2.25

8 1/4

11

Straight

not applicable

5/8

2.25

7 15/16

10 1/2

Straight

not applicable

11/16

G#

2.25

7 3/8

10

Straight

not applicable

3/4

A
(442 2.25
Hz)

6 3/4

9 9/16

Straight

not applicable

11/16

A#

2.25

6 1/2

9 1/8

Straight

not applicable

3/4

2.25

5 3/4

8 11/16

Straight

not applicable

11/16

C5

2.25

5 5/8

8 5/16

Straight

not applicable

11/16

not applicable

C#

2.25

5 1/4

7 15/16

Straight

not applicable

3/4

7 11/16

Straight

not applicable

11/16

D#

4 5/8

7 3/8

Straight

not applicable

3/4

4 1/4

7 1/16

Straight

not applicable

11/16

4 1/8

6 3/4

Straight

not applicable

5/8

F#

3 7/8

6 1/2

Straight

not applicable

3/4

3 1/2

6 1/4

Straight

not applicable

5/8

G#

3 1/4

Straight

not applicable

3/4

5 3/4

Straight

not applicable

5/8

A#

2 3/4

5 9/16

Straight

not applicable

3/4

2 11/16

5 3/8

Straight

not applicable

5/8

C6

2 3/8

5 3/16

Straight

not applicable

5/8

C#

not
measured

Straight

not applicable

3/4

not
measured

4 7/8

Straight

not applicable

5/8

D#

not
measured

4 11/16

Straight

not applicable

3/4

not
measured

4 9/16

Straight

not applicable

9/16

not
measured

4 3/8

Straight

not applicable

9/16

F#

not
measured

4 1/4

Straight

not applicable

5/8

not
measured

4 1/8

Straight

not applicable

9/16

G#

not
measured

Straight

not applicable

5/8

not
measured

3 7/8

Straight

not applicable

9/16

A#

not
measured

3 13/16

Straight

not applicable

9/16

not
measured

3 11/16

Straight

not applicable

9/16

C7

not
measured

3 5/8

Straight

not applicable

1/2