African xylophone thumb|African Xylophone also known as Ogbongelenge by the Igbo tribe. AID Project The term marimba is also applied to various traditional folk instruments such as the West Africa balafon. Early forms were constructed of bars atop a gourd. The wood is first roasted around a fire before shaping the key to achieve the desired tone. The resonator is tuned to the key through careful choice of size of resonator, adjustment of the diameter of the mouth of the resonator using wasp wax and adjustment of the height of the key above the resonator. A skilled maker can produce startling amplification. The mallets used to play dibinda and mbila have heads made from natural rubber taken from a wild creeping plant. "Interlocking" or alternating rhythm features in Eastern African xylophone music such as that of the Makonde dimbila, the Yao mangolongondo or the Shirima mangwilo in which the opachera, the initial caller, is responded to by another player, the wakulela. This usually doubles an already rapid rhythmic pulse that may also co-exist with a counter-rhythm.
african xylophone thumb|african xylophone also known as ogbongelenge by the igbo tribe aid project the term marimba is also applied to various traditional folk instruments such as the west africa balafon early forms were constructed of bars atop a gourd the wood is first roasted around a fire before shaping the key to achieve the desired tone the resonator is tuned to the key through careful choice of size of resonator adjustment of the diameter of the mouth of the resonator using wasp wax and adjustment of the height of the key above the resonator a skilled maker can produce startling amplification the mallets used to play dibinda and mbila have heads made from natural rubber taken from a wild creeping plant "interlocking" or alternating rhythm features in eastern african xylophone music such as that of the makonde dimbila the yao mangolongondo or the shirima mangwilo in which the opachera the initial caller is responded to by another player the wakulela this usually doubles an already rapid rhythmic pulse that may also co-exist with a counter-rhythm