Keiko Abe Signature Models Keyboard Mallets


Shafts are 1-1/8” (3cm) longer than other Yamaha mallets*, which allows the mallets to exceed the demands required in contemporary music. Two types of shaft materials are available, rattan (MKA) and birch (MKAW), for compatibility with a wide variety of playing styles. * Except the MKA(W)-02 and 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.

[MKA(W)-01] With the MKA(W)-01 two-tone mallet, differences in touch are clearly apparent in the tone.

[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.

[MKA(W)-08/09] The MKA(W)-08 and 09 are designed to deliver greater tone from large rosewood tone bars at the bass end of the marimba.

Keiko Abe Profile

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.