Modelos Keiko Abe Signature Keyboard Mallets


Los mangos son más 3 cm más largos (1-1/8 pulgadas) que en otras mazas Yamaha*, lo que permite que estas mazas sobrepasen con creces las exigencias de la música contemporánea. Para que puedan ser compatibles con una gran variedad de estilos musicales, se fabrican en dos tipos de materiales: ratán (MKA) y abedul (MKAW). * Excepto los modelos MKA(W)-02 y MKA(W)-01.

MKA-01 (Rattan shaft)

MKA-01 (Rattan shaft)

MKAW-01 (Birch shaft)

MKAW-01 (Birch shaft)


The round yarn wound heads are heavier than standard mallets, but they are fully capable of delivering delicate expression. Also, to obtain optimum flexibility from the shaft, careful consideration has been taken in achieving optimum balance between weight and shaft thickness when materials to be used in each mallet model were chosen.

Con la maza de dos tonos MKA(W)-01, las diferencias de intensidad de los golpes se notan muy claramente en el tono.

[MKA(W)-02/03] MKA(W)-02 and MKA(W)-03 utilize short shafts for fast, intricate mallet work. Hard to tell by looking, but the added weight in the mallet heads offers the percussionist greater possibilities in playing.

[MKA(W)-04/05/06/07/S7] The MKA(W)-04 through S7 are based on Yamaha’s Professional series with a rubber tube wrapped around its core. This design offers a slightly different touch that delivers greater expressiveness with enhanced sensitivity.

Los modelos MKA(W)-08 y 09 están diseñados para obtener el mejor sonido de las láminas grandes de palisandro del extremo grave de la marimba.

Perfil de Keiko Abe

Appearing regularly in performances around the world, Keiko Abe continuously astonishes audiences with her rare combination of creative power, acute sensitivity and virtuoso technique. It is these qualities that have made her a leading force in the development of the marimba as a consummate concert instrument. Her command of an overwhelming repertoire allows her performances to range from solo concerts to chamber music and improvisations. While her compositions have become standards of marimba literature many composers have dedicated new works to her and she has inspired and premiered countless new compositions.

In addition to her work as Professor Emeritus of Music at Toho Gakuen School of Music in Tokyo, Japan, she is in demand as a guest lecturer and has presented master classes in more than 100 of the leading music conservatories in North America, Europe and Asia. She has also released over 50 recordings and received numerous awards, including becoming the first woman elected to the Percussive Arts Society Hall of Fame in 1993.

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