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Getting Started with Mbira Dzavadzimu

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Getting Started with Mbira Dzavadzimu 1 Getting Started with Mbira dzaVadzimu BY B. MICHAEL WILLIAMS HERE ARE MANY DIFFERENT TYPES tached to the soundboard to create an ad- of mbira found throughout Africa. ditional sound in sympathetic resonance TThese are called by a variety of to the sound of the keys (Photo 1). The names such as sanza, likembe, karimba, instrument is often placed inside a large kalimba and matepe, to name a few gourd resonator (deze) to amplify and 2 (Berliner 1993, 9). Technically, the in- resonate the sound. Buzzers are often at- strument is a plucked idiophone that tached to the outer rim of the gourd as some call a lamellaphone, the plucked well (Photo 2). Some players have now keys referred to as lamellae (singular dispensed with the gourd resonators alto- lamella). In Zimbabwe, where the in- gether, relying instead on electronic am- strument has reached its highest level of plification via contact microphones or development, it is generally called mbira ambient miking. (Jones 1992, 112). The particular instrument addressed HOLDING THE INSTRUMENT in this article is known as mbira The instrument is held in both hands, dzaVadzimu (mbira of the ancestral spir- supported by the fingertips. The right- its) or mbira huru (great or big mbira). hand little finger is inserted in the 3 The full name of the instrument is finger hole from above (Photo 3). Since mbira huru dzaVadzimu (the great the right hand strokes the keys with the mbira of the ancestors) (Berliner 1993, thumb and forefinger, the ring and 34). Actually, the title “dzaVadzimu” re- middle fingers support the weight of the fers to an instrument used as part of a instrument from underneath the specific observance of ancestral worship, soundboard (Photo 4). so it is probably more appropriate to call Likewise, since the left-hand keys are the instrument mbira huru when refer- stroked with the thumb alone, the four ring to its use outside of a religious con- remaining fingers support the instru- text. I have continued to call it mbira ment from underneath (Photo 5). Care dzaVadzimu because it is the name most must be taken to support the left side of commonly used in the United States. the instrument with the tips of the fin- 4 This mbira consists of 22 to 25 keys gers, as the thumb must often cover affixed to a tray-shaped wooden great distances and thus requires maxi- soundboard. Buzzers (machachara), mum flexibility. made from shells or bottle caps, are at- Some players use a strap around the Diagram 1 5 PERCUSSIVE NOTES 38 AUGUST 1997 tures. Each cycle is referred to as a chara, meaning “version” (literally “fingering” or “thumbs,” plural zvara) (A. Tracey 1970A, 1). Each tune has its basic version and several somewhat standardized varia- tions. Accomplished players have mas- tered the “stock” versions and are able to improvise new zvara at will. It should be a goal of each performer to eventually move beyond the standardized zvara and to- ward the art of creative improvisation. Mbira music is further characterized by a polyrhythmic style predicated on an 6 7 interlocking technique (known in West- neck to provide further support and to al- strument. Letter names are used to indi- ern musical terminology as hocket) low increased flexibility for the hands cate relative pitches. The note G is used as through which complex rhythmic and me- (Photo 6). On the right hand, the thumb the “tonic” note in this particular example. lodic patterns emerge. Since these result- strokes the first three (and occasionally Accidentals are intentionally omitted, so ant patterns are dependent on the the fourth) keys with a downward motion, the example as written reflects “regular” perception of the listener, the performer while the index finger strokes the remain- tuning. One would simply add accidentals must take care not to move too quickly ing keys (4 through 10) with an upward to the appropriate scale degrees to reflect from variation to variation. motion from underneath (Photo 7). any of the other tuning systems. The interlocking principle is multiplied Maximum comfort is assured if the Octaves on the left-hand side of the in- when two (or more) instruments play to- nails of both thumbs and the right in- strument are indicated with arrows (Dia- gether. One instrument plays the basic dex finger are allowed to grow before gram 1). Tunes can be centered on either pattern known as kushaura (“to lead” or one begins to play. Various products the tonic note (G in Diagram 1) or on the “to start”) while another plays a comple- available to classical guitarists may be fourth scale degree (C in Diagram 1). mentary pattern called kutsinhira (“to fol- of help to the mbira player. One such Mbira can be pitched in any key, so the low”) (Berliner 1993, 73). The two parts product, called “aLaska Pik,” is espe- transcriptions found here use numbers to may vary rhythmically, or they may be es- cially helpful as it fits underneath the indicate specific lamellae (rather than sentially identical, with the kutsinhira existing nail and adds length to the pitches) in order to make them applicable staggered one pulse behind the kushaura. striking surface. Products such as these to all instruments. are available in most music stores. In NOTATION addition, emery boards are essential to SHONA MUSICAL STYLE The transcriptions in this article are writ- maintaining the nails and keeping Shona mbira music is built on a melodic ten in a tablature notation based on the them strong and well-shaped. and harmonic structure that is cyclic in numbering of mbira keys starting at the nature. Each cycle is divisible into four center of the instrument and moving out- TUNING SYSTEMS sections of twelve pulses each, although a ward (Diagram 2). Separate lines are indi- While it is beyond the scope of this article few tunes use nine- or eight-pulse struc- cated for the right index finger (RI), right to discuss specifics of tuning and tuning systems for mbira, a few general observa- tions are in order. The tuning of the mbira Diagram 2 dzaVadzimu is heptatonic (based on a seven-tone scale), but tuning systems can vary widely. In very general terms, the most common tuning is similar to a West- ern major scale with the seventh scale de- gree flatted (lowered one half-step). This is generally known as “regular,” “stan- dard” or “Nyamaropa” tuning. There are also instruments tuned to the major scale with a raised seventh degree (called Dambatsoko —presumably after the Zim- babwean village of the same name). An in- strument tuned to a phrygian scale (natural minor scale with lowered second degree) is said to be in gandanga tuning. Regardless of the tuning system, the lay- out of the keys remains the same. Diagram 1 shows the layout of keys for a 24-note in- PERCUSSIVE NOTES 39 AUGUST 1997 thumb (RT), upper-left manual (UL) and symbol (+) indicates some commonly- Practice the patterns with each hand lower-left manual (LL). Numbers appear- used alternate starting points (shaura). separately at first, starting with the left ing on these lines correspond to the keys In order to give a more complete aural hand, then moving to the right before on the instrument as illustrated in Dia- picture of the sounds represented by the combining them. The notation facilitates gram 2. Numbers in parentheses indicate tablature notation, each transcription is this type of practice with its visual sepa- optional keys to be stroked at the preceded by the tune’s basic version in ration of parts. Start slowly and work one performer’s discretion. The dotted line conventional Western notation. The right section at a time to ensure accuracy. moving horizontally between the RT and and left hands are indicated by note-stem Once an entire chara has been learned, it UL lines serves to visually separate the direction (stems up = right hand, stems should be repeated several times and left and right sides of the mbira. down = left hand). Some may find it help- gradually accelerated to performance Numbers at the top of each of the four ful to refer to this notation in order to get tempo. When all the variations have been sections in a chara refer to the division of a better grasp of rhythmic relationships. learned, it is good practice to play them time into pulses. These pulse numbers The transcriptions are not intended to in order from first to last (repeating each serve as guides to deciphering the rhyth- be note-for-note renditions of particular as desired), then reversing the order, mic component of the pieces. As such, performances, but to show some of the ba- ending with the basic version. they are not really counted, but only sic zvara by which the pieces are identified It should be reiterated that mbira serve as a visual point of reference. The and to give some examples of variation tunes do not always start and stop in the four sectional divisions in each chara are techniques applied to the basic versions. same part of the cycle. It is a common to designated by Roman numerals. The cy- Once the basic patterns are learned, it is fade in volume at the end of a perfor- clic nature of this music makes it pos- up to the performer to use them as the mance, blurring any distinction of exactly sible to start or end in any section. The foundation for flexible improvisations. where the piece actually ends. PERCUSSIVE NOTES 40 AUGUST 1997 KARIGA MOMBE liner 1993, 151). Harmonically, the piece is one of many de- Kariga Mombe, meaning “taking the bull by the horns,” is of- rived from Nyamaropa, arguably the oldest work in the ten among the first pieces a student will learn on mbira (Ber- dzaVadzimu repertory.
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