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Mark tree

The Mark tree is a percussion instrument consisting of 20 to 40 small metal tubes, typically made of solid aluminum or hollow brass, suspended from a wooden bar by nylon cords or strings in order of decreasing length to produce a descending glissando effect when played.^[1] It is played by sweeping a finger, drumstick, or brush across the tubes or their suspending strings, generating a shimmering, bell-like cascade of inharmonic tones without definite pitches, often used for atmospheric color in music.^[2] Invented in 1967 by Los Angeles studio percussionist Mark Stevens and named by fellow musician Emil Richards, the instrument is also known as bar chimes and is distinct from circular wind chimes (which require a striker) or the bell tree (featuring cup-shaped bells on a post).^[2]^[3] Originally developed for recording sessions to provide novel percussive effects, the Mark tree quickly became a staple in studio work and has since expanded into orchestral, popular, and new age music genres for its delicate, ethereal high-pitched sounds.^[1]^[3] Many models include an optional damper bar to quickly mute the resonance, allowing for precise control in performances, and variations exist in tube count, material, and arrangement to suit different pitch ranges and timbres.^[1] Its linear mounting and glissando technique make it particularly effective for creating rising or falling sweeps that enhance mood and texture in compositions.^[2]

Overview

Definition and characteristics

The mark tree is a percussion instrument consisting of multiple small chimes or bars suspended linearly from a stand, primarily employed to introduce atmospheric color and texture through sweeping glissando effects in musical performances.^[1] It belongs to the idiophone family of percussion instruments, specifically classified as a concussion idiophone under the Hornbostel-Sachs system (112.42, rod rattles), where sound arises from the vibration of the solid material itself upon impact, underscoring its role as an auxiliary device in ensembles rather than a melodic or rhythmic mainstay.^[4] Acoustically, the mark tree generates inharmonic spectra that lack definite pitches, yielding ethereal, shimmering, or cascading tones as the chimes resonate with decaying intensity over several seconds.^[5] The individual chimes, typically solid aluminum cylinders or hollow brass tubes measuring about 3/8 inch (0.95 cm) in diameter and varying in length from roughly 3 to 8 inches (7.6 to 20.3 cm), produce microtonal variations in perceived pitch when arranged in descending or ascending order, facilitating directional glissandi that evoke a sense of motion or sparkle.^[4] These properties distinguish its sound from tuned percussion, emphasizing timbral effects over precise intonation.^[1] In standard configurations, a mark tree features 20 to 40 such bars hung vertically from a horizontal wooden or metal header bar mounted on a tree-like frame, often arranged in approximate order from lowest to highest perceived pitch (or the reverse) to enable smooth sweeps across the array.^[1] This setup, sometimes including a damper bar for sound control, supports its use in diverse settings from orchestral percussion sections to studio recordings, where it contributes subtle, non-pitched accents.^[4]

Distinction from similar instruments

The mark tree is frequently confused with wind chimes due to superficial similarities in their metallic, shimmering sounds, but the two instruments differ fundamentally in design and activation. The mark tree consists of a linear row of untuned aluminum or brass bars suspended vertically from a horizontal wooden header, allowing performers to sweep their hand or a stick across the bars for controlled, directional glissandi that create rising or falling pitch effects.^[4] In contrast, wind chimes feature tubes or rods arranged in a circular or clustered configuration, suspended to be activated passively by air movement, which generates unpredictable, ambient tones without the precision of manual control.^[4] Another common point of confusion is the bell tree, which shares the mark tree's capacity for glissando effects but employs a distinct vertical structure. The bell tree comprises a conical stack of graduated, bowl-shaped brass bells nested on a central rod, typically ranging from 8 to 28 bells decreasing in size from top to bottom, enabling vertical sweeps with a mallet or beater to produce cascading, resonant tones with varying degrees of pitch definition.^[6] Unlike the mark tree's horizontal, linear array of cylindrical bars optimized for broad coloristic sweeps and inharmonic overtones, the bell tree's clustered, somewhat tuned bells allow for greater melodic potential through their nested arrangement and individual resonance.^[6] Tubular bells, also known as orchestral chimes, represent a further contrast as large-scale, tuned percussion resonators. These consist of 18 or more seamless brass tubes, each precisely calibrated in length (typically 37 to 63 inches) and arranged in a keyboard-like layout on a frame, struck individually with hammers at the top to yield sustained, definite pitches mimicking church bells (chromatic range often C4 to F5).^[7] The mark tree, by comparison, is compact and untuned, prioritizing continuous glissando sweeps over isolated, harmonic strikes, and lacks the tubular bells' pedal-dampened sustain and orchestral scale.^[7] This acoustic inharmonicity in the mark tree's bars enhances its ethereal, non-pitched texture, distinguishing it from the more tonal clarity of tubular bells. The mark tree's unique identity is also muddied by common misnomers, as it is often interchangeably called "bar chimes" or "chime tree" in musical contexts due to its bar-like components and chime-like timbre. However, "mark tree" is the proprietary original name, trademarked after its inventor Mark Stevens, who developed it in 1967 specifically for studio percussion applications, setting it apart from generic or imitation variants.^[3]

History

Invention

The Mark tree was invented in 1967 by Mark Stevens, a prominent studio percussionist based in Los Angeles.^[3]^[1] Stevens created the instrument specifically for a recording session where a novel percussive effect was required, drawing on his experience in the demanding LA studio environment.^[8] Motivated by the need for a unique sweeping chime sound that could not be replicated with conventional percussion instruments, Stevens constructed the prototype in his personal workshop using readily available materials.^[8] He experimented with metallic items such as house keys before settling on hand-cut graduated metal cylinders—typically made of aluminum or brass—strung linearly in sequence from a wooden bar using strong filament.^[8]^[4] This early design allowed for a linear arrangement of bars of varying lengths to produce a glissando effect when swept by hand.^[1] Stevens tested the prototype in studio settings, where sweeping a finger or stick through the bars generated a shimmery, sonorous, microtonal cascade that met the session's creative needs.^[8] The invention emerged amid the vibrant Los Angeles session musician scene of the 1960s, a period marked by increasing demand for innovative percussion sounds in film scores, television, and popular music recordings.^[3]^[4] As one of the busiest percussionists in this ecosystem, Stevens' creation quickly addressed the era's push for novel timbres in professional productions.^[3]

Naming and popularization

The instrument received its name from fellow percussionist Emil Richards, who dubbed it the "Mark tree" after its inventor, Mark Stevens, in 1967 when Stevens struggled to choose a suitable moniker for his creation.^[9]^[10] The name "Mark Tree" became closely associated with the original design and production. This prompted the adoption of generic alternatives such as "bar chimes" to describe non-branded versions, allowing wider market availability while distinguishing them from the original.^[5]^[11] The Mark tree began gaining traction in the late 1960s amid Los Angeles studio sessions, where it provided a distinctive shimmering effect for recordings.^[9] Following its invention, it entered commercial manufacturing in the late 1960s through companies like Spectrasound, which specialized in its production. By the 1980s, it had integrated into standard orchestral percussion setups.^[9] Session musicians played a pivotal role in its early adoption, incorporating the instrument into numerous film scores and soundtracks that amplified its appeal.^[9] Its dissemination accelerated via percussion catalogs and endorsements from prominent players, embedding it in both studio and live performance contexts.^[11]^[9] Spectrasound ceased operations in 2003, temporarily making the original Mark Tree unavailable, until Grover Pro Percussion revived its production around 2010, ensuring continued availability.^[9]

Construction

Components and materials

The Mark tree features a core assembly consisting of a horizontal mounting bar, typically constructed from wood or metal, from which 20 to 35 individual chime bars are suspended using cords or wires.^[12]^[13] This mounting bar is supported by a tree-like stand, often a wooden frame designed for stability during performance.^[14] The chime bars or tubes are cylinders, typically solid aluminum or hollow brass (3/8 inch in diameter), with varying lengths arranged in descending or ascending order to produce a glissando effect of inharmonic tones.^[15]^[16] These bars are primarily made from aluminum for a lighter weight and brighter tone, or brass for a warmer, richer sound; aluminum variants often incorporate titanium alloys that are heat-tempered for enhanced clarity and resonance.^[13]^[14] The supporting frame is usually crafted from hardwood such as beech, oak, or black walnut to provide durability and acoustic neutrality.^[13]^[14] Cords suspending the bars are typically nylon, braided filament, or high-tensile fiber for long-term durability and secure hand-tying.^[9]^[14] Some models include an optional built-in damper bar, often made of wood or metal, which mounts to the frame to mute the chimes after playing for controlled sustain.^[17]

Variations in design

Mark trees exhibit a range of design variations tailored to different performance contexts, from compact models for portability to expansive setups for orchestral use. Bar counts typically vary from 13 to over 35, with compact versions featuring 14 to 25 bars for studio or travel applications, such as the TreeWorks TRE417 compact single-row model with 14 bars.^[18] Standard configurations often include 35 bars, as seen in Grover Pro's Spectrasound series, while larger models extend to 45, 60, or 72 bars for fuller sonic density.^[19] Double-row designs, which double the bar count per unit (e.g., 69 or 72 bars across two rows), provide a thicker, more layered sound compared to traditional single-row arrangements, exemplified by the TreeWorks TRE35db and Latin Percussion LP513.^[20]^[21] Stand designs further adapt the instrument for versatility. Tabletop mantles suit controlled studio environments, while floor stands with adjustable heights accommodate stage performances, as in the ENNBOM 36-bar model with an included adjustable stand. Some versions incorporate swivel bases for rotational access during live use, and portable "wind-up" mechanisms enable quick assembly and disassembly. Optional carrying bags and bundles are common for transport, particularly in Grover Pro's Spectrasound line.^[22] Material innovations enhance durability and aesthetics without altering core acoustics significantly. Bars are commonly crafted from tempered aluminum alloys for resonance, with modern options including chrome-plated finishes for corrosion resistance, as in Danmar's 35-bar model, or colored anodized surfaces like black aluminum or frosted gold for visual appeal in performances.^[23] Mantles often use stained hardwood for stability, and filaments are hand-tied nylon for secure, vibration-free suspension. Most models have bars of fixed lengths, with rare custom variations in length arrangement.^[19] Commercial manufacturers offer specialized lines to meet diverse needs. Grover Pro's Spectrasound series includes damped versions with optional bars for controlled decay and undamped models for sustained shimmer, available in natural or black finishes. TreeWorks provides a broad array, from the compact 14-bar single-row to the expansive InfiniTree 140-bar double-row for immersive effects. Latin Percussion (LP) focuses on robust options like the 25-bar single-row concert model and 72-bar double-row for ensemble settings, while brands such as Meinl, Sabian, and Gon Bops offer variations in bar density and mounting.^[22]^[24]^[21]

Playing techniques

Basic playing methods

The primary technique for playing a mark tree involves sweeping a finger or the fingers of one hand lightly across the suspended metal tubes in a fluid motion, producing a shimmering glissando effect.^[25] This sweep activates the tubes sequentially, creating a cascading sound as the hand moves from one end of the instrument to the other.^[26] The tubes are arranged linearly in ascending or descending pitch order, so the direction of the sweep determines whether the glissando rises or falls in pitch.^[25] For optimal control, the player typically uses the bare hand with fingers spread slightly to engage multiple tubes smoothly, allowing for nuanced expression in the motion's speed and pressure.^[25] A loose grip or relaxed wrist helps maintain even contact without damping the resonance prematurely.^[27] Alternatively, a soft drumstick or yarn mallet can be used for the sweep if greater projection is needed, though the bare hand is preferred for its subtlety in basic playing.^[25] Volume is controlled primarily through the touch and speed of the sweep: a light, gentle pass yields a soft, ethereal shimmer, while a firmer or quicker motion produces a louder, more pronounced cascade.^[25] The instrument is usually positioned at a comfortable height, such as waist level on a stand or held by the frame, to facilitate easy access for the sweeping hand without individual tube strikes, which are not part of basic methods.^[27]

Advanced effects

Advanced effects on the mark tree expand its sonic possibilities by introducing control over sustain, articulation, and timbre, allowing performers to achieve more nuanced expressions beyond continuous glissandos. One key approach involves dampening methods to interrupt or pattern the resonance. A dedicated damper bar, such as the Spectrasound model designed for mark trees, can be attached to selectively mute individual tubes during a sweep, producing staccato-like effects or abrupt stops.^[28] Alternatively, performers may use their hand or a soft cloth to dampen tubes mid-motion, creating rhythmic interruptions that mimic percussive accents within the glissando. Rolling the damper bar progressively across the tubes enables the creation of patterned rhythms, where selective muting highlights specific pitches or clusters.^[29] Individual strikes offer a method for isolated tones, though this technique is less common due to the close spacing of the tubes, which can make precise targeting challenging. Performers strike single tubes or small groups with a mallet to produce distinct "pings" that function as melodic punctuations rather than sweeps. Combined techniques further diversify the instrument's role by layering effects or modulating the basic sweep. For instance, performers may brush another percussion instrument, such as a cymbal, simultaneously with a mark tree sweep to blend shimmering glissandos with sustained overtones. Varying the speed of the sweep allows synchronization with the underlying tempo, producing glissandos that accelerate or decelerate to match musical phrasing—faster motions yield brighter, more urgent cascades, while slower ones create languid descends.^[30] To optimize these effects, performers adjust elements like mallet selection for tonal variation; soft mallets produce warmer, diffused attacks ideal for subtle layering, whereas harder mallets yield crisper, more defined strikes suitable for rhythmic interruptions.^[27]

Musical applications

In classical and orchestral music

The mark tree entered orchestral percussion sections during the late 20th century, following its invention in 1967, as composers sought novel coloristic effects to enrich atmospheric and textural elements in works.^[1] Its shimmering glissandi, produced by sweeping across the tiered chimes, provided a versatile sonic layer for contemporary classical music, often evoking ethereal or transitional moods without overpowering the ensemble.^[31] This inclusion aligned with broader trends in expanded percussion palettes, where auxiliary instruments like the mark tree augmented traditional setups for heightened expressive range.^[32] Notation for the mark tree in orchestral scores adheres to standard percussion conventions, utilizing a five-line staff in percussion clef to represent its unpitched nature.^[33] Glissandi are indicated by wavy lines connecting the lowest and highest implied pitches: an upward-curving line denotes a sweep from low to high chimes, while a downward line signals the reverse, with line length suggesting duration and speed.^[34] The instrument is typically labeled "Mark Tree" or "Bar Chimes" at the staff's start, and dynamics are marked from ppp for subtle shimmers to ff for more resonant swells, ensuring precise control over its integration.^[35] In notable classical applications, the mark tree features prominently in contemporary compositions for its ability to create immersive soundscapes. For instance, Thea Musgrave's 1989 concerto Wood, Metal and Skin employs it alongside marimba and vibraphone in the solo part to evoke metallic resonances within an orchestral framework.^[31] Similarly, Cindy McTee's Einstein's Dream (2005) incorporates the mark tree with ratchet and gong to blend dreamlike textures in a string orchestra setting.^[36] Extending to film-inspired orchestral scores, John Williams utilizes it in Hedwig's Theme from the Harry Potter and the Sorcerer's Stone suite, where it doubles the harp at measure 128 to impart a silvery, magical timbre, enhancing the fast-paced motifs alongside sizzle cymbals. Ensemble integration presents practical challenges, as the mark tree's horizontal bar—often spanning several feet—demands ample space in the percussion area to avoid collisions with nearby instruments like tubular bells or tam-tams.^[37] Percussionists typically share it with other auxiliary gear, requiring efficient stationing for seamless transitions during performances, which can strain limited setups in smaller orchestras.^[38] This setup encourages strategic part division among 3–4 players to maintain rhythmic flow.

In popular and film music

The mark tree became a staple in Los Angeles studio recordings during the 1970s and 1980s, where session percussionists employed it to impart an ethereal, shimmering quality to tracks in R&B, rock, and jazz, particularly in intros and outros.^[3] Its cascading glissandi provided subtle textural depth, enhancing the atmospheric elements in productions by artists ranging from jazz ensembles to rock bands, such as in Lauryn Hill's "Ex-Factor" and Mary J. Blige's "Searching" for glittering introductions.^[3]^[39] In film and television scores, the mark tree serves as a versatile tool for evoking magical or suspenseful cues, often used by composers to bridge scenes or heighten tension.^[40] For instance, John Williams incorporates it in his orchestral percussion palette for transitional effects in blockbuster soundtracks, while Hans Zimmer employs it similarly in arrangements for films like those featured in his milestone medleys.^[41] This usage underscores its role in Hollywood's production-oriented scoring, where it adds a layer of sparkle without overpowering dialogue or action.^[3] Contemporary applications extend the mark tree's reach into electronic music production, where sampled glissandi create ambient layers in tracks and live performances by bands.^[42] In worship music, it delivers uplifting, cascading sounds during builds and transitions, as noted in its suitability for praise ensembles.^[43] Its prominence in the LA studio scene propelled widespread adoption, establishing it as a standard in percussion kits for advertising jingles and video game sound design, where the shimmering effect enhances immersive environments.^[3]^[44]

References

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### Summary of Mark Trees (Wind Chimes)
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The bar chimes is a concussion idiophone of European or American origin used as an auxiliary percussion instrument. It is marketed under a variety of names.
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The Mark tree only produces inharmonic tones (and even individual bar samples cannot really be tuned beyond a very small comparable range) and was designed as a ...
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No readable text found in the HTML.<|control11|><|separator|>
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