Mbira
"Kalimba" redirects here. For other uses, see ."Zanza" redirects here. For the Rurouni Kenshin character, see .MbiraMbira
dzavadzimuOther instrumentOther namesfinger harp, gourd piano, ikembe, kalimba, kilembe, likembie, likimba, marimbula, mbila,
334jrnrbysansa, sansu, sanza, thumb piano, timbrh, zanzu, 122.1
(Plucked )clear, percussive, chimelikelowfastmoderateVaries, see
low to mediumMore articlesThe mbira (pronounced m-BEER-ra , IPA (ə)mˈbɪəɾə) is an African , traditional to the of . It consists of a wooden board (often
fitted with a resonator) with attached staggered metal , played by holding the instrument in the hands and plucking the tines with
the thumbs (at minimum), the right forefinger (most mbira), and sometimes the left forefinger. classify it as a , part of the
plucked family of musical instruments. In Eastern and Southern Africa, there are many kinds of mbira, often accompanied by the , a
percussion instrument. It is often an important instrument played at religious ceremonies, weddings, and other social gatherings.
Though an ancient instrument, it was commercially produced and exported by from the 1950s onward, popularizing the instrument
outside Africa; Tracey's design was modeled after the
Mbira became popularized largely due to the success of in the 1980s, who included mbira on stage accompanying modern rock
instruments such as electric guitar and bass, drum kit, and horns. Mapfumo's arrangements included numerous songs directly drawn
from traditional mbira repertoire. Other notable influencers bringing mbira music out of Africa are: , who brought and karimba
music to the American ; , who was one of the pioneer teachers of mbira dzavadzimu in the US; the writings and recordings of made
by .
and have both suggested that mbira (and other metal lamellaphones) are thoroughly African, being found only in areas populated by
Africans or their descendants. Similar instruments were reported to be used in Okpuje, Nsukka area of the south eastern part of
Nigeria in the early 1900s.
Contents
History[]
A Zimbabwean mbira dza vadzimuVarious kinds of plucked idiophones and lamellaphones have existed in Africa for thousands of years.
The tines were originally made of bamboo but over the years metal keys have been developed. The mbira appears to have been
invented twice in Africa: a wood or bamboo-tined instrument appeared on the west coast of Africa about 3,000 years ago, and
metal-tined lamellophones appeared in the valley around 1,300 years ago. These metal-tined instruments traveled all across the
continent, becoming popular among the Shona of Zimbabwe (from which the word mbira comes) and other indigenous groups in Zimbabwe
and Mozambique. The mbira differentiated in its physical form and social uses as it spread. Kalimba-like instruments came to exist
from the northern reaches of North Africa to the southern extent of the , and from the east coast to the west coast, though many
or most groups of people in Africa did not possess mbiras. There were thousands of different tunings, different note layouts, and
different instrument designs, but there is a hypothetical tuning and note layout of the original metal-tined instrument from 1,300
years ago.
In the mid 1950s the mbira was the basis for the development of the kalimba, a westernized version designed and marketed by the
ethnomusicologist Hugh Tracey, leading to a great expansion of its distribution outside Africa.
Acoustics[]
are instruments which have little tines, or "lamellae", which are played by plucking. Unlike stringed instruments or air-column
instruments like flutes, the of a plucked lamella are , giving the mbira a characteristic sound. The inharmonic overtones are
strongest in the and die out rather quickly, leaving an almost pure tone. When a tine is plucked, the adjacent tines also create
secondary vibrations that increase the harmonic complexity of an individual note.
Rhythm[]
Mbira music, like much of the is based on . An example from the kutsinhira part of the traditional mbira dzavadzimu piece "Nhema
Musasa" is given by David Peñalosa, who observes that the left hand plays the "bass line," while the right hand plays the upper
melody. The composite melody is an embellishment of the 3:2 cross-rhythm (also known as a ).
Tuning[]
Tuning chart for the Tracey 15-note alto kalimba. mbira dzavadzimu tuning and key layout
* Same color keys are the same notes (usually octaves)
* Key “1” is the lowest note, ascending to the highest note key “23”
* Key “2” is often only found on the mavembe tuning
* Some mbira have extra keys (e.g. extra “17” on left side, or higher notes on the right beyond key “23” are most common)
* Note intervals can vary, but all the octaves are divided into a heptatonic scale, many being diatonic or at least nearly
diatonic
* This diagram does not represent every mbira dzavadzimu, but does represent the most common layout
* It is important to note that the key numbering and color codes portrayed here are arbitrary and simply to communicate the layout
(not traditional approach)It is common on African mbira and other lamellophones to have the lowest notes in the center with higher
notes to the far left and the far right—this is an ergonomic nicety, in that the thumb can pivot such that all the tines are easy
to reach. However, traditional African tunings use notes that do not lie on the grid of the , and traditional mbira note layouts
are often idiosyncratic, sometimes with adjacent tines making part of a scale, but then an odd note thrown in that defies the
pattern.
Historically, mbira tunings have not mapped exactly onto Western scales; it is not unusual for a seven-note sequence on a mbira to
be "" over a greater range of frequencies than a Western octave and for the intervals between notes to be different from those in
a Western scale. Tunings have often been idiosyncratic with variations over time and from one player to another. A mbira key
produces a rich complex of overtones that varies from one instrument to another depending on its maker's intentions and accidents
of fabrication, such that some instruments simply sound better when some notes of a familiar tuning are pushed. With the increased
popularity of the mbira in North America, Europe, and Japan in recent decades, Zimbabwean mbira makers have tended to tune their
instruments more uniformly for export, but much variation is still found among mbira in their homeland.
Tunings vary from family to family referring to relative interval relationships and not to absolute pitches. The most common
tuning played throughout Zimbabwe and among non-Zimbabwean mbira players worldwide is Nyamaropa, similar to the western . Names
may also vary between different families; has developed a "mbira orchestra" that has seven different tunings, each starting on a
different interval of the same seven-note scale, where it is possible to play all instruments in a single performance. The seven
tunings that Garikayi uses are: Bangidza, Nyabango, Nhemamusasa, Chakwi, Taireva, Mahororo, and Mavembe (all of which are also
names of traditional songs save for Mavembe and Nyabango). The closest to what is commonly named "Nyamaropa" is his "Nhemamusasa"
tuning.
Specific tunings[]
Common names for tunings are:
Variants[]
Mbira dzavadzimu[]
Mbira dzavadzimu in a .In , the mbira dzavadzimu ("voice of the ancestors", national instrument of Zimbabwe) is a musical instrument that has been played
by the of for thousands of years. The mbira dzavadzimu is frequently played at religious ceremonies and social gatherings called
mabira (sing. "bira").
A typical mbira dzavadzimu consists of between 22 and 28 keys constructed from hot- or cold- metal affixed to a hardwood (gwariva)
in three different registers—two on the left, one on the right.
While playing, the of the right hand is placed through a hole in the bottom right corner of the soundboard, with the little finger
entering from the front of sound board, and the and reaching around the back to stabilize the instrument. This leaves the thumb
and index finger of the right hand open to the keys in the right register from above (thumb) and below (index finger). The fingers
of the left hand stabilize the left side of the instrument, with most fingers reaching slightly behind the instrument. Both
registers on the left side of the instrument are played with the left thumb. Some mbira possess an extra key in the upper left
register which is hit from below by the left index finger.
, , or other objects ("machachara") are often affixed to the soundboard to create a buzzing sound when the instrument is played.
In a traditional setting, this sound is considered extremely important, as it is believed to attract .
During a public performance, an mbira dzavadzimu is frequently placed in a ( resonator) to amplify its sound.
The mbira dza vadzimu is very significant in and , considered a sacred instrument by the Shona people. It is usually played to
facilitate communication with ancestral spirits, bringing the spirit of the dead back on its homestead. Within the Shona
tradition, the mbira may be played with paired performers in which the , the caller, leads the performed piece as the , the
responder, "interlocks" a subsequent part. The ritual is known as the Bira. During these all-night ceremonies, people call upon
the spirits to answer questions. The variations of notes in an Mbira piece aid the participants in going into trance, which in
Shona culture aids the spirits in taking over the participant's body.
Albert Chimedza, director of the Mbira Centre in , has estimated that "there are at most ten thousand people in the world who play
mbira."
Mbira Nyunga Nyunga[]
The nyunga nyunga which normally has 15 keys, originated from where it traditionally played the entertainment role during social
gatherings and commemorations. Jeke (Jack) Tapera introduced the mbira nyunga nyunga in the 1960s from Tete province of Mozambique
to Kwanongoma College of African music (now United College of Music) in Bulawayo. Two keys were then added to make fifteen
(Chirimumimba, 2007), in two rows. The mbira nyunga nyunga is similar in construction to the mbira dzavadzimu, but has no hole in
the soundboard. Key pitch radiates out from the center, rather than from left to right.
Zimbabwe's originated mbira nyunga nyunga number notation. The upper row keys (from left) are keys 2, 4, 6, 8, 10, 12, and 14
while the bottom row keys are notated as 1, 3, 5, 7, 9, 11, 13, and 15. Maraire brought awareness of this instrument to the United
States when he came to the University of Washington as a visiting artist from 1968–1972.
Recently a (, Zimbabwe) lecturer in the department of music and musicology has suggested a letter notation; the upper keys as
(from first left upper key) E, D, C, F, C, D, and E and the lower or bottom keys as (from the first lower key) A, G, F, A, F, C,
D, and E. But the Maraire number notation has remained the internationally accepted system (Chirimumimba, 2007).
Njari mbira[]
Njani mbira has 30 to 32 keys and was also originated from Zimbabwe particularly Masvingo and Makonde.
Nhare[]
The nhare has 23 to 24 keys and was originated from Zimbabwe. In the Zimbabwean tradition, nhare was used for rituals of
communicating with Musikavanhu or Nyadenga (God).
Mbira matepe[]
Main article: A Zimbabwean matepeMbira matepe which has 26 keys originated from along the borders of Zimbabwe and Mozambique.
Outside Africa[]
The Hugh Tracey kalimbas are tuned in the key of G. The arrangement of the notes on the Hugh Tracey kalimba borrows from the
typical scheme with the lowest notes in the center and the upper notes on the left and the right, with the notes in the ascending
scale alternating strictly right-left and going outwards towards the two sides.
The diatonic western kalimba tuning which Tracey used was practical for a worldwide instrument—with hundreds of African kalimba
tunings, the chosen Western standard would maximize the number of people who would immediately connect with the kalimba. The
practicality of this note arrangement, with notes going up the scale in a right-left-right-left progression, is that modal 1-3-5
or 1-3-5-7 chords are made by playing adjacent tines. If chords are played in the lower octave, the same notes will appear on the
opposite side of the kalimba in the upper octave, which makes it very easy to simultaneously play a melody in the upper octave and
an accompanying harmony in the lower octave. So, the arrangement of notes on the Hugh Tracey kalimba (and on virtually any kalimba
that copies the instrument) makes certain complex musical operations very simple.
Alternative tunings are possible, as the tines of most kalimbas are easily pushed in and out to sharpen or flatten their pitch.
Some alternative tunings simply change the key of the kalimba, without changing the note layout scheme. Other alternative tunings
move the kalimba to non-modal scales (such as Middle-Eastern scales). Each note of the kalimba can be tuned independently (unlike
a guitar), so any scale, western or non-western, is possible, and traditional African scales are still accessible to this modern
African instrument. Composer has tuned the Hugh Tracey alto kalimba to the chromatic steps of the in a piece called Just
Her—Jester—Gesture. The Bohlen–Pierce scale subdivides the just twelfth into 13 steps.
Related instruments[]
Sanza Signature Series GravikordInstruments related to or inspired by the mbira include:
In popular culture[]
On May 21, 2020, as part of Zimbabwe Culture Week, honoured the mbira with a which included a button allowing users to hear and
play the instrument virtually. The doodle also featured the story of a young girl who learns to play the mbira and inspires a new
generation of mbira players after becoming an established artist as an adult.
Players[]
Main article: See also[]
Citations[]
General references[]
External links[]
(lamellophones)FrameClackCombLaced lamellaeCut-out lamellae[//en.wikipedia.org/wiki/Special:CentralAutoLogin/start?type=1x1]
Retrieved from "": Hidden categories:
“Kalimba” and “mbira” are often used interchangeably to describe a kalimba or an mbira. It can be pretty confusing when learning
about either of these African instruments and even more confusing when you’re trying to buy one. To ensure you have the best
experience when shopping for your new kalimba at X8 Drums, we thought we’d talk a bit about why a kalimba is not an mbira.
The kalimba looks pretty similar to an mbira, and both instruments consist of a wooden soundboard with steel keys that players
depress and release with their fingers to create a tranquil, bell-like sound. Despite these similarities, the kalimba and the
mbira are not the same instrument. Even a kalimba tuned mbira is not the same as a kalimba, just in tune with it. The kalimba is
actually a smaller, modern version of the mbira, which dates back more than 1,000 years in Zimbabwe. The kalimba was created by
Hugh Tracey in the 1960s. Tracey liked the sound of the mbiras he heard while living in what is now Zimbabwe but wanted to create
an adaptation better suited for Western music.
While there are a few subtle differences between the kalimba and the mbira, including a double row of keys on the mbira and a
single row of keys on the kalimba, the major difference between the two instruments is in their scales. The kalimba features the
seven-note diatonic scale used in traditional Western music while the non-western scale of the mbira features the same notes but
not in the same order. Some notes may even be missing. Because of the kalimba’s diatonic scale, every two-note combination creates
a diatonic interval, making it easy to create harmonies.
The kalimba also features a different percussive element. In place of the mbira’s buzzers, the traditional kalimba features two
holes at the bottom of the sound board. If you wave your fingers in and out of the holes, you’ll get a “wa-wa” effect. However,
like kalimbas used by many musicians in Africa, the kalimbas at X8 Drums feature buzzers to create the distinctive buzzing effect
of the mbira.
Photo byMarkholdaway at en.wikipedia [CC-BY-SA-3.0, GFDL, CC-BY-SA-3.0 or CC-BY-SA-2.5-2.0-1.0], from Wikimedia Commons
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Menu[/timages/noscript.gif] Instructor: Charis DukeCharis has taught college music and has a master's degree in music
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16,064 views The mbira is a traditional African instrument that has been played for over a thousand years. In this lesson we will
discuss the instrument and its history.Out of Africa
It is the middle of the night in the wilds of Zimbabwe. You've been invited to attend a sacred ceremony. The dancing and costumes
are fascinating and exotic. The Shona people gathered around you are chanting and meditating. Underneath it all, music is playing
- music you've never heard before. It is bell-like, repetitious, rattling, buzzing, and strangely hypnotic. You're listening to
the mbira (pronounced 'um-BEER-a').
Mbira or Thumb Piano?
Mbira
The mbira is an instrument from the African continent. It is sometimes called the 'thumb piano' because it is played with the
thumbs and one finger. The mbira is made of 22 to 28 metal keys attached to a hardwood soundboard called the gwariva, usually
placed inside a large gourd to amplify the sound. The metal keys are plucked with both thumbs and the forefinger of the right
hand. The thumbs pluck downward on the keys. The forefinger plucks upward from beneath the keys.
Traditionally, the keys were made from iron ore smelted from rocks. Today it is common for the keys to be made of recycled
materials, such as sofa springs, car spokes, or cans. Other recycled items, such as shells, beads, and bottle caps, are attached
to the soundboard to create a buzzing sound.
The Mbira and the Shona
A traditional Shona farm
The mbira is found throughout the African continent, but it is associated most closely with the Shona people of Zimbabwe. The
Shona have played the mbira for more than a thousand years. It is mentioned in their literature and is a part of their worship and
rituals. The Shona name for the instrument is mbira dzavadzimu, which means 'mbira of the ancestors.'
The mbira is played for important Shona ceremonies, such as the bira, an all-night spirit possession ceremony. For these
ceremonies the mbira is accompanied by hand-clapping, singing, and percussion instruments. The Shona believe that the music of the
mbira connects them to their ancestors.
A traditional, decorative mbira
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Mbira Music
Mbira music is primarily handed down orally - that is, there is no tradition of notation. The songs are religious in nature and
are intended for different sacred purposes, such as calling forth rain or celebrating harvest. It is common for two mbira to play
together, one instrument leading and the other responding. This creates a dense, complex texture with polyrhythms, more than one
rhythm sounding simultaneously.
The mbira has become popular in many cultures all over the world. Even elementary school children have mbira in their classrooms.
Although outside the Shona culture the music is stripped of its religious significance, it is still entertaining and beautiful
music to both listen to and perform.
Lesson Summary
The mbira is an instrument found throughout Africa. It consists of metal keys attached to a wooden soundboard. The mbira has been
a part of the Shona culture for over a thousand years, played for sacred ceremonies and celebrations. It's common to see two
mbiras played together, with their overlapping parts creating polyrhythms with one another. The mbira has become popular
throughout the world today.
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Source: https://habr.com/ru/post/Mbira-2gagaNHLi/
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